Introduction: sport, music, identities

Click to increase image sizeClick to decrease image size

Acknowledgements

I would like to thank Jeffrey Segrave for his helpful comments on an earlier draft of this introduction.

Notes

^1. McLeod, We Are the Champions.

^2. Krebs, ‘Sport and Music’, 41.

^3. McLeod, ‘“We Are the Champions”: Masculinities, Sports’, 532.

^4. McLeod, We Are the Champions, 169–70.

^5. Hall, ‘Notes on Deconstructing “the Popular”’, 235.

^6. Quoted in Redhead, Post-Fandom and the Millennial Blues, 71.

^7. Ibid.

^8. Frith, ‘Music and Identity’, 109 (author's italics).

^9. ‘Music and Sports in the Making of Child and Youth Identities in Contemporary Africa’. Seminar announcement by Council for the Development of Social Science Research in Africa, http://www.codesria.org/spip.php?article295 (accessed October 10, 2012).

^10. Redhead, Post-Fandom and the Millennial Blues, 70–9.

^11. Segrave, ‘Music as Sport History’, 123.

^12. Coubertin, Olympism, 610.

^13. Segrave, ‘Music as Sport History’, 123.

^14. Bateman, ‘“Ludus Tonalis”’, 160.

^15. Schwab, ‘“Anyone for Tennis?”’, 130.

^16. Allen, Song for Cricket.

^17. Mangan, Athleticism, 179–206.

^18. Sayid, ‘Match of the Day’. The poll was carried out by the Performing Rights Society.

^19. MacLean, ‘Bouts of Kiwi Loyalty’, 248.

^20. Izzeddin Çalişlar, text for Kamran Ince Symphony No. 5 ‘Galatasaray’, Naxos, 2011. The text is included in the disc's liner notes 5–7.

^21. McGuinness, ‘“Friday Nights and the Gates are Low”’, 188–89.

^22. Ibid., 180.