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Almost 20 years ago Michael Brocken created from his doctoral
research, what became both a seminal and contested volume
concerning the social mores surrounding the British Folk Revival up
to that point in time: The British Folk Revival 1944-2002. In this
long-overdue second edition he revisits not only his own research,
but also that of others from the 1990s and early 21st century. He
then considers how a discourse of folkloric authenticity emerged in
the closing years of the 19th century and how a worrying
nationalistic immanence came to surround folk music and dance
during the inter-war years. Brocken also proposes that the media:
records, radio and TV in post-WWII folk revivalism can offer us
important insights into how self-directed learning of the folk
guitar emerged. Brocken moves on to consider the business
structures of the contemporary folk scene and how relationships are
formed between contemporary folk business and the digital and
social media spheres. In his penultimate chapter he discusses the
masculinisation of folk traditions and asks important questions
about how our folk traditions are carried and are authorised. In
the final chapter he also considers the rise of an exciting new
folk live music built environment.
Almost 20 years ago Michael Brocken created from his doctoral
research, what became both a seminal and contested volume
concerning the social mores surrounding the British Folk Revival up
to that point in time: The British Folk Revival 1944-2002. In this
long-overdue second edition he revisits not only his own research,
but also that of others from the 1990s and early 21st century. He
then considers how a discourse of folkloric authenticity emerged in
the closing years of the 19th century and how a worrying
nationalistic immanence came to surround folk music and dance
during the inter-war years. Brocken also proposes that the media:
records, radio and TV in post-WWII folk revivalism can offer us
important insights into how self-directed learning of the folk
guitar emerged. Brocken moves on to consider the business
structures of the contemporary folk scene and how relationships are
formed between contemporary folk business and the digital and
social media spheres. In his penultimate chapter he discusses the
masculinisation of folk traditions and asks important questions
about how our folk traditions are carried and are authorised. In
the final chapter he also considers the rise of an exciting new
folk live music built environment.
This title was first published in 2003. This work considers the
post-war folk revival in Britain from a popular music studies
perspective. Michael Brocken provides a historical narrative of the
folk revival from the 1940s up until the 1990s, beginning with the
emergence of the revival from within and around the left-wing
movements of the 1940s and 1950s. Key figures and organizations
such as the Workers' Music Association, the BBC, the English Folk
Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined
closely. By looking at the work of British Communist Party splinter
groups it is possible to see the refraction of folk music as a
political tool. Brocken openly challenges folk historicity and
internal narrative by discussing the convergence of folk and pop
during the 1950s and 1960s. The significant development of the
folk/rock hybrid is considered alongside "class", "Americana",
radio and the strength of pop culture. Brocken shows how the
dichotomy of artistic (natural) versus industry (mass-produced)
music since the 1970s has led to a fragmentation and constriction
of the folk revival. The study concludes with a look at the upsurge
of the folk music industry, the growth of festivals and the
implications of the Internet for the British folk revival. Brocken
suggests the way forward should involve an acknowledgement that
folk music is not superior to but is, in fact, a form of popular
music.
At times it appears that a whole industry exists to perpetuate the
myth of origin of the Beatles. There certainly exists a popular
music (or perhaps 'rock') origin myth concerning this group and the
city of Liverpool and this draws in devotees, as if on a
pilgrimage, to Liverpool itself. Once 'within' the city, local
businesses exist primarily to escort these pilgrims around several
almost iconic spaces and places associated with the group. At times
it all almost seems 'spiritual'. One might argue however that, like
any function myth, the music history of the Liverpool in which the
Beatles grew and then departed is not fully represented. Beatles
historians and businessmen-alike have seized upon myriad musical
experiences and reworked them into a discourse that homogenizes not
only the diverse collective articulations that initially put them
into place, but also the receptive practices of those travellers
willing to listen to a somewhat linear, exclusive narrative. Other
Voices therefore exists as a history of the disparate and now
partially hidden musical strands that contributed to Liverpool's
musical countenance. It is also a critique of Beatles-related
institutionalized popular music mythology. Via a critical
historical investigation of several thus far partially hidden
popular music activities in pre- and post-Second World War
Liverpool, Michael Brocken reveals different yet intrinsic musical
and socio-cultural processes from within the city of Liverpool. By
addressing such 'scenes' as those involving dance bands,
traditional jazz, folk music, country and western, and rhythm and
blues, together with a consideration of partially hidden key places
and individuals, and Liverpool's first 'real' record label, an
assemblage of 'other voices' bears witness to an 'other', seldom
discussed, Liverpool. By doing so, Brocken - born and raised in
Liverpool - asks questions about not only the historicity of the
Beatles-Liverpool narrative, but also about the absence o
It has taken Liverpool almost half a century to come to terms with
the musical, cultural and now economic legacy of the Beatles and
popular music. At times the group was negatively associated with
sex and drugs images surrounding rock music: deemed unacceptable by
the city fathers, and unworthy of their support. Liverpudlian
musicians believe that the musical legacy of the Beatles can be a
burden, especially when the British music industry continues to
brand the latest (white) male group to emerge from Liverpool as
'the next Beatles'. Furthermore, Liverpudlians of perhaps differing
ethnicities find images of 'four white boys with guitars and drums'
not only problematic in a 'musical roots' sense, but for them
culturally devoid of meaning and musically generic. The musical and
cultural legacy of the Beatles remains complex. In a
post-industrial setting in which both popular and traditional
heritage tourism have emerged as providers of regular employment on
Merseyside, major players in what might be described as a Beatles
music tourism industry have constructed new interpretations of the
past and placed these in such an order as to re-confirm, re-create
and re-work the city as a symbolic place that both authentically
and contextually represents the Beatles.
