Finding Fogerty: Interdisciplinary Readings of John Fogerty and Creedence Clearwater Revival, edited by Thomas M. Kitts, begins to correct the scholarly neglect of John Fogerty, one of America's great songwriters, one of the rock era's great vocalists, and one of its underrated guitarists and producers. This essential collection pulls together scholars from a wide range of disciplines and approaches to assess Fogerty's fifty-year career and to argue for his musical and cultural significance. The composer of American classics like "Proud Mary," "Fortunate Son," "Green River," "Who'll Stop the Rain," and "Centerfield," Fogerty first achieved commercial success with the release of Creedence Clearwater Revival in 1968. As the band's songwriter, lead singer, lead guitarist, and producer, Fogerty led CCR in a blistering output of 10 top-ten singles and seven gold albums before disbanding CCR in 1972. Divided into four sections ("Born on the Bayou," "Run Through the Jungle," "Centerfield, "and "Keep on Chooglin'"), Finding Fogerty investigates Fogerty's songs, life, and legacy, and stands as a tribute to one of America's most treasured musical legends.

Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

An essential part of human expression, humor plays a role in all forms of art, and humorous and comedic aspects have always been part of popular music. For the first time, The Routledge Companion to Popular Music and Humor draws together scholarship exploring how the element of humor interacts with the artistic and social aspects of the musical experience. Discussing humor in popular music across eras from Tin Pan Alley to the present, and examining the role of humor in different musical genres, case studies of artists, and media forms, this volume is a groundbreaking collection that provides a go-to reference for scholars in music, popular culture, and media studies. While most scholars, when considering humor's place in popular music, tend to focus on more "literate" forms, the contributors in this collection seek to fill in the gaps by surveying all kinds of humor, critical theories, and popular musics. Across eight parts, the essays in this collection explore topics both highbrow and low, including: Parody and satire Humor in rock and global music Gender, sexuality, and politics The music mockumentary Novelty songs Humor has long been a fixture of the popular music soundscape, whether on stage, in performance, on record, or on film. The Routledge Companion to Popular Music and Humor covers it all, presenting itself as the most comprehensive treatment of the topic to date.

When Yes ran into problems recording their tenth album in Paris at the end of 1979, it was almost the end. Yet in the 80s, the band rallied, firstly as part of an unlikely collaboration with new wave duo The Buggles, then with 90125, the most successful album of their career, which spawned a number one hit in the USA with 'Owner Of A Lonely Heart'. The band failed to capitalise on this success, however, lingering too long over its successor Big Generator and by the end of the decade, Yes had effectively split into two versions of the same group. With most authors concentrating on the group's 1970s career, Yes in the 1980s looks in forensic detail at this relatively underexamined era of the band's history, featuring rarely seen photos researched by author David Watkinson. The book follows the careers of all nine significant members of the group during a turbulent decade which saw huge highs but also many lows. Not only does it consider the three albums the band itself made across the decade, but also the solo careers and other groups - including Asia, XYZ, The Buggles, Jon and Vangelis and GTR - formed by those musicians as the decade wound towards a reunion of sorts in the early 1990s

This volume examines the transnational character of popular music since the Cold War era to the present. Bringing together the cross-disciplinary research of native scholars, Eastern European Popular Music in a Transnational Context expands our understanding of the movement of physical music, musicians and genres through the Iron Curtain and within the region of Eastern Europe. With case studies ranging from Goran Bregovic, Czeslaw Niemen, the reception of Leonard Cohen in Poland, the Estonian punk scene to the Intervision Song Contest, the book discusses how the production and reception of popular music in the region has always been heavily influenced by international trends and how varied strategies allowed performers and fans to acquire cosmopolitan identities. Cross-disciplinary in nature, the investigations are informed by political, social and cultural history, reception studies, sociology and marketing and are largely based on archival research and interviews.

