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1

Clare GAA: The club scene, 1887-2010. Seamus O'Reilly, 2010.

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2

The dead janitors club: Pathetically true tales of a crime scene cleanup king. Sourcebooks, 2010.

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3

Howard, Parker, and Aldridge Judith 1963-, eds. Dancing on drugs: Risk, health and hedonism in the British club scene. Free Association, 2001.

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4

Edmund, Miller. The go-go boy sonnets: Men of the New York club scene. Inkwater Press, 2005.

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5

Beeler, Stanley W. Dance, drugs, and escape: The club scene in literature, film, and television since the late 1980s. McFarland & Co., 2007.

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6

McIntosh, Kenneth. Things fall apart: Forensic engineering. Mason Crest Publishers, 2009.

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7

Canada, Bank of. Notes For A Luncheon Address by Gerald K. Bouey Governor of the Bank of Canada to the Canadian Club, Vancouver, B.C., June 20th, 1986. International Financial Scene. s.n, 1986.

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8

Gekoski, R. A. Staying up: A fan behind the scenes in the Premiership. Warner, 1999.

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9

Richards, Eugene. The Knife and Gun Club: Scenes from an emergency room. Atlantic Monthly Press, 1989.

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10

Arsenal confidential: An intimate look behind the scenes during 2007/2008. Hamlyn, 2008.

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11

Berk, Josh. Guy Langman, crime scene procrastinator. Alfred A. Knopf, 2012.

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12

Warner, J. A. This school stinks!: The case of the secret scent. Learning Triangle Press, 1998.

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13

Andrusia, David. L.A. hot and hip: The ultimate insider's guide to restaurants, hotels, clubs, shops, the art scene, and more. Dove Books, 1996.

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14

(Firm), Bonhams. Scent bottles through the ages: In association with the UK Perfume Bottle Collectors' Club : Auction Bonhams Knightsbridge Monday, 29th September, 1997 .... Bonhams, 1997.

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15

Greenland, Thomas H. Making the Scene. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0005.

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This chapter examines how intimate social correspondence between active participants in New York City's avant-jazz scene engenders individual and group identities—a sense of who we are, where we go, what we love, and how we live. It first considers how fellowship, and particularly camaraderie, develops among fans during and after jazz performances. It then looks at how jazz fans interface with “club/houses” and the people that run them and goes on to discuss social determinants of musical taste. It also explores one of the occupational hazards associated with jazz fandom in New York City, what
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16

Miller, Edmund. Go-go Boy Sonnets: Men of the New York Club Scene. Inkwater Press, 2004.

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17

Measham, Fiona, Judith Aldridge, and Howard Parker. Dancing on Drugs: Risk, Health and Hedonism in the British Club scene. Free Association Books, 2000.

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18

Oren, Dan A. Joining the Club: A History of Jews and Yale (The Yale Scene: University Series). Yale University Press, 1986.

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19

Oren, Dan. Joining the Club: A History of Jews and Yale (The Yale Scene: University Series). Yale University Press, 1988.

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20

Dance, Drugs, and Escape: The Club Scene in Literature, Film and Television Since the Late 1980's. McFarland & Company, 2007.

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21

Live at the Cellar: Vancouver's Iconic Jazz Club and the Canadian Co-Operative Jazz Scene in the 1950s And '60s. University of British Columbia Press, 2018.

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22

Thompson, Don, and Marian Jago. Live at the Cellar: Vancouver's Iconic Jazz Club and the Canadian Co-Operative Jazz Scene in the 1950s And '60s. University of British Columbia Press, 2018.

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23

Scone Bowling Club. 2005.

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24

Burton, Justin Adams. Party Politics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190235451.003.0005.

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Rae Sremmurd employ trap aesthetics alongside sonic signifiers of crunk in order to construct a club scene that involves partying in the midst of violence. Building on the theory of trap irony I present in Chapter 3, I consider how Rae Sremmurd do queer work as a way of existing outside of neoliberal humanism. By refusing to create capital that feeds systems of violence and by refusing to reproduce within a system of violence, Rae Sremmurd party under duress, building a club that exists just outside of neoliberal humanism, pointing to a future we can only imagine, a future that exists “outside
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25

Press, Microsoft. Microsoft Scenes Sierra Club Nature. Microsoft Press, 1994.

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26

Press, Microsoft. Microsoft Scenes Club Wildlife Collection. Microsoft Press, 1994.

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27

Microsoft. Micro Soft Scenes-Sierra Club-. Random House Information Group, 1993.

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28

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Popular Folk Music Comes of Age, 1955–1956. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0005.

