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The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
This book examines do-it-yourself (DIY) approaches to the
collection, preservation, and display of popular music heritage
being undertaken by volunteers in community archives, museums and
halls of fame globally. DIY institutions of popular music heritage
are much more than 'unofficial' versions of 'official'
institutions; rather, they invoke a complex network of affect and
sociality, and are sites where interested people - often
enthusiasts - are able to assemble around shared goals related to
the preservation of and ownership over the material histories of
popular music culture. Drawing on interviews and observations with
founders, volunteers and heritage workers in 23 DIY institutions in
Australasia, Europe and North America, the book highlights the
potentialities of bottom-up, community-based interventions into the
archiving and preservation of popular music's material history. It
reveals the kinds of collections being housed in these archives,
how they are managed and maintained, and explores their
relationship to mainstream heritage institutions. The study also
considers the cultural labor of volunteers in the DIY institution,
arguing that while these are places concerned with heritage
management and the preservation of artefacts, they are also
extensions of musical communities in the present in which
activities around popular music preservation have personal,
cultural, community and heritage benefits. By looking at
volunteers' everyday interventions in the archiving and curating of
popular music's material past, the book highlights how DIY
institutions build upon national heritage strategies at the
community level and have the capacity to contribute to the
democratization of popular music heritage. This book will have a
broad appeal to a range of scholars in the fields of popular music
studies, musicology, ethnomusicology, archive studies and archival
science, museum studies, critical heritage studies, cultural
studies, cultural sociology and media studies.
There is a growing awareness around the world of the pressing need
to archive the material remnants of popular music so as to
safeguard the national and local histories of this cultural form.
Current research suggests that in the past 20 or so years there has
been an expansion of DIY heritage practice, with the founding of
numerous DIY popular music institutions, archives and museums
around the world. This edited collection seeks to explore the role
of DIY or Pro-Am (Professional-Amateur) practitioners of popular
music archiving and preservation. It looks critically at ideas
around "DIY preservationism," "self-authorised" and "unauthorised"
heritage practice and the "DIY institution," while also unpacking
the potentialities of bottom-up, community-based interventions into
the archiving and preservation of popular music's material history.
With an international scope and an interdisciplinary approach, this
is an important reference for scholars of popular music, heritage
studies and cultural studies.
This book examines do-it-yourself (DIY) approaches to the
collection, preservation, and display of popular music heritage
being undertaken by volunteers in community archives, museums and
halls of fame globally. DIY institutions of popular music heritage
are much more than 'unofficial' versions of 'official'
institutions; rather, they invoke a complex network of affect and
sociality, and are sites where interested people - often
enthusiasts - are able to assemble around shared goals related to
the preservation of and ownership over the material histories of
popular music culture. Drawing on interviews and observations with
founders, volunteers and heritage workers in 23 DIY institutions in
Australasia, Europe and North America, the book highlights the
potentialities of bottom-up, community-based interventions into the
archiving and preservation of popular music's material history. It
reveals the kinds of collections being housed in these archives,
how they are managed and maintained, and explores their
relationship to mainstream heritage institutions. The study also
considers the cultural labor of volunteers in the DIY institution,
arguing that while these are places concerned with heritage
management and the preservation of artefacts, they are also
extensions of musical communities in the present in which
activities around popular music preservation have personal,
cultural, community and heritage benefits. By looking at
volunteers' everyday interventions in the archiving and curating of
popular music's material past, the book highlights how DIY
institutions build upon national heritage strategies at the
community level and have the capacity to contribute to the
democratization of popular music heritage. This book will have a
broad appeal to a range of scholars in the fields of popular music
studies, musicology, ethnomusicology, archive studies and archival
science, museum studies, critical heritage studies, cultural
studies, cultural sociology and media studies.
There is a growing awareness around the world of the pressing need
to archive the material remnants of popular music so as to
safeguard the national and local histories of this cultural form.
Current research suggests that in the past 20 or so years there has
been an expansion of DIY heritage practice, with the founding of
numerous DIY popular music institutions, archives and museums
around the world. This edited collection seeks to explore the role
of DIY or Pro-Am (Professional-Amateur) practitioners of popular
music archiving and preservation. It looks critically at ideas
around "DIY preservationism," "self-authorised" and "unauthorised"
heritage practice and the "DIY institution," while also unpacking
the potentialities of bottom-up, community-based interventions into
the archiving and preservation of popular music's material history.
