When the world's greatest pop band played their final public concert, in January 1969, there were no tickets or posters printed. When John Lennon, Paul McCartney, George Harrison, and Ringo Starr emerged at lunchtime from the headquarters of their own company, Apple, five storeys above London's Savile Row, only a select group of people knew what the hell was happening.The rooftop concert was one of the Beatles' most spontaneous acts. Beatles on the Roof studies the rooftop concert in penetrating detail, uncovering new truths and debunking old myths about the event. Nobody knew it yet - not even the band - but this was the last time they would play live to the public.

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.

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.

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

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

When Mark Radcliffe was born in the late 1950s, Britain was trying to find its own version of the dangerously sexy Elvis ... we gave the world Cliff Richard but by the time Mark was old enough to recognise pop songs on the radio, the UK was exploding into the world's most exciting place to be for a young music fan. In this, his eagerly awaited new book, Mark Radcliffe takes a record from each year of his life, using the song as a starting point from which to reach out and pull together a wonderfully entertaining catalogue of memories and asides about British culture. And, as one would expect from this unique and popular broadcaster, the tunes he lists are not the usual suspects. From The Kinks' 'See My Friends', through Slade's 'Coz I Luv You' to Kraftwerk's 'Europe Endless' and Joy Division's 'Atmosphere', Mark's selections bring forth a diverse collision of styles from eras uniquely defined by their musical genres and fashions. Bringing his choices right up to the present day, we see the inclusion of artists such as Richard Hawley, Elbow and Fleet Foxes. Mark's hugely entertaining and affectionate trawl through his favourite music of the past 50 years is guaranteed to surprise and delight his many fans.

When considered in a broader social context, The Clash stand as one of the most important musical acts in rock history. Original punks who transcended the music's minimalist origins, The Clash lived and breathed the idea that they could change the world with their art. In The Clash: The Only Band That Mattered, respected music critic Sean Egan examines The Clash's career and art through the prism of the uniquely interesting and fractious UK politics of the 1970s and '80s, without which they simply would not have existed. Tackling such subjects as The Clash's self-conscious tussles with their record label, the accusations of selling out that dogged their footsteps, their rivalry with the similarly leaning but less purist Jam, the paradoxical quality of their achieving multiplatinum success, and even whether their denunciations of Thatcherism were proven wrong, Egan has come up with new insights into a much discussed group. Clash fans, Clash haters, social historians, and political students will all find themselves entertained by his thought-provoking conclusions.

Before we recorded Infernal Love, I didn t know if I was coming or going. I developed quite a healthy drug habit and was drinking a bottle of Absolut vodka every day. I thought that if I gave up drinking, I d spend the next two weeks lying in bed and feeling sick. I decided to keep going and see if inspiration would hit - Andy Cairns, Therapy? So Much For The 30 Year Plan is the first ever book to detail the life of Therapy?, one of rock s boldest and most idiosyncratic acts. Written with the full co-operation of the band s current members frontman Andy Cairns, bassist Michael McKeegan, and drummer Neil Cooper this official biography explores the dizzying highs and crushing lows they have experienced while navigating a three-decade-long career. Featuring extensive interviews with the band and key figures from throughout their career, So Much For The 30 Year Plan offers insights into the band s origins in Northern Ireland during the Troubles, the backlash they received from the underground scene after signing to a major label, the birth of their million-selling 1994 album Troublegum, the full story behind their split with founding member Fyfe Ewing, and much more. Published to coincide with the band s 30th anniversary tour, this is essential reading for all Therapy? fans and for anyone with an interest in the alternative music of the era.

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.

Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. There is no musical object 'in itself'; music must always be made again. In this innovative book, Hennion turns the elusiveness of music into a resource for a pragmatic analysis: by which collective process do we make music appear among us? Rather than offering a sociology of music, The Passion for Music listens to the lesson provided by the case of music - this art of infinite mediations. Learning from music allows us to transform the paradigm to be offered by sociology, by confronting it (from Durkheim and Weber to Bourdieu) with a different way of considering objects. For this task, Hennion draws on aesthetics (Adorno) and art history (Haskell, Baxandall), as well as science and technology studies and popular music studies (Latour, Frith, DeNora). As part of that project, The Passion for Music presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life: from the debate around the reinterpretation of baroque music, to the classroom, the rock scene, the classical music concert, Bach's 'social career' in the nineteenth and twentieth centuries, and the practices of music 'amateurs' today. This is the first English translation of one of the most important works of French scholarship on music and society.

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.

The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sector attracts over 3.7 million attendances each year, and that music tourism as a whole sustains nearly 40,000 full-time jobs. Music Festivals in the UK is the first extended investigation into this commercialised rock and pop festival sector, and examines events of all sizes: from mega-events such as Glastonbury Festival, V Festival and the Reading and Leeds Festivals to 'boutique' events with maximum attendances as small as 250. In the past, research into festivals has typically focused either on their carnivalesque heritage or on developing managerial tools for the field of Events Management. Anderton moves beyond such perspectives to propose new ways of understanding and theorising the cultural, social and geographic importance of outdoor music festivals. He argues that changes in the sector since the mid-1990s, such as professionalisation, corporatisation, mediatisation, regulatory control, and sponsorship/branding, should not necessarily be regarded as a process of transgressive 'alternative culture' being co-opted by commercial concerns; instead, such changes represent a reconfiguration of the sector in line with changes in society, and a broadening of the forms and meanings that may be associated with outdoor music events.

The untimely deaths of Amy Winehouse (2011) and Whitney Houston (2012), and the 'resurrection' of Tupac Shakur for a performance at the Coachella music festival in April 2012, have focused the media spotlight on the relationship between popular music, fame and death. If the phrase 'sex, drugs and rock'n'roll' ever qualified a lifestyle, it has left many casualties in its wake, and with the ranks of dead musicians growing over time, so the types of death involved and the reactions to them have diversified. Conversely, as many artists who fronted the rock'n'roll revolution of the 1950s and 1960s continue to age, the idea of dying young and leaving a beautiful corpse (which gave rise, for instance, to the myth of the '27 Club') no longer carries the same resonance that it once might have done. This edited collection explores the reception of dead rock stars, 'rock' being taken in the widest sense as the artists discussed belong to the genres of rock'n'roll (Elvis Presley), disco (Donna Summer), pop and pop-rock (Michael Jackson, Whitney Houston, Amy Winehouse), punk and post-punk (GG Allin, Ian Curtis), rap (Tupac Shakur), folk (the Dutchman Andre Hazes) and 'world' music (Fela Kuti). When music artists die, their fellow musicians, producers, fans and the media react differently, and this book brings together their intertwining modalities of reception. The commercial impact of death on record sales, copyrights, and print media is considered, and the different justifications by living artists for being involved with the dead, through covers, sampling and tributes. The cultural representation of dead singers is investigated through obituaries, biographies and biopics, observing that posthumous fame provides coping mechanisms for fans, and consumers of popular culture more generally, to deal with the knowledge of their own mortality. Examining the contrasting ways in which male and female dead singers are portrayed in the media, the book

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.

Punk. London.1977. Most people blinked and missed it. Many spent a decade trying to catch up. Derek Ridgers stumbled across it by accident, where it was, in the beating filthy heart of the Roxy in middle of a derelict slum called Covent Garden. Stumbling through the moshpits trying to keep hold of a borrowed camera. 1977. Punk London brings you 152 pages of photography featuring the birth of the the most exciting cultural phenomenon in UK history. Currents and vibes, flows and backwash, trends and anti-trends splashing around in the cauldron of youth culture in the city of London, and the lost rebels haunting their suburban bedrooms - jumping the train uptown to get into the legendary Roxy. All converged, for one priceless moment, an outpouring of a truly original, DIY, anarchic, underground scene. Ridgers captured the first wave. Kids in the crowd, never before seen. The punks who made their own clothes because you couldn't buy punk clothes. The punks who got beaten up time and again for making themselves into targets. Rebellion before it got easy. You won't see these kids anywhere in the magazines. They weren't trying to get famous. 1977 will happen again. 1977 is happening somewhere, for someone, right now.

A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan's creative output. The first Part approaches Dylan's output thematically, tracing the evolution of Dylan's writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Essays in Part II analyse his landmark albums to examine the consummate artistry of Dylan's most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer.

Self-described as a 'spotty, chubby, ginger teenager' with a love for Damien Rice and Nizlopi, Ed Sheeran was never an obvious bet to become a global superstar. And yet that's exactly what he's achieved, winning plenty of awards (and hearts) along the way. But how did a young musician go from selling CDs from his rucksack to becoming the millennial record-breaking international stadium act? Tracing his story from his bohemian childhood in Yorkshire and Suffolk to the release of his third album Divide, music journalist David Nolan chronicles Sheeran's musical life and times. Featuring exclusive interviews with friends, relatives, musical collaborators and key figures in his rise to stardom, Divide and Conquer tells the story of how Ed Sheeran went from school drop-out to one of the world's most successful musicians.

In this major biography, the late Timothy White explores both the career and the troubled personal journey of the legendary singer-songwriter. Rich with insights from Paul McCartney, Carly Simon, Sting, Danny 'Kootch' Kortchmar, the entire Taylor family and many other key figures around James Taylor and his music. Dispelling myth and rumour, Long Ago and Far Away examines the roots of Taylor's mental anguish and his recurring battles with heroin and alcohol. This is an epic family history, an exploration of the real stories behind Fire and Rain and the rest of the songs, as well as a frank account of Taylor's days on the Apple record label, the financial disaster of his Greatest Hits album deal and the deaths and divorces that have haunted his life. This edition has been updated by his friend and former Rolling Stone comrade Mitch Glazer and includes an epilogue about the memorial concerts for Timothy that James Taylor helped organise. The book includes many rare photos and an extensive discography and bibliography.

