ISBN:
1-4724-2979-6
,
978-1-4724-2979-7
,
978-1-4724-2978-0
,
1-4724-2978-8
,
978-1-4724-2980-3
,
1-4724-2980-X
,
9781315547343
Sprache:
Englisch
Seiten:
1 online resource (X, 221 Seiten).
Serie:
Ashgate popular and folk music series
Serie:
Ashgate popular and folk music series
Paralleltitel:
Erscheint auch als
DDC:
781.64086/91
Schlagwort(e):
Taha, Rachid
;
Taha, Rachid Criticism and interpretation
;
Geschichte 1945-2010
;
MUSIC / Instruction & Study / Theory
;
Blacks
;
Music and race
;
Popular music / Social aspects
;
Reggae music
;
Ska (Music)
;
Blacks / Great Britain / Music / History and criticism
;
Music and race / Great Britain
;
Popular music / Social aspects / Great Britain
;
Reggae (Music) / Great Britain / History and criticism
;
Ska (Music) / Great Britain / History and criticism
;
Taha, Rachid / Criticism and interpretation
;
Gesellschaft
;
Musik
;
Popular music Music Social aspects
;
Music and race History and criticism
;
Ska (Music) History and criticism
;
Reggae music History and criticism
;
Blacks
;
Schwarze.
;
Reggae.
;
Ska.
;
Ethnische Identität.
;
Musiksoziologie.
;
Großbritannien
;
Großbritannien.
;
Schwarze
;
Reggae
;
Ska
;
Ethnische Identität
;
Musiksoziologie
;
Geschichte 1945-2010
Beschreibung / Inhaltsverzeichnis:
"A West Indian? you must be joking! I come out of the East end" : Kenny Lynch and English racism in the 1950s and 1960s -- Chris Blackwell and "my boy lollipop" : ska, race and British popular music -- The travels of Johnny Reggae : from Jonathan King to prince Far-I; from skinhead to rasta -- "Ob-la-di ob-la-da" : Paul McCartney, diaspora and the politics of identity -- "Brother Louie" and the representation of interracial relationships in the United Kingdom and the United States of America -- Skin deep : ska and reggae on the racial faultline in Britain, 1968-1981 -- Rachid Taha and the postcolonial presence in French popular music -- "Police on my back" and the postcolonial experience
Beschreibung / Inhaltsverzeichnis:
Jon Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts, to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. It is this migration of music that will appeal not only to those studying popular music, but also cultural studies and race
Anmerkung:
Print version record
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