Music and Tourism is the first book to comprehensively examine the links between travel and music. It combines contemporary and historical analysis of the economic and social impact of music tourism, with discussions of the cultural politics of authenticity and identity. Music tourism evokes nostalgia and meaning, and celebrates both heritage and hedonism. It is a product of commercialisation that can create community, but that also often demands artistic compromise. Diverse case studies, from the USA and UK to Australia, Jamaica and Vanuatu, illustrate the global extent of music tourism, its contradictions and pleasures.

Creativity is said to be the fuel of the contemporary economy. Dynamic industries such as film, music, television and design have changed the fortunes of entire cities, from Nashville to Los Angeles, Barcelona to Brisbane and beyond. Yet creativity remains mercurial - it is at the heart of industrial innovation and can attract investment, but it is also an intangible, personal quality and experience. What exactly constitutes creativity? Drawing on examples as diverse as postcard design, classical music, landscape art, tattooing, Aboriginal hip-hop, and rock sculpture, this book seeks to explore and redefine creativity as both economic and cultural phenomenon. Creativity also has a peculiar geography. Beyond Hollywood, creativity is evident in suburban, rural and remote places - a quotidian, vernacular, eclectic enterprise. In seeking to redefine the creative industries, this book brings together geographers, historians, sociologists, cultural studies scholars and media/communications experts to explore creativity in diverse places outside major cities. These are places that are physically and/or metaphorically remote, are small in population terms, or which because of old industrial legacies are assumed by others to be unsophisticated or marginal in an imaginary geography of creativity. This book reveals the richness and depth, the challenges and surprises of being creative beyond city limits. This book was originally published as a special issue of Australian Geographer.

After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, 'Under the Milky Way', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, production and reception. To the task, Gibson brings an unusual perspective as both a musician and a geographer. Drawing upon four decades of media coverage as well as fresh interviews between the author and band members, this book delves into the mysteries of this mercurial classic, tracing both its slippery cultural geography and its sumptuous songcraft. Situating Starfish in time and space, Gibson transports the reader to a key album and moment in popular music history when the structure and politics of the record industry was set to forever change.

A key component in any armed force, helicopters operate in a range of roles not only previously filled by aircraft but also many that are completely new. Thanks to their ability to go anywhere and operate from locations as diverse as landing pads hacked out of the rainforest or the pitching deck of a frigate, the helicopter adds a flexibility unknown to armed forces in the past. Be it antisubmarine operations by a Merlin, fire support from an Apache, stores delivered by a Puma, evacuation of the wounded by a casevac Chinook or rescue by a Sea King, helicopters offer the Royal Navy, British Army and Royal Air Force capabilities unheard of in the history of conflict. From its beginnings as a curiosity with little operational use, Britain's armed forces soon embraced the helicopter with the Whirlwind for the Royal Navy and RAF and the Skeeter for the Army Air Corps. Finding these helicopters limited, it was the advent of the turboshaft that revolutionized the helicopter, with the Belvedere, Wessex, Wasp and Scout bringing new capabilities. The next generation, the Puma, Lynx, Sea King and Chinook, all designed for turboshaft power, made the helicopter an essential machine for all the armed forces and have proven their worth to Britain's forces since the 1970s. In Britain's Military Helicopters, Chris Gibson describes the evolution of the helicopter in British service, from their beginnings with the Sikorsky R-4B test flown by Fleet Air Arm pilots in the USA to the latest Wildcat and Apache Guardian. Lavishly illustrated throughout, this book includes original photographs and images from archives, many of which are previously unpublished. 140 illustrations

Festivals have burgeoned in rural areas, revitalising old traditions and inventing new reasons to celebrate. How do festivals contribute to tourism, community and a rural sense of belonging? What are their cultural, environmental and economic dimensions? This book answers such questions - featuring contributions from leading geographers, historians, anthropologists, tourism scholars and cultural researchers. It draws on a range of case studies: from the rustic charm of agricultural shows and family circuses to the effervescent festival of Elvis Presley impersonators in Parkes; from wildflower collecting to the cosmopolitan beats of ChillOut, Australia's largest non-metropolitan gay and lesbian festival. Festivals as diverse as youth surfing carnivals, country music musters, Aboriginal gatherings in the remote Australian outback, Scottish highland gatherings and German Christmas celebrations are united in their emphasis on community, conviviality and fun.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

Sound Tracks is the first comprehensive book on the new geography of popular music, examining the complex links between places, music and cultural identities. It provides an interdisciplinary perspective on local, national and global scenes, from the 'Mersey' and 'Icelandic' sounds to 'world music', and explores the diverse meanings of music in a range of regional contexts.
In a world of intensified globalisation, links between space, music and identity are increasingly tenuous, yet places give credibility to music, not least in the 'country', and music is commonly linked to place, as a stake to originality, a claim to tradition and as a marketing device. This book develops new perspectives on these relationships and how they are situated within cultural and geographical thought.

Creativity is said to be the fuel of the contemporary economy. Dynamic industries such as film, music, television and design have changed the fortunes of entire cities, from Nashville to Los Angeles, Barcelona to Brisbane and beyond. Yet creativity remains mercurial it is at the heart of industrial innovation and can attract investment, but it is also an intangible, personal quality and experience. What exactly constitutes creativity?

Drawing on examples as diverse as postcard design, classical music, landscape art, tattooing, Aboriginal hip-hop, and rock sculpture, this book seeks to explore and redefine creativity as both economic and cultural phenomenon. Creativity also has a peculiar geography. Beyond Hollywood, creativity is evident in suburban, rural and remote places a quotidian, vernacular, eclectic enterprise. In seeking to redefine the creative industries, this book brings together geographers, historians, sociologists, cultural studies scholars and media/communications experts to explore creativity in diverse places outside major cities. These are places that are physically and/or metaphorically remote, are small in population terms, or which because of old industrial legacies are assumed by others to be unsophisticated or marginal in an imaginary geography of creativity. This book reveals the richness and depth, the challenges and surprises of being creative beyond city limits.

This book was originally published as a special issue of Australian Geographer."

Sound Tracks is the first comprehensive book on the new geography of popular music, examining the complex links between places, music and cultural identities. It provides an interdisciplinary perspective on local, national and global scenes, from the 'Mersey' and 'Icelandic' sounds to 'world music', and explores the diverse meanings of music in a range of regional contexts.
In a world of intensified globalisation, links between space, music and identity are increasingly tenuous, yet places give credibility to music, not least in the 'country', and music is commonly linked to place, as a stake to originality, a claim to tradition and as a marketing device. This book develops new perspectives on these relationships and how they are situated within cultural and geographical thought.

A highly illustrated and portable identification guide to the most common wild flowers and other plants This innovative photographic guide covers the most common wild flowers and other plants found in Great Britain and Ireland, as defined by the very latest distribution maps. It is designed so that anyone faced with an unfamiliar wild plant can confidently put a name to the species or recognise that it is a less common plant needing further investigation. The identification process is based on standard botanical features that are straightforwardly described, clearly illustrated and supported by a simple visual key to families. This book can be your springboard into the wider world of botanical identification, wherever you are, and of plants both common and rare. Covers the plants most likely to be seen, including those in coastal areas Includes more than 1,000 colour photographs, with macro images of key features when needed Features a friendly, easy-to-use design and text written in plain English, with essential botanical terms described and illustrated

Airborne early warning (AEW) has been used since 1941 but, until the computer revolution of the late 1970s, was restricted in its operation to maritime use. Since the 1980s, AEW aircraft have become the must-have force multiplier of any first-rate armed force and as such are worthy of analysis. From the RAF’s Wellington ACI of 1941 and the Elgar operations of 1944 to the Boeing E-7 Wedgetails that will enter service next year, the UK has paved the way in AEW technology, albeit not with the greatest success. The Americans, following Britain’s lead and taking a hammering from the kamikaze, modified a snorkel-detection radar to detect aircraft and developed the first operational bespoke AEW aircraft with Project Cadillac. That radar would remain in service on the RAF’s Shackleton AEW2 until 1991 when it was replaced by the Boeing E-3D Sentry AEW1 in RAF Service. In the intervening period, many attempts to produce an AEW system for use over land failed, until the E-3 Sentry came on the scene in the late 1970s. This became the benchmark for AEW aircraft and is only now being replaced by Boeings E-7 Wedgetail. On the maritime front, Grumman’s E-2 Hawkeye became a popular choice, especially once an overland capability was achieved in the 1980s. The Royal Navy’s loss of ships in the South Atlantic prompted the resurrection of earlier work on a helicopter AEW system that became the Sea King ASaC7 and today’s Merlin Crowsnest operated from the Queen Elizabeth-class aircraft carriers. Elsewhere, the Soviets produced the Moss, based on the Tupolev Bear via the Cleat airliner but the subsequent Beriev A-50 Mainstay has become the AEW platform of choice in non-aligned countries such as India. China has taken the bit between its teeth and having bought a few Mainstays, has developed a plethora of AEW aircraft in the last 20 years. Due to the massive power requirements of radars and their associated computers, AEW aircraft were large, generally converted airliners. Since the mid-1990s a new generation of smaller types based on feeder liners and bizjets have appeared and make the role accessible to smaller air forces. In the vanguard of this is SAAB, whose Erieye systems have been applied to a variety of aircraft.