In 1974 the British progressive rock group Genesis released their double concept album The Lamb Lies Down on Broadway. The story was described by Genesis's then front-man Peter Gabriel as a 'moral fable' about Rael, a half-Puerto-Rican New York City street tough who is engulfed by a solid cloud into a series of strange adventures in a metaphysical realm. The album is a surreal allegory drawing its material from religious, literary and psychological themes. More than thirty years after its release, The Lamb Lies Down on Broadway still enthralls listeners, earning the distinction of being Genesis's most consistently selling back-catalogue release. Kevin Holm-Hudson analyses The Lamb within the context of Genesis's recorded output, within the progressive rock genre as a whole, and within the context of social and political changes of the mid 1970s. The Lamb marked a conscious shift in their story setting to America, and for the first time the songs were oriented to the present rather than the past or future. Significantly, while 1974 marked the peak of music industry growth and consolidation through corporate mergers, it was also the year in which America was confronted with its limits: through the first of the OPEC energy crises, the resignation of Richard Nixon, the withdrawal from Vietnam, and the effects of runaway inflation. Genesis's native Britain was also to feel the effects of the energy crisis, intensified by a period of economic slowdown that ultimately led to the rise of Thatcherism. The Lamb is set in New York City during this time of uncertainty. Within a few years the economic constraints would affect the industry as a whole and as a result progressive rock would suffer a precipitous drop in industry support. The Lamb Lies Down on Broadway thus makes a particularly rich subject for detailed study, providing compelling intersections between the musical, textual and socioeconomic aspects of an album.

Northern Soul is a cultural phenomenon twice removed from its original source in Britain in the late 1960s. Rooted in gospel and rhythm and blues music, with pounding "four-to-the floor" beats, it is often accompanied by swirling strings, vibraphone flourishes, and infectious clapping. Since the 1960s Northern Soul has spread globally, via the Internet and migration, to such unlikely places as Medellin in Colombia. By giving voice to the members of this scene, this book explores theories about how identity and cultural literacy evolve through engagement with popular culture. It seeks to contribute to understandings about patterns of economic and media consumption, informal learning, intercultural communication, and about how migrants perceive themselves and form connections with others.

Argentine Queer Tango: Dance and Sexuality Politics in Buenos Aires investigates changes in tango dancing in Buenos Aires during the first decade of the twenty-first century and its relationship to contemporary social and cultural transformations. Mercedes Liska focuses on one of the proposed alternatives to conventional tango, queer tango, which proposes to rethink one of the alleged icons of a national culture from a feminist conception and to imagine social transformation processes from bodily experiences. Specifically, this book analyzes the value of bodily experiences, the redefinition of the mind-body relationship, and the transformation in the dynamics of the dance from the heteronormative movements of tango. In doing so, Liska addresses the ways in which bodily techniques and gender theories are involved in the denaturing and corporeality decoding of tango and its historical senses as well as the connections between different tango dance practices spread throughout the world.

' An extraordinary history... The range of voices breathing new life into past events is vast' **** Mojo ' The Morrissey and Marr recollections are particularly revealing' The Word The Buzzcocks. Joy Division. The Fall. The Smiths. The Stone Roses. The Happy Mondays. Oasis. Manchester has proved to be an endlessly rich seam of pop-music talent over the last 30 years. Highly opinionated and usually controversial, stars such as Mark E. Smith, Morrissey, Ian Brown and the Gallagher brothers have always had plenty to say for themselves. Here, in John Robb' s new compilation, Manchester' s gobbiest musicians tell the story of the city' s thriving music scene in their own words. When the Buzzcocks put on the Sex Pistols at Lester Free Hall in 1976, they kickstarted a musical revolution and a fervent punk scene exploded. In 1979 the legendary Tony Wilson founded Factory Records, the home of Joy Division/New Order and later the Happy Mondays. The Hacienda, the Factory nightclub, became notorious in the late 1980s as a centre of the influential Madchester scene, led by the Mondays and the Stone Roses, with a unique style and sound of its own. Then, from the ashes of Madchester rose u ber-lads Oasis, the kings of Britpop and the biggest UK band of the 1990s. John Robb is a leading music journalist and the author of the bestselling biography of the Stone Roses. His other books include Punk: An Oral History, The Charlatans ... We Are Rock and The Nineties: What the F**k Was That All About? He lives in Manchester.

Jarvis Cocker is widely regarded as one of the most original and memorable lyricists and performers of the last three decades. Here, for the first time, is a selection of sixty-six lyrics, presented with commentary and an introduction by the man himself. In this volume, readers (and Pulp fans) will find such classic Jarvis lyrics as 'Common People', 'Disco 2000', 'Babies', 'This is Hardcore' and 'Do You Remember the First Time?' The selection, assembled by the author, reveals a sensibility that is unmistakeably Jarvis: a sometimes visceral, sometimes everyday take on love, relationships and the things we do to each other when the lights get low. Mother, Brother, Lover takes the reader on a thirty-year tour into the life, art and preoccupations of one of the great British artists of the late twentieth century. Shocking, sharp, clever and funny, it is a beautiful collection of lyrics and commentary.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.