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...Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency and identity, are presented through case...

Money For Nothing: A History of the Music Video from the Beatles to the White Stripes

Saul Austerlitz

Saul Austerlitz is a writer and cultural critic living in New York City. His work has been published in the Boston Globe (where he is a regular contributor), Slate, the San Francisco Chronicle, the Village Voice, and other publications. Author affiliation details are correct at time of print publication.

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Continuum, 2007

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...Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a television screen. You are watching as a history of the moving image unfolds onscreen, but this history will not take note of D.W. Griffith or Jean Renoir...

The Late Voice: Time, Age and Experience in Popular Music

Richard Elliott

Richard Elliott is Lecturer in Popular Music at the University of Sussex, UK. He is the author of Fado and the Place of Longing (2010). Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2015

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...Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation. The Late Voice will undertake such an analysis by considering issues of time, memory, innocence...
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...‘I’m going to camp out on the land … try and get my soul free’. So sang Joni Mitchell in 1970 on ‘Woodstock’. But Woodstock is only the tip of the iceberg. Popular music festivals are one of the strikingly successful and enduring features...

The Arena Concert: Music, Media and Mass Entertainment

Robert Edgar

Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK. Kirsty Fairclough-Isaacs is Senior Lecturer in Media and Performance and Associate Director (International) in the School of Arts and Media at the University of Salford, UK. Benjamin Halligan is Director of Postgraduate Research for the College of Arts and Social Sciences, University of Salford, UK. Nicola Spelman is Senior Lecturer in Popular Music in the School of Arts and Media at the University of Salford, UK Author affiliation details are correct at time of print publication.

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, Kirsty Fairclough-Isaacs

Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK. Kirsty Fairclough-Isaacs is Senior Lecturer in Media and Performance and Associate Director (International) in the School of Arts and Media at the University of Salford, UK. Benjamin Halligan is Director of Postgraduate Research for the College of Arts and Social Sciences, University of Salford, UK. Nicola Spelman is Senior Lecturer in Popular Music in the School of Arts and Media at the University of Salford, UK Author affiliation details are correct at time of print publication.

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, Benjamin Halligan

Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK. Kirsty Fairclough-Isaacs is Senior Lecturer in Media and Performance and Associate Director (International) in the School of Arts and Media at the University of Salford, UK. Benjamin Halligan is Director of Postgraduate Research for the College of Arts and Social Sciences, University of Salford, UK. Nicola Spelman is Senior Lecturer in Popular Music in the School of Arts and Media at the University of Salford, UK Author affiliation details are correct at time of print publication.

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Nicola Spelman

Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK. Kirsty Fairclough-Isaacs is Senior Lecturer in Media and Performance and Associate Director (International) in the School of Arts and Media at the University of Salford, UK. Benjamin Halligan is Director of Postgraduate Research for the College of Arts and Social Sciences, University of Salford, UK. Nicola Spelman is Senior Lecturer in Popular Music in the School of Arts and Media at the University of Salford, UK Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2016

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...The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery...
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...The first book of its kind in English, Beyond No Future: Cultures of German Punk explores the texts and contexts of German punk cultures. Notwithstanding its “no future” sloganeering, punk has had a rich and complex life in German art...

This is Not a Remix: Piracy, Authenticity and Popular Music

Margie Borschke

Margie Borschke is Senior Lecturer in Journalism and Media at Macquarie University in Sydney, Australia. She studies contemporary and historical media use and how it contributes to the production of knowledge and culture. Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2017

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...Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture....

Dylan’s Autobiography of a Vocation: A Reading of the Lyrics 1965–1967

Louis A. Renza

Louis A. Renza is an Emeritus Professor of English at Dartmouth College, USA. He has published critical works on various US writers such as Edgar Allan Poe, Mark Twain, Sarah Orne Jewett, Stephen Crane, Henry James, Ernest Hemingway and Wallace Stevens. Starting in the 1970s and through 2010, he taught a Dartmouth course on Bob Dylan’s lyrics. He also directed a 2006 conference at Dartmouth College on Dylan’s works, and has published articles on them that include, respectively, critical discussions of such songs as “Went to See the Gypsy” and “Simple Twist of Fate.”. Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2017

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...Many critics have interpreted Bob Dylan’s lyrics, especially those composed during the middle to late 1960s, in the contexts of their relation to American folk, blues, and rock ‘n’ roll precedents; their discographical details and concert...

Popular Music and the Politics of Novelty

Pete Dale

Pete Dale is a Senior Lecturer in Popular Music at Manchester Metropolitan University, UK. Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2016

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...Popular music, today, has supposedly collapsed into a ‘retromania’ which, according to leading critic Simon Reynolds, has brought a ‘slow and steady fading of the artistic imperative to be original.’ Meanwhile, in the estimation...

When Genres Collide: Down Beat, Rolling Stone, and the Struggle Between Jazz and Rock

Matt Brennan

Matt Brennan is a Chancellor’s Fellow of Music at the University of Edinburgh, UK. He has served as Chair of the UK and Ireland branch of the International Association for the Study of Popular Music (IASPM). His is the co-author (with Simon Frith, Martin Cloonan, and Emma Webster) of The History of Live Music in Britain. Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2017

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...When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing...