A collection of interviews with some of the most popular and influential writers to emerge in the 1990's, revealing the deep influence that music has had on many of these writers.

As politics and cultures interact within an increasingly diverse Scotland, and differences in values become more evident across generations, the need for clear understanding and cooperation within and between communities becomes a pressing issue. This relates both to local and larger concerns: language, violence, morality, gender and sexuality, education, ethnicity, truth and lies. The chapters gathered here focus on significant Scottish writers of the late twentieth and early twenty first centuries, (Edwin Morgan, A.L. Kennedy, Liz Lochhead, John Burnside, Jackie Kay, Robin Jenkins, Muriel Spark, William McIlvanney, Ali Smith, James Kelman and others) and the communities described are certainly Scottish, but the issues raised are universal. Questions are asked about the relationship of the individual to others, and therefore, on a larger scale, about the means through which any community is both constructed and sustained: linguistically, spiritually, ethically. If their multiple voices evoke a "zigzag of contradictions", it is at any rate a creative zigzag which discovers, or uncovers, many contradictory aspects of life in modern Scotland that should particularly be brought to light in a re-emergent nation. Ethically speaking, Scottish writers point out the need to attend to many different narratives and retellings, in order that Scots might live more honestly and clear-sightedly with themselves and with the wider world.

Rewriting Scotland examines six of the most influential and cutting-edge contemporary Scottish writers as they redefine outmoded notions of Scottish identity. From Irvine Welsh's windows into Scottish youth culture in Trainspotting to Janice Galloway's examinations of the duality of female isolation and empowerment, this unique work reveals new explorations of Scottish gender politics, sexuality, voice, and self-awareness.

From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times.

Almost as soon as 'club culture' took hold - during the UK's Second Summer of Love in 1988 - its sociopolitical impact became clear, with journalists, filmmakers and authors all keen to use this cultural context as source material for their texts. This book uses that electronic music subculture as a route into an analysis of these principally literary representations of a music culture: why such secondary artefacts appear and what function they serve. The book conceives of a new literary genre to accommodate these stories born of the dancefloor - 'dancefloor-driven literature'. Using interviews with Irvine Welsh, author of Trainspotting (1994), alongside other dancefloor-driven authors Nicholas Blincoe and Jeff Noon as case studies, the book analyzes three separate ways writers draw on electronic dance music in their fictions, interrogating that very particular intermedial intersection between the sonic and the linguistic. It explores how such authors write about something so subterranean as the nightclub scene, and analyses what specific literary techniques they deploy to write lucidly and fluidly about the metronomic beat of electronic music and the chemical accelerant that further alters that relationship.

Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs ’literary’ writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. ’Making Litpop’ explores how hybrids of writing and popular music have been created by musicians and authors. ’Thinking Litpop’ considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, ’Consuming Litpop’ examines how writers deal with music’s influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making ’Litpop’ happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.

Irvine Welsh's fiction has defined an era, and this first full-length study provides a sustained textual and contextual analysis of all his work, from 'Trainspotting' and 'The Acid House' to 'Glue' and 'Porno'. A detailed chronological survey also considers the appropriateness of cultural, postmodern and postcolonial theories to Welsh's incendiary fiction. Kelly gives a fascinating insight into the writer's formal and political ambitions, placing him in the context of the 'brat pack' which exploded onto the Scottish literary scene in the 1990s. He explores the social, class and political conditioning of Welsh's early life, and its impact on his motivations for writing. Clearly written and accessible, this will be a key resource for students and academics alike. Choose 'Irvine Welsh'!

Looking at schools and universities, it is difficult to pinpoint when education, teaching and learning started to haemorrhage purpose, aspiration and function. Libraries and librarians have been starved of funding. Teachers cram their curriculum with 'skill development' and 'generic competencies' because knowledge, creativity and originality are too expensive to provide to unmotivated students and parents obsessed with league tables, not learning. Meanwhile, the internet offers a glut of information on everything-under-the-sun, a mere mouse-click away. Bored surfers fill their cursors and minds with irrelevancies. We lose the capacity to sift, discard and judge. Information is no longer for social good, but for sale. Tara Brabazon argues that this information fetish has been profoundly damaging to our learning institutions and to the ambitions of our students and educators. In The University of Google she projects a defiant and passionate vision of education as a pathway to renewal, where research is based on searching and students are on a journey through knowledge, rather than consumers in the shopping centre of cheap ideas. Angry, humorous and practical in equal measure, The University of Google is based on real teaching experience and on years of engaged and sometimes exasperated reflection on it. It is far from a luddite critique of the information age. Tara Brabazon celebrates the possibilities of digital platforms in education, but deplores the consequences of placing funding on technology and not teachers. In doing so, she opens a new debate on how to make our educational system both productive and provocative in the (post-) information age.

The DJ stands at a juncture of technology, performance and culture in the increasingly uncertain climate of the popular music industry, functioning both as pioneer of musical taste and gatekeeper of the music industry. Together with promoters, producers, video jockeys (VJs) and other professionals in dance music scenes, DJs have pushed forward music techniques and technological developments in last few decades, from mashups and remixes to digital systems for emulating vinyl performance modes. This book is the outcome of international collaboration among academics in the study of electronic dance music. Mixing established and upcoming researchers from the US, Canada, the UK, Germany, Austria, Sweden, Australia and Brazil, the collection offers critical insights into DJ activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well as issues surrounding the gender dynamics and political economies of DJ cultures and practices.

Screening Generation X: The Politics and Popular Memory of Youth in Contemporary Cinema examines popular representations of Generation X in American and British film. In arguing that the various constructions of youth are marked by major cultural shifts and societal inequalities, it analyzes the iconic 'Gen X' figures ranging from the slacker, the teenage time traveller, and third wave feminists, to the oeuvre of Molly Ringwald and Richard Linklater. This book explores the important cultural work performed by films that mediate the experiences of Generation X and critiques the ongoing marginalization of the youth who struggle to find their identity and a voice in increasingly unstable times. Specific analyses of such films as Pump Up the Volume, The Breakfast Club, Heathers, Donnie Darko and Waking Life are used to illustrate the research.