Black Popular Music in Britain Since 1945

Jon Stratton is Professor of Cultural Studies at Curtin University, Australia. Jon has published widely in Cultural Studies, Popular Music Studies, Jewish Studies, Australian Studies and on race and multiculturalism. His most recent books are Jews, Race and Popular Music (Ashgate, 2009), Britpop and the English Music Tradition, co-edited with Andy Bennett (Ashgate, 2010), Uncertain Lives: Culture, Race and Neoliberalism in Australia (2011) and When Music Migrates: Crossing British and European Racial Faultlines 1945-2010 (Ashgate, 2014). Nabeel Zuberi is Senior Lecturer in Media, Film and Television at the University of Auckland, New Zealand. He is the author of Sounds English: Transnational Popular Music (2001), and co-editor (with Luke Goode) of Media Studies in Aotearoa / New Zealand 1 & 2 (2004 & 2010). His articles and book chapters have dealt mainly with the intersections of music and media technologies, race, ethnicity and diaspora. He is currently working on the Muslim in recent British and American music. He is editor-in-chief of Popular Communication: International Journal of Media and Culture.

• Introduction Black Popular Music in Britain Since 1945, Jon Stratton, Nabeel Zuberi; Chapter 1 Race, Identity and the Meaning of Jazz in 1940s Britain, Catherine Tackley; Chapter 2 Melting Pot, Jon Stratton; Chapter 3 Revisiting Britain’s ‘Afro Trend’ of the 1960s and 1970s, Markus Coester; Chapter 4 Britfunk, Robert Strachan; Chapter 5 Black Music and Cultural Exchange in Bristol, Rehan Hyder; Chapter 6 Bass Culture, Mykaell Riley; Chapter 7 ‘Men Cry Too’, Lisa Amanda Palmer; Chapter 8 The Sounding of the Notting Hill Carnival, Julian Henriques, Beatrice Ferrara; Chapter 9 Voodoo Rage, Hillegonda C. Rietveld; Chapter 10 Break/Flow/Escape/Capture, Jeremy Gilbert; Chapter 11 ‘New Throat Fe Chat’, Nabeel Zuberi;

"Probiding a rich historical overview of black popular music in Britain after the Second World War, this collection focuses on the formative role of Afrodisaproric immigrants in shaping the shifting and contested terrain of what may be termed "British" music..."- Tobias C. Van Veen, California State University, Northridge, USA