Sounds and the City: Popular Music, Place and Globalization (Leisure Studies in a Global Era)

In this book series, we defend leisure as a meaningful, theoretical, framing concept; and critical studies of leisure as a worthwhile intellectual and pedagogical activity. This is what makes this book series distinctive: we want to enhance the discipline of leisure studies and open it up to a richer range of ideas; and, conversely, we want sociology, cultural geographies and other social sciences and humanities to open up to engaging with critical and rigorous arguments from leisure studies. Getting beyond concerns about the grand project of leisure, we will use the series to demonstrate that leisure theory is central to understanding wider debates about identity, postmodernity and globalisation in contemporary societies across the world. The series combines the search for local, qualitatively rich accounts of everyday leisure with the international reach of debates in politics, leisure and social and cultural theory. In doing this, we will show that critical studies of leisure can and should continue to play a central role in understanding society. The scope will be global, striving to be truly international and truly diverse in the range of authors and topics. Front Matter....Pages i-xii Introduction: Sounds and the City....Pages 1-15 Front Matter....Pages 17-17 Heart of the Country? The Construction of Nashville as the Capital of Country Music....Pages 19-37 Birmingham’s Postindustrial Metal....Pages 38-54 Black and Brown Get Down: Cultural Politics, Chicano Music, and Hip Hop in Racialized Los Angeles....Pages 55-75 Juidos ‘n’ Decaf Italians: Irony, Blasphemy, and Jewish Shtick....Pages 76-90 Front Matter....Pages 91-91 ‘Why I Decided to Pretend I was American, I Will Never Know’: Rock ‘n’ Roll and ‘The Sixties’ in an English Town....Pages 93-112 Tamla Motown in the UK: Transatlantic Reception of American Rhythm and Blues....Pages 113-127 ‘How Many Divisions Does Ozzy Osbourne Have?’ Some Thoughts on Politics, Heavy Metal Music, and the ‘Clash of Civilizations’....Pages 128-147 Indieglobalization and the Triumph of Punk in Indonesia....Pages 148-161 Sounds of a ‘Rotting City’: Punk in Russia’s Arctic Hinterland....Pages 162-182 True Norwegian Black Metal — The Globalized, Mythological Reconstruction of the Second Wave of Black Metal in 1990s Oslo....Pages 183-195 Continental Drift: The Politics and Poetics of African Hip Hop....Pages 196-208 One Day on Earth: Music, Documentary Film-Making, and Global Soundscapes....Pages 209-224 Intersecting Rhythms: The Spatial Production of Local Canadian Heavy Metal and Urban Aboriginal Hip Hop in Edmonton, Alberta, Canada....Pages 225-240 Front Matter....Pages 241-241 Reconstruction’s Soundtrack....Pages 243-257 We’re Going to Graceland: Globalization and the Reimagining of Memphis....Pages 258-272 Characterizing the Cold War: Music and Memories of Berlin, 1960–1989....Pages 273-284 Outback Elvis: Musical Creativity in Rural Australia....Pages 285-301 In Search of ‘Independent’ Brisbane: Music, Memory, and Cultural Heritage....Pages 302-316 Afterword: Reflections on Popular Music, Place, and Globalization....Pages 317-319 Back Matter....Pages 320-323 This book explores the ways in which Western-derived music connects with globalization, hybridity, consumerism and the flow of cultures. Both as local terrain and as global crossroads, cities remain fascinating spaces of cultural contestation and meaning-making via the composing, playing, recording and consumption of popular music. As both distinctive local terrain and global crossroads, cities remain fascinating spaces of cultural contestation and meaning-making via the composing, playing, recording and consumption of popular music. From Gillett's The Sound of the City (1970) to Krims' Music and Urban Geography (2007), attention to popular music has allowed various soundings of the often unfathomable aspects of urban life. This book takes as its focus the social relations produced amidst and through popular music and cities. Such a focus allows a test of theories of globalization, hybridity, consumerism, networks and transnational flows of people, cultures and musical products. Covering themes as diverse as Russian Punk and African Hip-Hop, this global collection offers a timely contribution to the advancement of popular music studies "As both distinctive local terrain and global crossroads, cities remain fascinating spaces of cultural contestation and meaning-making via the composing, playing, recording and consumption of popular music. From Gillett's 'The Sound of the City' (1970) to Krims' 'Music and Urban Geography' (2007), attention to popular music has allowed various soundings of the often unfathomable aspects of urban life. This book takes as its focus the social relations produced amidst and through popular music and cities. Such a focus allows a test of theories of globalization, hybridity, consumerism, networks and transnational flows of people, cultures and musical products. Covering themes as diverse as Russian Punk and African Hip-Hop, this global collection offers a timely contribution to the advancement of popular music studies"--Provided by publisher "As both distinctive local terrain and global crossroads, cities remain fascinating spaces of cultural contestation and meaning-making via the composing, playing, recording and consumption of popular music. From Gillett's 'The Sound of the City' (1970) to Krims' 'Music and Urban Geography' (2007), attention to popular music has allowed various soundings of the often unfathomable aspects of urban life. This book takes as its focus the social relations produced amidst and through popular music and cities. Such a focus allows a test of theories of globalization, hybridity, consumerism, networks and transnational flows of people, cultures and musical products. Covering themes as diverse as Russian punk and African hip hop, this global collection offers a timely contribution to the advancement of popular music studies"--Page 4 of cover