Britain has been at the forefront of weapons technology since the industrial revolution began and, with the Brennan wire-guided torpedo, pioneered guided weapons. World War One saw several developments, but it was during World War Two that Britain's scientists laid the foundations for a guided weapons industry that continues to this day. Ultimately, the early guided weapons gave Britain's armed forces valuable experience in operating the weapons. Sea Vixens, Javelins and Lightnings were armed with Firestreak and Red Top, while Vulcans and Victors carried Blue Steel, the UK's nuclear deterrent. The Army fielded weapons such as Thunderbird, Rapier, Corporal and Lance. Navy submarines carried Polaris and Trident, while surface ships had Sea Dart, Sea Wolf, Exocet and Harpoon. From this solid foundation, the aerospace companies merged and collaborated, with lessons learned from the earlier weapons paving the way for a new generation of weapons: Skyflash, Meteor, ASRAAM, Brimstone and Storm Shadow arm the Tornado, Typhoon and Lightning; Sea Viper and Sea Ceptor protect the Navy; and Sky Sword defends the Army. With over 140 images, this book relates the history of these weapons and how Britain operates some of the finest guided weapons available today.

Modern strategists talk about "force multipliers," and, for air operations, air-to-air refueling is without doubt the greatest force multiplier of all. In-flight refueling has allowed not only the longest bombing missions in history but also persistence in air defense, transport reach and flexibility in ground-attack tasks. Covering a range of refuelers - including the Boeing KC-97 and KC-135, Vickers Valiant, Handley Page Victor, Lockheed TriStar, Vickers VC10, McDonnell Douglas KC-10 and the Airbus MRTT Voyager - this book details the history of air-to-air refueling and celebrates the key role played by tanker aircraft in the application of air power around the world. 140 illustrations

After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, 'Under the Milky Way', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, production and reception. To the task, Gibson brings an unusual perspective as both a musician and a geographer. Drawing upon four decades of media coverage as well as fresh interviews between the author and band members, this book delves into the mysteries of this mercurial classic, tracing both its slippery cultural geography and its sumptuous songcraft. Situating Starfish in time and space, Gibson transports the reader to a key album and moment in popular music history when the structure and politics of the record industry was set to forever change.

Guitars inspire cult-like devotion: an aficionado can tell you precisely when and where their favorite instrument was made, the wood it is made from, and that wood's unique effect on the instrument's sound. In The Guitar, Chris Gibson and Andrew Warren follow that fascination around the globe as they trace guitars all the way back to the tree. The authors take us to guitar factories, port cities, log booms, remote sawmills, Indigenous lands, and distant rainforests, on a quest for behind-the-scenes stories and insights into how guitars are made, where the much-cherished guitar timbers ultimately come from, and the people and skills that craft those timbers along the way. Gibson and Warren interview hundreds of people to give us a first-hand account of the ins and outs of production methods, timber milling, and forest custodianship in diverse corners of the world, including the Pacific Northwest, Madagascar, Spain, Brazil, Germany, Japan, China, Hawaii, and Australia. They unlock surprising insights into longer arcs of world history: on the human exploitation of nature, colonialism, industrial capitalism, cultural tensions, and seismic upheavals. But the authors also strike a hopeful note, offering a parable of wider resonance-of the incredible but underappreciated skill and care that goes into growing forests and felling trees, milling timber, and making enchanting musical instruments, set against the human tendency to reform our use (and abuse) of natural resources only when it may be too late. The Guitar promises to resonate with anyone who has ever fallen in love with a guitar.

From their modest origins with BE.2c and Vickers Victoria biplanes delivering food and ammunition in the Mesopotamian deserts to the massive Globemasters delivering hardware in the same theatre a century later, transport aircraft have played a key role in Britain's wars. It was the Cold War that saw transport aircraft become necessary war-fighting equipment. Operation Corporate in 1982 identified the need for large-capacity strategic transport aircraft, something reinforced by Operation Granby in 1990-91, and led to the acquisition of the Lockheed TriStar and Boeing C-17A Globemaster. When the operations in Afghanistan and Iraq began, the RAF's transport fleet was ready, and with the new model Hercules, and the Airbus Voyager and Atlas, Britain's armed forces have a transport force second to none. First in, last out' is a concise description of the operations of the RAF's transport force. Since 1915, aircraft have supported troops on the ground, carried personnel to and from war zones, evacuated civilians and provided succour to the needy. RAF Transport Command's motto, Ferio Ferendo, translates as I strike by carrying', and that is exactly what transport aircraft have done for over a century. With over 130 photographs, this book describes the evolution of the aircraft that provided the airlift capacity for Britain's armed forces wherever they served, and as the 2021 Operation Pitting showed, transport aircraft are still last out.

This book is part of the Images of England series, which uses old photographs and archived images to show the history of various local areas in England, through their streets, shops, pubs, and people.