This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars, drawn from a major public museum exhibition “Sounds of Our City� and built upon contemporary research. Leeds has rich musical histories and heritage, a long tradition of vibrant music venues, nightclubs, dance halls, pubs and other sites of musical entertainment. The city has spawned crooners, folk singers, punks, post- punks, Goths, DJs, popstars, rappers and indie rockers, yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore, Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music, racialisation and social equity; industrial decline, de-industrialisation, neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation, while concomitantly tracing arguments about “heritagising� popular music within discussions about music’s “place� in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds, and beyond.  

This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars, drawn from a major public museum exhibition “Sounds of Our City� and built upon contemporary research. Leeds has rich musical histories and heritage, a long tradition of vibrant music venues, nightclubs, dance halls, pubs and other sites of musical entertainment. The city has spawned crooners, folk singers, punks, post- punks, Goths, DJs, popstars, rappers and indie rockers, yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore, Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music, racialisation and social equity; industrial decline, de-industrialisation, neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation, while concomitantly tracing arguments about “heritagising� popular music within discussions about music’s “place� in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds, and beyond.  

As the world grapples with the coronavirus (COVID-19) pandemic, on almost every news website, across social media, as well as in its (many) absences, leisure has taken on new significance in both managing and negotiating a global crisis. Leisure in the Time of Coronavirus: A Rapid Response, amidst the disruption, inconvenience, illness, fear, uncertainty, tragedy, and loss from COVID-19, generates discussions that enable leisure scholars to learn and to engage with wider debates about the crucial role of leisure in people's lives. The pandemic has brought tourism to a standstill with borders closed and travel restricted. From home (for those fortunate enough to have them), in physical isolation, and in attempts to socialize, at no time in recent memory has leisure seemed so vital, and yet also so hauntingly absent. Leisure, therefore, remains an important lens through which to view, question, and understand the world. The chapters in this book were originally published as a special issue of the journal, Leisure Sciences.

This book brings together chapters that address questions of leisure, activism, and the animation of urban environments. The authors share research that explores the meaning and making of activist practices, events of dissent, and the arts in everyday life. Situated in a growing body of activist scholarship and social justice research, within the field of leisure studies, the contributions spotlight understandings and disruptions of public spaces in cities. These range from overtly political practices such as protest marches to recreational practices such as skateboarding and bicycling that remake cities through their contestations of space. Across the collection the chapters raise broader questions of civil society, whether it is research on youth activism, historical uses of public spaces by rightwing or racist groups, or interrogating the absence of leisure and closure of public spaces for people experiencing homelessness. Some chapters explore events, such as festivals as sites of resistance and social change. In others, grassroots neighbourhood activism through arts is centralised, or mega-events are framed through protest campaigns against bids to host the Summer Olympic Games. A central thread running through the chapters is the question of whose voices count and whose remain unheard in events of dissent in the city. The chapters in this book were originally published as a special issue of Leisure Studies.

This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 "Brexit" vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed "post-globalization." Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?

This book centralizes powerful leisure stories that may otherwise be understood as myths-sometimes recognized, often less so-that circulate in the field of leisure studies and beyond. In everyday use, a myth perpetuates a popularly held belief that is false or untrue. However, in social and cultural theories, myths are more complex as partial truths that privilege particular versions of a shared social reality. We see myth as having an "absent presence" in leisure studies, and want to know what myths are, what they do, and how they circulate and shape people's leisure lives. Myths can do more than obfuscate; they often animate people's lives, motivate collective action, and inspire change. As the chapters in this edited volume explore in further detail, leisure myths and mythmaking involve complex relations in the gaps between reality and imagination-from the shared myths of musical legends to myths of placemaking and communities, as well as from origin myths of sport practices to fantasy and festivals, to the importance of storytelling as mythmaking in tourism. In different ways, each of these chapters alerts the readers to the "absent presence" of myths and mythmaking in leisure research. The chapters in this book were originally published as a special issue of Leisure Sciences.

This is the first handbook devoted entirely to leisure theory, charting the history and philosophy of leisure, theories in religion and culture, and rational theories of leisure in the Western philosophical tradition, as well as a range of socio-cultural theories from thinkers such as Adorno, Bauman, Weber and Marx. Drawing on contributions from experts in leisure studies from around the world, the four sections cover: traditional theories of leisure; rational theories of leisure; structural theories of leisure; and post-structural theories of leisure. The Palgrave Handbook of Leisure Theory is essential reading for students and scholars working in leisure studies, social theory as well as those working on the problem of leisure in the wider humanities and social sciences.

Drawing from research conducted at the Rock and Roll Hall of Fame archives, and the author's experience as a local musician, this book offers a micro-historical case study of Cleveland's popular music heritage. Among just a handful of books dedicated to the popular music heritage of Cleveland, it traces myths of "where rock began to roll" in the self-proclaimed "birthplace of rock and roll". Numerous cities have sought to capitalize on their popular music cultural heritage (e.g., Liverpool, Memphis, Detroit, Nashville) as an engine for cultural regeneration. Unusually, rather than a focus on famous musicians and groups, or well-known recording studios and legendary venues, Cleveland's popular music "origin story" is spun from events of the early 1950s, centered on local radio stations, maverick disc jockeys, second-hand record stores, a riotous concert and youthful, racialized audiences at a moment on the cusp of sweeping social changes. This book untangles the construction of popular myths about "first" rock 'n' roll concert--the Moondog Coronation Ball on 21 March 1952, hosted by legendary DJ Alan Freed--the "invention" of the phrase "rock 'n' roll", and the subsequent rebranding of Cleveland as the "birthplace of rock 'n' roll" by local radio station WMMS "The Buzzard" during the 1970s. These myths re-emerged and re-circulated in the 1980s during the successful campaign to attract the Rock and Roll Hall of Fame. The author explores the fascinating and unusual story of Cleveland, uncovering how and why it became the site of a major popular music museum.

This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 "Brexit" vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed "post-globalization." Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?