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‘Everything Is Brilliant in Leeds’: Venues in the Leeds Indie Scene 1992–2012

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References

  1. Bennett, Andy and Peterson, Richard A. (eds) (2004), Music Scenes: Local, Translocal, and Virtual, Nashville: Vanderbilt University Press.
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  2. Cohen, Sara (1999), ‘Scenes’, in B. Horner and T. Swiss (eds), Key Terms in Popular Music and Culture, Malden: Blackwell, pp. 23950.
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  3. Dale, Pete (2008), ‘It was easy, it was cheap, so what? Reconsidering the DIY principle of punk and indie music’, Popular Music History, 3:2, pp. 17193.
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  4. Davies, Paul (2013), Nightclubs – UK – May 2013, London: Mintel, https://reports.mintel.com/display/664809/. Accessed 1 December 2021.
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  5. Foster, Pacey, Borgatti, Stephen P. and Jones, Candace (2011), ‘Gatekeeper search and selection strategies: Relational and network governance in a cultural market’, Poetics, 39:4, pp. 24765.
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  6. Gallan, Ben (2012), ‘Gatekeeping night spaces: The role of booking agents in creating “local” live music venues and scenes’, Australian Geographer, 43:1, pp. 3550.69
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  7. Hitters, Erik (2018), Live Music Ecologies and Value Creation for Musicians, Industries and Cities, Rotterdam: Erasmus University Rotterdam, https://www.poplive.nl/wp-content/uploads/2018/09/Hitters-VMBRD16x9.pdf. Accessed 29 October 2021.
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  8. Millward, Peter, Widdop, Paul and Halpin, Michael (2017), ‘A “different class”? Homophily and heterophily in the social class networks of Britpop’, Cultural Sociology, 11:3, pp. 31836.
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  9. Robinson, Roxy (2015), Music Festivals and the Politics of Participation, London: Ashgate.
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  10. Spracklen, Karl, Richter, Anna and Spracklen, Beverley (2013), ‘The eventization of leisure and the strange death of alternative Leeds’, City, 17:2, pp. 16478.
    [Google Scholar]
  11. Whiting, Sam (2021), ‘The value of small live music venues: Alternative forms of capital and niche spaces of cultural production’, Cultural Sociology, 15:4, pp. 55878.
    [Google Scholar]

References

  1. Bennett, Andy and Peterson, Richard A. (eds) (2004), Music Scenes: Local, Translocal, and Virtual, Nashville: Vanderbilt University Press.
    [Google Scholar]
  2. Cohen, Sara (1999), ‘Scenes’, in B. Horner and T. Swiss (eds), Key Terms in Popular Music and Culture, Malden: Blackwell, pp. 23950.
    [Google Scholar]
  3. Dale, Pete (2008), ‘It was easy, it was cheap, so what? Reconsidering the DIY principle of punk and indie music’, Popular Music History, 3:2, pp. 17193.
    [Google Scholar]
  4. Davies, Paul (2013), Nightclubs – UK – May 2013, London: Mintel, https://reports.mintel.com/display/664809/. Accessed 1 December 2021.
    [Google Scholar]
  5. Foster, Pacey, Borgatti, Stephen P. and Jones, Candace (2011), ‘Gatekeeper search and selection strategies: Relational and network governance in a cultural market’, Poetics, 39:4, pp. 24765.
    [Google Scholar]
  6. Gallan, Ben (2012), ‘Gatekeeping night spaces: The role of booking agents in creating “local” live music venues and scenes’, Australian Geographer, 43:1, pp. 3550.69
    [Google Scholar]
  7. Hitters, Erik (2018), Live Music Ecologies and Value Creation for Musicians, Industries and Cities, Rotterdam: Erasmus University Rotterdam, https://www.poplive.nl/wp-content/uploads/2018/09/Hitters-VMBRD16x9.pdf. Accessed 29 October 2021.
    [Google Scholar]
  8. Millward, Peter, Widdop, Paul and Halpin, Michael (2017), ‘A “different class”? Homophily and heterophily in the social class networks of Britpop’, Cultural Sociology, 11:3, pp. 31836.
    [Google Scholar]
  9. Robinson, Roxy (2015), Music Festivals and the Politics of Participation, London: Ashgate.
    [Google Scholar]
  10. Spracklen, Karl, Richter, Anna and Spracklen, Beverley (2013), ‘The eventization of leisure and the strange death of alternative Leeds’, City, 17:2, pp. 16478.
    [Google Scholar]
  11. Whiting, Sam (2021), ‘The value of small live music venues: Alternative forms of capital and niche spaces of cultural production’, Cultural Sociology, 15:4, pp. 55878.
    [Google Scholar]
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