Punk rock has long been equated with the ever-shifting concepts of dissent, disruption, and counter-cultural activities. As a result, since its 1970s and 1980s incarnations, when bands in Britain-from The Clash and Sex Pistols to Angelic Upstarts, U.K. Subs, and Crass-offered alternative political convictions and subversive lifestyle choices, the media has often deemed punk a threat. Bands like Circle Jerks, Dead Kennedys, Bad Religion, and Millions of Dead Cops followed suit in America, pushing similar boundaries as the music mutated into a harsher "hardcore" style that branched deep into suburban enclaves. Those antagonisms and ideals were, in turn, translated by another wave of bands-from Fugazi to Anti-Flag-whose commitment to community building was as pronounced as their taut, explosive tunes. In The Politics of Punk, David Ensminger probes the conscience of punk by going beyond the lyrics and slogans of the pithy culture war. He paints a broad, nuanced, and well-documented picture of the ongoing activism and outreach inherent in punk. Creating a people's history of punk's social, cultural, aesthetic, and political features, the book features original interviews with members of Dead Kennedys, Dead Boys, MDC, Channel 3, Snap-Her, Scream, Minutemen, TSOL, the Avengers, Blowdryers, and many more. Ensminger highlights punk money's influence on philanthropy and community involvement and paints a contextualized picture of how punk critiqued dominant culture by channeling support and media coverage for a wide array of humanitarian programs for gays and lesbians, the homeless, the disabled, environmental and health research, and other causes.

This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics-and popular music policy a lens through which to view them. The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the 'turn to culture' in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.

Improbasen is a Norwegian private learning centre that offers beginner's instrumental tuition within jazz improvisation for children between the ages of 7 and 15. This book springs out of a two-year ethnographic study of the teaching and learning activity at Improbasen, highlighting features from the micro-interactions within the lessons, the organisation of Improbasen, and its international activity. Music teachers, students, and scholars within music education as well as jazz research will benefit from the perspectives presented in the book, which shows how children systematically acquire tools for improvisation and shared codes for interplay. Through a process of guided participation in jazz culture, even very young children are empowered to take part in a global, creative musical practice with improvisation as an educational core. This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creativity, and authenticity in childhood.

"What is Hip-Hop?" In order to answer this question, author Andrew J. Rausch interviewed 24 individuals whose creative expressions are intimately associated with the world of hip-hop music and culture. Those interviewed include emcees, DJs, producers, graffiti artists, poets, and journalists. Topics of these conversations cover the careers of each of these people and their contributions/affiliations with hip-hop, as well as their views on different trends within the music. Intended as a celebration of hip-hop music and culture, this collection of interviews ranges from the up-and-coming (Akrobatik, Rob Kelly) to the legendary (Chuck D, Big Daddy Kane). Also interviewed are Eric B., Black Sheep Dres, Chip Fu, Michael Cirelli, Daddy-O, DJ JS-1, dream hampton, Kokane, Kool Keith, Kool Rock Ski, Keith Murray, 9th Wonder, Paradime, R.A. the Rugged Man, Sadat X, Shock G, Special Ed, Spinderella, Sticky Fingaz, and Young MC. Because many of these artists worked and performed in the so-called "golden age" of hip-hop, they offer insights on the merits and problems of what hip-hop has grown into today. From their candid observations, the reader will understand how each of these men and women have contributed to the culture and how each, in his or her own way, can rightly answer "I AM hip-hop."

The spread of UK music festivals has exploded since 2000. In this major contribution to cultural studies, the lid is lifted on the contemporary festival scene. Gone are the days of a handful of formulaic, large events dominating the market place. Across the country, hundreds of 'boutique' gatherings have popped up, drawing hundreds of thousands of festival-goers into the fields. Why has this happened? What has led to this change? In her richly detailed study, industry insider Dr Roxy Robinson uncovers the dynamics that have led to the formation and evolution of the modern festival scene. Tracing the history of the culture as far back as the fifties, this book examines the tensions between authenticity and commerce as festivals grew into a widespread, professionalized industry. Setting the scene as a fragmented, yet highly competitive market, Music Festivals and the Politics of Participation examines the emergence of key trends with a focus on surrealist production and popular theatricality. For the first time, the transatlantic relationship between British promoters and the social experiment-come-festival Burning Man is documented, uncovering its role in promoting a politics of participation that has dramatically altered the festival experience. Taking an in-depth approach to examining key events, including the fastest growing independent music festival in recent years (Hampshire's BoomTown Fair) the UK market is shown to have produced a scene that champions co-production and the democratization of festival space. This is a vital text for anyone interested in British culture.