With an international scope and an interdisciplinary approach, this
is an important reference for scholars of popular music, heritage
studies and cultural studies.
Redefining Mainstream Popular Music is a collection of seventeen
essays that critically examines the idea of the "mainstream" in and
across a variety of popular music styles and contexts. Notions of
what is popular vary across generations and cultures - what may
have been considered alternative to one group may be perceived as
mainstream to another. Incorporating a wide range of popular music
texts, genres, scenes, practices and technologies from the United
Kingdom, North America, Australia and New Zealand, the authors
theoretically challenge and augment our understanding of how the
mainstream is understood and functions in the overlapping worlds of
popular music production, consumption and scholarship. Spanning the
local and the global, the historic and contemporary, the iconic and
the everyday, the book covers a broad range of genres, from punk to
grunge to hip-hop, while also considering popular music through
other mediums, including mash-ups and the music of everyday work
life. Redefining Mainstream Popular Music provides readers with an
innovative and nuanced perspective of what it means to be
mainstream.
This volume critically examines 'subculture' in a variety of
Australian contexts, exploring the ways in which the terrain of
youth cultures and subcultures has changed over the past two
decades and considering whether 'subculture' still works as a
viable conceptual framework for studying youth culture. Richly
illustrated with concrete case studies, the book is thematically
organised into four sections addressing i) theoretical concerns and
global debates over the continued usefulness of subculture as a
concept; ii) the important place of 'belonging' in subcultural
experience and the ways in which belonging is played out across an
array of youth cultures; iii) the gendered experiences of young men
and women and their ways of navigating subcultural participation;
and iv) the ethical and methodological considerations that arise in
relation to researching and teaching youth culture and subculture.
Bringing together the latest interdisciplinary research to combine
theoretical considerations with recent empirical studies of
subcultural experience, Youth Cultures and Subcultures will appeal
to scholars and students across the social sciences.
What is it like to work in the media? Are media jobs more
'creative' than those in other sectors? To answer these questions,
this book explores the creative industries, using a combination of
original research and a synthesis of existing studies.
Through its close analysis of key issues - such as tensions
between commerce and creativity, the conditions and experiences of
workers, alienation, autonomy, self-realization, emotional and
affective labour, self-exploitation, and how possible it might be
to produce 'good work' Creative Labour makes a major contribution
to our understanding of the media, of work, and of social and
cultural change. In addition, the book undertakes an extensive
exploration of the creative industries, spanning numerous sectors
including television, music and journalism.
This book provides a comprehensive and accessible account of
life in the creative industries in the twenty-first century. It is
a major piece of research and a valuable study aid for both
undergraduate and postgraduate students of subjects including
business and management studies, sociology of work, sociology of
culture, and media and communications.
Redefining Mainstream Popular Music is a collection of seventeen
essays that critically examines the idea of the "mainstream" in and
across a variety of popular music styles and contexts. Notions of
what is popular vary across generations and cultures - what may
have been considered alternative to one group may be perceived as
mainstream to another. Incorporating a wide range of popular music
texts, genres, scenes, practices and technologies from the United
Kingdom, North America, Australia and New Zealand, the authors
theoretically challenge and augment our understanding of how the
mainstream is understood and functions in the overlapping worlds of
popular music production, consumption and scholarship. Spanning the
local and the global, the historic and contemporary, the iconic and
the everyday, the book covers a broad range of genres, from punk to
grunge to hip-hop, while also considering popular music through
other mediums, including mash-ups and the music of everyday work
life. Redefining Mainstream Popular Music provides readers with an
innovative and nuanced perspective of what it means to be
mainstream.
This volume critically examines 'subculture' in a variety of
Australian contexts, exploring the ways in which the terrain of
youth cultures and subcultures has changed over the past two
decades and considering whether 'subculture' still works as a
viable conceptual framework for studying youth culture. Richly
illustrated with concrete case studies, the book is thematically
organised into four sections addressing i) theoretical concerns and
global debates over the continued usefulness of subculture as a
concept; ii) the important place of 'belonging' in subcultural
experience and the ways in which belonging is played out across an
array of youth cultures; iii) the gendered experiences of young men
and women and their ways of navigating subcultural participation;
and iv) the ethical and methodological considerations that arise in
relation to researching and teaching youth culture and subculture.
