Defining the Groove: From Remix to Research inThe Beat of Boyle Street

Leisure Research for Social Justice: A Response to Henderson

“…We are not alone in our endeavors for social justice as leisure scholars. Indeed, many scholars have advanced a social justice research agenda while positioning their work within a critical paradigm (Arai, 2011;Glover, 2007;Kivel, 2011;Lashua & Fox, 2007;Mair, 2011;Samdahl, 2011;Shaw, 2001). Charmaz (2011) suggested that social justice inquiry "attends to inequities and equality, barriers and access, poverty and privilege, individual rights and the collective good, and their implications for suffering" (p. 359).…”

‘What about Us?’ Examining popular music and leisure interrelationships in the post‐industrial city.

“…Bennett' s (2005a,b) assertions about the dynamic nature of urban soundscapes have yet to be more fully embraced by leisure scholars, particularly in examining soundscapes as active sites and spaces in which agency is enacted and embodied. If popular music is understood as more than a backdrop or soundtrack to everyday life then we need more research into the different sites and spaces of the production and consumption of popular music (Lashua & Fox, 2007). The major limitation of Willis' s (1990) approach to symbolic creativity was a rather deterministic account of creativity in opposition to (fixed sites of) oppression.…”

“…For example, the boys looked up information on the best decks, effects units, and so on and took part in online jams and re-mixes. Individually, and to some extent collectively, there is a sense of achievement in 'making' something and being able to produce sounds, even if this is via re-mix and reproduction (Lashua & Fox, 2007). This theme was resonant with older participants involved in Urban Fusion and their comments are given further consideration below in the section on producing future soudscapes.…”

“…Popular music is pleasurable: it is about choice and the expression of freedom that is negotiated and realised in the 'messiness' of everyday life, similar in many ways to how leisure is conceptualised and experienced. Popular music is arguably central to many people' s leisure in ways that have yet to be more fully engaged with (Lashua & Fox, 2007). For instance, the idea of 'soundscape' appears particularly relevant when considering the backdrop that music plays for many people (Bennett, 2000), and thus for assessing leisure across different sites and spaces.…”

Female, Mosher, Transgressor: A 'Moshography' of Transgressive Practices within the Leeds Extreme Metal Scene

“…Examples of inventive, mishmash patchwork as qualitative research include cinematic montage (Denzin, 2002), jazz (Oldfather and West 1994), swing (Spry 2010), torch singing (Holman Jones 2002), dance (Janesick 1998), poetry (Diversi 1998), and quilting (Flannery 2001). Along similar lines, Alim (2007) argued for an approach to hip-hop ethnography which echoed in "metaphoric" ethnographic fieldwork, e.g., "hiphopography" (Alim 2007: 163) ;Lashua and Fox (2007) referred to their ethnographic research making mash-ups of rap, metal, soundscape, country and traditional First Nations music as "remixology". Whether research as jazz improvisation, cinematic montage, or quilt making, the juxtaposition of many views, voices, movements and moments by the researcher helps to "create the sense that images, sounds, and understandings are blending, overlapping, forming a composite, a new creation" (Denzin and Lincoln 2007: 4).…”