Imagined communities: Reflections on the origin and spread of nationalism

Performing Rites: On the Value of Popular Music

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Studying Popular Music

Bringing it all back home

Although economic geographers have paid significant attention to the competitive dynamics, organizational and employment structures of specific cultural industries, the existing research privileges large firms and established centres such as New York, London and Los Angeles. Moreover, despite the conceptual articulations of spillovers and “related variety” few attempts have been made to examine the collaborative linkages between two or more related industries and, more specifically, how changing macro-economic forces are affecting individual producers at the local scale. In this paper we address these gaps and argue that the growing prevalence of independent production is transforming the nature of the long-standing connection between music and fashion. Specifically, that strategic collaborations between indie producers are becoming crucial to competing in the contemporary landscape of cultural production and consumption. We also assert that the motivations and mechanisms of these contemporary collaborations differ from their historical counterparts in important ways. Indeed technological advancements and the demands of indie production are changing the networking practices that facilitate these partnerships and the ways in which indie producers value and exchange goods and services.

See the Sound, Hear the Style: Collaborative Linkages between Indie Musicians and Fashion Designers in Local Scenes

The article explores the possibility of a national music culture within the global form of rock music. The various theoretical approaches to the issue are examined and then specific examples of Irish rock music are explored as forms of hybridity which marry a sense of the local with the sounds of the global. Among the artists considered are Van Morrison, Horslips, Sinead O'Connor and the Pogues

'Hybridity and National Musics: The Case of Irish Rock Music'

A history and detailed analysis of popular music in Ireland from the 1960s to 2010. The book explores the ways in which popular music in Ireland responded to changing local, regional, national and global factors to build a body of work that is celebrated and revered worldwide. And yet despite this global success the music is also seen as being characteristically 'national' or 'Irish'. The book explores this dichotomy by looking at notions of 'authenticity' and 'hybridity' in the work of a range of Irish artists and bands, including U2, Van Morrison, Rory Gallagher, Horslips, Christy Moore, Phil Lynott, Bob Geldof, The Undertones, Sinead O'Connor and a host of less well-known artists and bands that have made a significant contribution to Irish popular music over the years.

Rock and Popular Music in Ireland: Before and After U2

Rock, fashion and performativity

This article offers a revisionist history of a key period of Belfast and Northern Ireland’s music scene in the 1960s: the emergence of Them and Van Morrison and the attendant ‘legend’ of the group’s residency in the city’s Maritime Hotel. This formative moment is, somewhat surprisingly, under-explored in popular music studies, and the article seeks to address this relative absence. Van Morrison’s biographies are a vital resource here, and—via discourse analysis—we trace the emergence of a dominant narrative and assess its ideological implications, before moving on to analyse Them’s breakthrough single and related promotional materials. In so doing, we connect the scene that the group both emerged from and represented, to broader popular musical trends, as well as considering how the story of Them’s emergence is supported and framed in contemporary heritage initiatives. The article argues that the myth of Them, Morrison and the Maritime has obscured other ways of approaching the period, and we conclude with a counterhistory by considering an earlier blues/jazz scene in the city and how this might shape an orthodox narrative.

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‘How Belfast got the blues’: Towards an alternative history

Puritan Ireland in both its Protestant and Catholic manifestations has a long history of seeking to regulate, even prohibit, dancing owing to its perceived associations with sexual behaviour In fa

Noel McLaughlin

Papers

'Hybridity and National Musics: The Case of Irish Rock Music'

Rock and Popular Music in Ireland: Before and After U2

Rock, fashion and performativity

‘How Belfast got the blues’: Towards an alternative history

Bodies swayed to music: dance culture in Ireland