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

ELO (The Electric Light Orchestra) were devised by Roy Wood and Jeff Lynne of The Move as a fusion of rock and contemporary classical-style music, combining orchestral instruments, guitars, keyboards and drums in the same line-up. Their aim was to continue from where The Beatles' 'I Am The Walrus' left off. After the release of their debut eponymous album in 1971 and a few live dates at home and in Europe, it became increasingly apparent that both leaders' objectives were incompatible. Wood left Lynne in charge of the group to refine their sound, and their ambitious progressive rock epics gradually giving way to a more accessible style. With keyboard player Richard Tandy and drummer Bev Bevan the only other constant members in an ever-changing line-up, by the end of the decade the group were rarely out of the British and American charts. After disbanding in 1986, ELO Part II (minus Lynne) returned for two albums, but Lynne reclaimed the name with an album in 2001 and a long-awaited reappearance as Jeff Lynne's ELO in 2014. This book provides a comprehensive examination of all the group's studio albums.

Music and World-Building in the Colonial City investigates how nineteenth-century migrants to Australia used music as a resource for world-building, focusing on coalmining regions of New South Wales. It explores how music-making helped British migrants to create communities in unfamiliar country, often with little to no infrastructure. Its key themes are as follows: people's relationships to music within specific contexts; how music-making intersects with class, gender and ethnic background; identity through music. Situated within a wider discourse on music and identity, music and well-being and music and emotions, this is an authoritative study of historical communities and their relationship with music. It will be of particular interest to scholars and researchers working in the fields of sociomusicology, colonial studies and cultural studies.

Rock 'n' roll infuses the everyday life of the American adult, but for the first, complete generation of rock 'n' roll fans-baby boomers born between 1946 and 1964-it holds a special kind of value, playing a social personality-defining role that is unique to this group. Based on 18 years of sociological research and 52 years of rock 'n' roll fandom, Baby Boomer Rock 'n' Roll Fans: The Music Never Ends draws on data collected from participant observations and interviews with artists, fans, and producers to explore our aging rock culture through the filter of symbolic interactionist theory. As author Joseph Kotarba notes, the "purpose in writing this book is to describe sociologically the many ways people in our society who were raised on rock'n'roll music and its cultural baggage have continued to use the rock'n'roll idiom to make sense of, celebrate, and master everyday life-through adulthood and for the rest of their lives." Sociological concepts of the "self" are the key organizing feature of this book, as each chapter engages with sociological ideas to explain how baby boomers use popular music to explore, sculpt, fulfill, and ultimately make sense of who they are in different contexts. Kotarba looks at baby boomers as individuals and parents, as political actors and religious adherents, social beings and aging members of American society, detailing throughout how rock 'n' roll provides a groundwork for establishing and maintaining both private and public sense of self. Baby Boomer Rock 'n' Roll Fans will interest scholars and students of music and sociology and American popular culture.

Music Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here - former gang members and so-called "witch children" living on the streets - believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been "saved by music", Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond. "... a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects." -John Sloboda, Research Professor, Guildhall School of Music & Drama "This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." -Lucy Green, Emerita Professor of Music Education, University College London Institute of Education

"If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map.
Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes.
Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.

The music, image, performances, and cultural impact of some of the most enduring figures in popular music are explored in Rock Music Icons: Musical and Cultural Impacts. A rock music icon is readily recognizable-but intriguing and little-known stories lie behind the public's enchantment. Readers of Rock Music Icons will encounter new perspectives on notable recording artists ranging from Elvis Presley, Paul McCartney, Bob Dylan, and Bob Marley to Elton John, David Bowie, Bruce Springsteen, Metallica, and Kurt Cobain. One meets Pink Floyd upon the fall of the Berlin Wall, the drama of Freddie Mercury, Ozzy Osborne, and Madonna, and the musical craft of Billy Joel. Rock Music Icons investigates authenticity, identity, and the power of the voices and images of these widely circulated and shared artists that have become the soundtrack of our lives. Rock Music Icons brings a reader an inside look into the creativity of some of the most prominent rock stars of our time.

In March 1977, John "Johnny Rotten" Lydon of the punk band the Sex Pistols looked over the Berlin wall onto the grey, militarized landscape of East Berlin, which reminded him of home in London. Lydon went up to the wall and extended his middle finger. He didn't know it at the time, but the Sex Pistols' reputation had preceded his gesture, as young people in the "Second World" busily appropriated news reports on degenerate Western culture as punk instruction manuals. Soon after, burgeoning Polish punk impresario Henryk Gajewski brought the London punk band the Raincoats to perform at his art gallery and student club-the epicenter for Warsaw's nascent punk scene. When the Raincoats returned to England, they found London erupting at the Rock Against Racism concert, which brought together 100,000 "First World" UK punks and "Third World" Caribbean immigrants who contributed their cultures of reggae and Rastafarianism. Punk had formed networks reaching across all three of the Cold War's "worlds". The first global narrative of punk, Punk Crisis examines how transnational punk movements challenged the global order of the Cold War, blurring the boundaries between East and West, North and South, communism and capitalism through performances of creative dissent. As author Raymond A. Patton argues, punk eroded the boundaries and political categories that defined the Cold War Era, replacing them with a new framework based on identity as conservative or progressive. Through this paradigm shift, punk unwittingly ushered in a new era of global neoliberalism.

Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.

Singing the Body Electric explores the relationship between the human voice and technology, offering startling insights into the ways in which technological mediation affects our understanding of the voice, and more generally, the human body. From the phonautograph to magnetic tape and now to digital sampling, Miriama Young visits particular musical and literary works that define a century-and-a-half of recorded sound. She discusses the way in which the human voice is captured, transformed or synthesised through technology. This includes the sampled voice, the mechanical voice, the technologically modified voice, the pliable voice of the digital era, and the phenomenon by which humans mimic the sounding traits of the machine. The book draws from key electro-vocal works spanning a range of genres - from Luciano Berio's Thema: Omaggio a Joyce to Radiohead, from Alvin Lucier's I Am Sitting in a Room, to Bjoerk, and from Pierre Henry's Variations on a Door and a Sigh to Christian Marclay's Maria Callas. In essence, this book transcends time and musical style to reflect on the way in which the machine transforms our experience of the voice. The chapters are interpolated by conversations with five composers who work creatively with the voice and technology: Trevor Wishart, Katharine Norman, Paul Lansky, Eduardo Miranda and Bora Yoon. This book is an interdisciplinary enterprise that combines music aesthetics and musical analysis with literature and philosophy.

Experimentation in Improvised Jazz: Chasing Ideas challenges the notion that in the twenty-first century, jazz can be restrained by a singular, static definition. The worldwide trend for jazz to be marginalized by the mainstream music industry, as well as conservatoriums and schools of music, runs the risk of stifling the innovative and challenging aspects of its creativity. The authors argue that to remain relevant, jazz needs to be dynamic, proactively experimental, and consciously facilitate new ideas to be made accessible to an audience broader than the innovators themselves. Experimentation in Improvised Jazz explores key elements of experimental jazz music in order to discern ways in which the genre is developing. The book begins with an overview of where, when and how new ideas in free and improvised jazz have been created and added to the canon, developing the genre beyond its initial roots. It moves on to consider how and why musicians create free and improvised jazz; the decisions they make while playing. What are they responding to? What are they depending on? What are they thinking? The authors analyse and synthesise the creation of free jazz by correlating the latest research to the reflections provided by some of the world's greatest jazz innovators for this project. Finally, the book examines how we respond to free and improvised jazz: artistically, critically and personally. Free jazz is, the book argues, an environment that develops through experimentation with new ideas.

What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people's lives in a period of total war.