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This chapter describes the folk music scene from 1955 to 1956. It discusses the formation of the Hillbilly-Folk Record Collectors' Club and launching of the quarterly Hillbilly-Folk Record Journal in early 1954, in Britain; how the skiffle provided a dramatic boost to the popularity of folk-style music in Britain; the sudden popularity of a different musical hybrid, calypso, in the U.S.; how folk music was linked with the developing countercultural movement—poetry, films, novels, comic books, jazz, comedy—spreading across the U.S. in the mid-1950s; the emergence of Harry Belafonte; and the ris
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29

Grow, Nathaniel. An Aborted Trial. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038198.003.0007.

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This chapter examines Federal Baseball Club of Baltimore, Inc. v. National League of Professional Baseball Clubs and its dismissal, focusing on the period between February 1916 and June 1917. In the weeks following the dismissal of the Federal League's antitrust suit, organized baseball worked behind the scenes to resolve its budding dispute with the Baltimore Federals. The American and National Leagues sought to persuade Jack Dunn, owner of the city's International League team, to purchase the BaltFeds's stadium, thereby securing some settlement proceeds for the rival franchise. At the same t
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30

La scena della notte: Il design dei disco-club. Alinea, 1991.

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31

The Knife and Gun Club: Scenes from an Emergency Room. Atlantic Monthly Press, 1995.

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32

The Knife and Gun Club: Scenes from an Emergency Room. Atlantic Monthly Pr, 1991.

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33

Richards, Eugene. The Knife and Gun Club: Scenes from an Emergency Room. Atlantic Monthly Press, 1995.

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34

Berk, Josh. Guy Langman, Crime Scene Procrastinator. Random House Children's Books, 2013.

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35

Hutton, Fiona Clare. Making out in the city: Negotiating the feminine on club scenes in Manchester. 2001.

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36

Greenland, Thomas H. Providing a Place and Time. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0006.

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This chapter examines the role of jazz presenters in connecting artists and audiences in the here and now of improvised performances. It first provides an overview of the business of live jazz performances that take place in concert halls and clubs and in less formal performance spaces, along with the challenges faced by presenters running their venues as for-profit businesses. It then analyzes the attitudes and activities of venue operators and concert producers in the context of their professional endeavors and particularly in their interactions with musicians and fans. It also considers the
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37

Andrusia, David. L.A. Hot and Hip: The Ultimate Insider's Guide to Restaurants, Hotels, Clubs, Shops, the Art Scene, and More. Dove Books, 1998.

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38

Gabbard, Krin. The Vanishing Love Song in Film Noir. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0004.

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This chapter examines the racial contradictions engendered by the presence of African American musicians in Jacques Tourneur's Out of the Past (1947) and Fritz Lang's The Blue Gardenia (1953). The title song in The Blue Gardenia sheds light on a problem common to Tourneur's and Lang's film: the subtextual association of black musical performance with the dark side of the human psyche. In other words, if the Harlem jazz scene in Out of the Past presages the materialization of the “black widow,” Kathie Moffat (Jane Greer), Nat King Cole's rendition of “Blue Gardenia” musically implicates the “wr
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39

Behind the Scenes at Manchester United: Everything You've Ever Wanted to Know About Life Inside the World's Greatest Club. Orion, 2008.

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40

Caps, John. The Curse of the Pink Panther. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0012.

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This chapter describes how one chance meeting on the beach with Blake Edwards brought about a sea change in his career and, as a direct result, a return to the famous world of the Pink Panther. Return of the Pink Panther was planned for distribution in 1975, and the public was so very ready to be amused all over again by the Sellers/Clouseau character that the success of that sequel was followed the very next year by The Pink Panther Strikes Again. For Mancini, the task of scoring a Pink Panther movie had changed, too—the first film scored with that sly, sneaking sax theme and a lot of beguili
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41

Menconi, David. Step It Up and Go. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659350.001.0001.

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This book is a love letter to the artists, scenes, and sounds defining North Carolina’s extraordinary contributions to American popular music. David Menconi spent three decades immersed in the state’s music, where traditions run deep but the energy expands in countless directions. Menconi shows how working-class roots and rebellion tie North Carolina’s Piedmont blues, jazz, and bluegrass to beach music, rock, hip-hop, and more. From mill towns and mountain coves to college-town clubs and the stage of American Idol, Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk, Step It Up and G
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42

Fodor's upCLOSE New York City: Smart Shopping The Best for Less + The Scene Restaurants, Bars, Clubs, and Art + The Scoop on Where to Stay and How to Get (Fodor's upCLOSE). 2nd ed. Fodor's, 2000.

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