At times it appears that a whole industry exists to perpetuate the
myth of origin of the Beatles. There certainly exists a popular
music (or perhaps 'rock') origin myth concerning this group and the
city of Liverpool and this draws in devotees, as if on a
pilgrimage, to Liverpool itself. Once 'within' the city, local
businesses exist primarily to escort these pilgrims around several
almost iconic spaces and places associated with the group. At times
it all almost seems 'spiritual'. One might argue however that, like
any function myth, the music history of the Liverpool in which the
Beatles grew and then departed is not fully represented. Beatles
historians and businessmen-alike have seized upon myriad musical
experiences and reworked them into a discourse that homogenizes not
only the diverse collective articulations that initially put them
into place, but also the receptive practices of those travellers
willing to listen to a somewhat linear, exclusive narrative. Other
Voices therefore exists as a history of the disparate and now
partially hidden musical strands that contributed to Liverpool's
musical countenance. It is also a critique of Beatles-related
institutionalized popular music mythology. Via a critical
historical investigation of several thus far partially hidden
popular music activities in pre- and post-Second World War
Liverpool, Michael Brocken reveals different yet intrinsic musical
and socio-cultural processes from within the city of Liverpool. By
addressing such 'scenes' as those involving dance bands,
traditional jazz, folk music, country and western, and rhythm and
blues, together with a consideration of partially hidden key places
and individuals, and Liverpool's first 'real' record label, an
assemblage of 'other voices' bears witness to an 'other', seldom
discussed, Liverpool. By doing so, Brocken - born and raised in
Liverpool - asks questions about not only the historicity of the
Beatles-Liverpool narrative, but also about the absence o
This title was first published in 2003. This work considers the
post-war folk revival in Britain from a popular music studies
perspective. Michael Brocken provides a historical narrative of the
folk revival from the 1940s up until the 1990s, beginning with the
emergence of the revival from within and around the left-wing
movements of the 1940s and 1950s. Key figures and organizations
such as the Workers' Music Association, the BBC, the English Folk
Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined
closely. By looking at the work of British Communist Party splinter
groups it is possible to see the refraction of folk music as a
political tool. Brocken openly challenges folk historicity and
internal narrative by discussing the convergence of folk and pop
during the 1950s and 1960s. The significant development of the
folk/rock hybrid is considered alongside "class", "Americana",
radio and the strength of pop culture. Brocken shows how the
dichotomy of artistic (natural) versus industry (mass-produced)
music since the 1970s has led to a fragmentation and constriction
of the folk revival. The study concludes with a look at the upsurge
of the folk music industry, the growth of festivals and the
implications of the Internet for the British folk revival. Brocken
suggests the way forward should involve an acknowledgement that
folk music is not superior to but is, in fact, a form of popular
music.
It has taken Liverpool almost half a century to come to terms with
the musical, cultural and now economic legacy of the Beatles and
popular music. At times the group was negatively associated with
sex and drugs images surrounding rock music: deemed unacceptable by
the city fathers, and unworthy of their support. Liverpudlian
musicians believe that the musical legacy of the Beatles can be a
burden, especially when the British music industry continues to
brand the latest (white) male group to emerge from Liverpool as
'the next Beatles'. Furthermore, Liverpudlians of perhaps differing
ethnicities find images of 'four white boys with guitars and drums'
not only problematic in a 'musical roots' sense, but for them
culturally devoid of meaning and musically generic. The musical and
cultural legacy of the Beatles remains complex. In a
post-industrial setting in which both popular and traditional
heritage tourism have emerged as providers of regular employment on
Merseyside, major players in what might be described as a Beatles
music tourism industry have constructed new interpretations of the
past and placed these in such an order as to re-confirm, re-create
and re-work the city as a symbolic place that both authentically
and contextually represents the Beatles.
This extensively researched text concerning the life and career of
Liverpool-born Black jazz musician Gordon Stretton not only
contributes to the important debate concerning the transoceanic
pathways of jazz during the 20th century, but also suggests to the
jazz fan and scholar alike that such pathways, reaching as they
also did across the Atlantic from Europe, are actually part of a
largely ignored therefore partially-hidden history of 20th century
jazz performance, industry and influence. The work also exists to
contribute to a more complete picture of the significance of
diaspora studies across the spectrum of popular music performance,
and to award to those Liverpool musicians who were not contributors
to the city's musical visage post-rock 'n' roll, a place in popular
music history. Gordon Stretton was a jazz pioneer in several
senses: he emerged from a poverty-stricken, racially marginalized
upbringing in Liverpool to develop a popular music career
emblematic of Black diasporan experience. He was a child dancer and
singer in the Lancashire Lads (the troupe which was also part of a
young Charlie Chaplin's development), a well-respected solo touring
artist in the UK as 'The Natural Artistic Coon', a chorister and
musical director with the Jamaican Choral Union and, having
encountered syncopated music, a jazz percussionist,
multi-instrumentalist and vocalist (not to mention a
ground-breaking bandleader). All of these musical experiences took
place through time on his own terms as he learnt his craft 'on the
hoof' via many different encounters with musical genres from
Liverpool to London, Paris, Brussels, Rio, and Buenos Aires. Gordon
Stretton was truly a transoceanic jazz pioneer.
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