Bringing together the latest interdisciplinary research to combine
theoretical considerations with recent empirical studies of
subcultural experience, Youth Cultures and Subcultures will appeal
to scholars and students across the social sciences.
This book highlights how horror in film and television creates
platforms to address distinct areas of modern-day concern. In
examining the prevalence of dark tropes in contemporary horror
films such as Get Out, Annabelle: Creation, A
Quiet Place, Hereditary and The Nun, as well as
series such as Stranger Things, American Horror
Story and Game of Thrones, amongst numerous
others, the authors contend that we are witnessing the
emergence of a ‘horror renaissance’. They posit that horror
films or programmes, once widely considered to be a low form of
popular culture entertainment, can contain deeper meanings or
subtext and are increasingly covering serious subject
matter. This book thus explores how horror is utilised
as a tool to explore social and political anxieties of the cultural
moment and is thus presented as a site for contestation,
exploration and expansion to discuss present-day fears. It
demonstrates how contemporary horror reflects the horror of
modern-day life, be it political, biological, social or
environmental. A vital contribution to studies of the horror genre
in contemporary culture, and the effect it has on social anxieties
in a threatening and seemingly apocalyptic time for the world, this
is a vital text for students and researchers in popular culture,
film, television and media studies.
The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
What is it like to work in the media? Are media jobs more
creative than those in other sectors? To answer these questions,
this book explores the creative industries, using a combination of
original research and a synthesis of existing studies.
Through its close analysis of key issues - such as tensions
between commerce and creativity, the conditions and experiences of
workers, alienation, autonomy, self-realisation, emotional and
affective labour, self-exploitation, and how possible it might be
to produce good work - Creative Labour makes a major contribution
to our understanding of the media, of work, and of social and
cultural change. In addition, the book undertakes an extensive
exploration of the creative industries, spanning numerous sectors
including television, music and journalism.
This book provides a comprehensive and accessible account of
life in the creative industries in the 21st century. It is a major
piece of research and a valuable study aid for both undergraduate
and postgraduate students of subjects including business and
management studies, sociology of work, sociology of culture, and
media and communications."
From their first iconic pairing in 7th Heaven (1927) and in eleven
films that followed, Janet Gaynor and Charles Farrell created an
unparalleled cinematic romance. Their partnership was so utterly
complete that in the minds and hearts of their adoring public, they
were as one. Even though both enjoyed successful solo careers-Janet
Gaynor won the first Best Actress Oscar and played Vicki Lester in
the original A Star Is Born (1937) and Charles Farrell enjoyed a
successful television career, playing Vern Albright on My Little
Margie-their work as a team stood out. Even decades after their
onscreen partnership ended, any mention of Gaynor in the press
merited a mention of Farrell, and vice-versa. Behind the camera,
Gaynor and Farrell carried on a secret romance that lasted from
their first meeting in 1926 until Gaynor's first marriage in 1929.
Supporting and encouraging each other's lives beyond Hollywood,
they were able to maintain a mellow friendship that lasted their
entire lives. Drawing upon previously unpublished interviews with
Charles Farrell and Janet Gaynor, formal interviews with family and
friends who knew them best, and meticulous archival research,
author Sarah Baker details the fascinating behind the scenes story
of the greatest romantic team of all time. The book includes a
detailed filmography and is lavishly illustrated with over 100
photographs, many from Charles Farrell's estate. Includes a
foreword by director Allison Anders (Grace of My Heart, Things
Behind the Sun).
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Florence and the Convent
Sarah Baker; Contributions by Dee Kemp
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R608
Discovery Miles 6 080
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Ships in 10 - 15 working days
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The celebration of popular music can be an important mode of
cultural expression and a source of pride for urban communities.
This Element analyses the capacity for popular music heritage to
enact cultural justice in the deindustrialising cities of
Wollongong, Australia; Detroit, USA; and Birmingham, UK. The
Element develops a critical approach to cultural justice for
examining music and the city in a heritage context and outlines how
the quest for cultural justice manifests in three key ways:
collection, preservation and archiving; curation, storytelling and
heritage interpretation; and mobilising communities for collective
action.
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