Coming ten years after the group's first appearance, Whatever People Say They Are...That's What They're Not is the first comprehensive biography of Arctic Monkeys, the greatest British group of the internet age. This is the story of a talented group of hip-hop loving school friends from Sheffield, who entered the music scene just in time to become the first band to be propelled to stardom by online community groups. They qualified as the fastest-selling British group ever, with all four of their albums going straight to Number One. Ben Osborne’s biography charts the band’s early years in the suburbs and their fast-track success as Arctic Monkeys. He identifies the sometimes overlooked people, who helped shape the band’s music and career.

The social history of music in Britain since 1950 has long been the subject of nostalgic articles in newspapers and magazines, nostalgic programmes on radio and television and collective memories on music websites, but to date there has been no proper scholarly study. The three volumes of The History of Live Music in Britain address this gap, and do so from the unique perspective of the music promoter: the key theme is the changing nature of the live music industry. The books are focused upon popular music but cover all musical genres and the authors offer new insights into a variety of issues, including changes in musical fashions and tastes; the impact of developing technologies; the balance of power between live and recorded music businesses; the role of the state as regulator and promoter; the effects of demographic and other social changes on music culture; and the continuing importance of do-it-yourself enthusiasts. Drawing on archival research, a wide range of academic and non-academic secondary sources, participant observation and industry interviews, the books are likely to become landmark works within Popular Music Studies and broader cultural history.

The social history of music in Britain since 1950 has long been the subject of nostalgic articles in newspapers and magazines, nostalgic programmes on radio and television and collective memories on music websites, but to date there has been no proper scholarly study. The three volumes of The History of Live Music in Britain address this gap, and do so from the unique perspective of the music promoter: the key theme is the changing nature of the live music industry. The books are focused upon popular music but cover all musical genres and the authors offer new insights into a variety of issues, including changes in musical fashions and tastes; the impact of developing technologies; the balance of power between live and recorded music businesses; the role of the state as regulator and promoter; the effects of demographic and other social changes on music culture; and the continuing importance of do-it-yourself enthusiasts. Drawing on archival research, a wide range of academic and non-academic secondary sources, participant observation and industry interviews, the books are likely to become landmark works within Popular Music Studies and broader cultural history.

Drawing on archival sources and oral testimony, Keith Gildart examines the ways in which popular music played an important role in reflecting and shaping social identities and working-class cultures and - through a focus on rock 'n' roll, rhythm & blues, punk, mod subculture, and glam rock - created a sense of crisis in English society.

A Social History of Sheffield Boxing combines urban ethnography and anthropology, sociological theory and place and life histories to explore the global phenomenon of boxing. Raising many issues pertinent to the social sciences, such as contestations around state regulation of violence, commerce and broadcasting, pedagogy and elite sport and how sport is delivered and narrated to the masses, the book studies the history of boxing in Sheffield and the sport’s impact on the cultural, political and economic development of the city since the 18th century. Interweaving urban anthropology with sports studies and historical research the text expertly examines a variety of published sources, ranging from academic papers to biographies and from newspaper reports to case studies and contemporary interviews. In Volume I, Bell and Armstrong construct a vivid history of boxing and probe its cultural acceptance in the late 1800s, examining how its rise was inextricably intertwined with the industrial and social development of Sheffield. Although Sheffield was not a national player in prize-fighting’s early days, throughout the mid-1800s, many parochial scores and wagers were settled by the use of fists. By the end of the century, boxing with gloves had become the norm, and Sheffield had a valid claim to be the chief provincial focus of this new passion—largely due to the exploits of George Corfield, Sheffield’s first boxer of national repute. Corfield’s deeds were later surpassed by three British champions: Gus Platts, Johnny Cuthbert and Henry Hall. Concluding with the dual themes of the decline of boxing in Sheffield and the city's changing social profile from the 1950s onwards, the volume ends with a meditation on the arrival of new migrants to the city and the processes that aided or frustrated their integration into UK life and sport.

Published for the first time in hard cover this invaluable handbook contains 1000 entries taken from theEncyclopedia of Popular Music, offering an insight into the 60s -- the most analyzed yet least understood decade in the history of popular music. It includes every artist who had a significant impact on the development of rock and pop music in those ten years, from the Beatles-led invasion of America to the States' own pop aristocracy of Phil Spector and the Beach Boys, from the rise of Motown to the arrival of psychedelia and the Summer of Love. A perfect mix of fact and informed opinion contained in one single volume. Covers the essential elements -- dates, career facts, discography, album ratings plus a sense of context for each artist.