Popular Music And Television In Britain

Listening to popular music and watching television have become the two most common activities for postwar generations in Britain. From the experiences of programmes like Oh Boy! and Juke Box Jury, to the introduction of 24 hour music video channels, the number and variety of television outputs that consistently make use of popular music, and the importance of the small screen as a principal point of contact between audiences and performers are familiar components of contemporary media operation. Yet there have been few attempts to examine the two activities in tandem, to chart their parallel evolution, to explore the associations that unite them, or to consider the increasingly frequent ways in which the production and consumption of TV and music are linked in theory and in practice. This volume provides an invaluable critical analysis of these, and other, topics in newly-written contributions from some of Britain's leading scholars in the disciplines of television and/or popular music studies. Through a concentration on four main areas in which TV organises and presents popular music - history and heritage; performers and performances; comedy and drama; audiences and territories - the book investigates a diverse range of musical genres and styles, factual and fictional programming, historical and geographical demographics, and the constraints of commerce and technology to provide the first systematic account of the place of popular music on British television.

Ian Inglis is Reader in Popular Music Studies at Northumbria University, UK. His previous books include The Beatles, Popular Music And Society: A Thousand Voices; Popular Music And Film; Performance and Popular Music: History, Place And Time; and The Words And Music Of George Harrison. He is currently preparing The Beatles And Hamburg.

Introduction, Ian Inglis; Part 1 History And Heritage; Chapter 1 Constructing The Histories Of Popular Music: The Britannia Series, Paul Long, Tim Wall; Chapter 2 Television Documentary, Pop Stardom And Auto/Biographical Narratives, Ian Goode; Chapter 3 Classic Albums: The Re-Presentation Of The Rock Album On British Television, Andy Bennett, Sarah Baker; Chapter 4 Stone Fox Chase: The Old Grey Whistle Test And The Rise Of High Pop Television, Peter Mills; Part 2 Performers And Performances; Chapter 5 Ready Steady Go! Televisual Pop Style And The Careers Of Dusty Springfield, Cilla Black, Sandie Shaw And Lulu, Adrienne Lowy; Chapter 6 Sworn In: Today, Bill Grundy And The Sex Pistols, Mark Duffett; Chapter 7 Indie On The Box: The Contribution Of Television To UK Independent Music From C86 To Britpop, Rupa Huq; Part 3 Comedy And Drama; Chapter 8 Dad's Army: Musical Images Of A Nation At War, James Kearney., Sheila Whiteley; Chapter 9 Little Ladies: Rock Follies And British Television's Dramatisation Of Rock Music, Peter Hutchings; Chapter 10 Pop Half-Cocked: A History Of Revolver, Richard Mills; Chapter 11 A Sunken Dream: Music And The Gendering Of Nostalgia In Life On Mars, Estella Tincknell; Part 4 Audiences and Territories; Chapter 12 Here, There and Everywhere: Introducing the Beatles, Ian Inglis; Chapter 13 Granada TV, Johnny Hamp, and the Blues and Gospel Train: Masters of Reality, Mike Brocken; Chapter 14 A Postman Mans Up: The Changing Musical Identities Of Postman Pat, Nicholas Reyland;