Popular Music History http://journal.equinoxpub.com/PMH <p><em>Popular Music History</em> publishes original historical and historiographical research that draws on the wide range of disciplines and intellectual trajectories that have contributed to the establishment of popular music studies as a recognized academic enterprise. <a href="https://journal.equinoxpub.com/PMH/about">Learn more about this journal.</a></p> en-US <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> catherine.strong@rmit.edu.au (Catherine Strong & Shane Homan) aparkin@equinoxpub.com (Ailsa Parkin) Wed, 08 Dec 2021 23:12:44 +0000 OJS http://blogs.law.harvard.edu/tech/rss 60 Emily Abrams Ansari, The Sound of a Superpower: Musical Americanism and the Cold War. http://journal.equinoxpub.com/PMH/article/view/19547 <p>Emily Abrams Ansari, The Sound of a Superpower: Musical Americanism and the Cold War. New York: Oxford University Press, 2018. 257 pp. ISBN 9780190649692 (hbk).</p> Asya Draganova (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19547 Wed, 08 Dec 2021 00:00:00 +0000 Karen Tongson, Why Karen Carpenter Matters. http://journal.equinoxpub.com/PMH/article/view/19723 <p>Karen Tongson, Why Karen Carpenter Matters. Austin: University of Texas Press, 2019. 138 pp. ISBN 978-1-4773-1884-3 (pbk).</p> Jenny Cubin (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19723 Wed, 08 Dec 2021 00:00:00 +0000 Kimberly Kattari, Psychobilly: Subcultural Survival. http://journal.equinoxpub.com/PMH/article/view/19624 <p>Kimberly Kattari, Psychobilly: Subcultural Survival. Philadelphia: Temple University Press, 2020. 258 pp. ISBN 978-1-4399-1860-9 (pbk).</p> Louise Barrière (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19624 Wed, 08 Dec 2021 00:00:00 +0000 Kirkland A. Fulk, ed., Sounds German: Popular Music in Postwar Germany at the Crossroads of the National and Transnational. http://journal.equinoxpub.com/PMH/article/view/19674 <p>Kirkland A. Fulk, ed., Sounds German: Popular Music in Postwar Germany at the Crossroads of the National and Transnational. Oxford and New York: Berghahn Books, 2020. 140 pp. ISBN 978-1-78920-740-8 (hbk).</p> Wolf-Georg Zaddach (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19674 Wed, 08 Dec 2021 00:00:00 +0000 Introduction http://journal.equinoxpub.com/PMH/article/view/21318 <p>.</p> Catherine Strong (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/21318 Wed, 08 Dec 2021 00:00:00 +0000 The Sound of Düsseldorf city walk http://journal.equinoxpub.com/PMH/article/view/19936 <p>This article explores and contextualizes the in-person and remote implementation of The Sound of Düsseldorf city walk, before and during the COVID-19 pandemic. Music tourism and authenticity in the music walk, and its temporary activation of places via performance, storytelling and sounds, are discussed. The article also focuses on the opportunities offered by the digital implementation of the tour and how successful the attempt to mediate local heritage to virtual tourists can be. On one hand, it is crucial to refer to how this tour came to be in terms of local music history and where it is situated in relation to Düsseldorf’s development from retail industry and high art towards the discovery of the cultural and economic potentials of its own popular music heritage. On the other hand, it is interesting to reveal what can be learned from this tour and its implementation in relation to the future of music tourism. The conclusion reflects on how music heritage exists in a cultural ecosystem, based around a strong link between materiality, music and authenticity and how this might change in the post-pandemic future.</p> Giacomo Bottà (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19936 Wed, 08 Dec 2021 00:00:00 +0000 To craft modern (hi)story through music http://journal.equinoxpub.com/PMH/article/view/21201 <p>Almost two years after the first contaminations and while the origins of COVID-19 and its worldwide proliferation remain unclear, analysing the music released by Chinese rappers in 2020 offers a relevant angle to engage with the country’s narration of the present. In the People’s Republic of China, where any cultural production lies under a strict control of the state, rap music recently reached the mainstream, forcing its actors to quickly comply with the authorities’ directives and become representative of ‘positive energy’. After the lockdown of Wuhan on 23 January 2020, Chinese rappers were prompt to mobilize and share songs with COVID-19 as the central topic. In close alignment with the country’s rejuvenated cultural nationalism, rap music thus became a vigorous sounding box for the government’s propaganda during the crisis, enhancing the bravery of Chinese medical workers, the responsibility of the Chinese people and displaying images broadcast by national media in music videos. This article draws on the official concept of the ‘main melody’ and focuses on the texts and the illustrations of three songs retrieved from a corpus of rap songs uploaded on online platforms during the first month of the pandemic. It argues that in the first phase of the crisis, official and non-official collaborations between state actors and musicians contributed to the creation of a uniform historical narrative that bolstered the state’s propaganda in its fight against the virus. The article also points out that such cooperation has not only been beneficial for the state but has also boosted the visibility of the artists involved.</p> Gregoire Bienvenu (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/21201 Wed, 08 Dec 2021 00:00:00 +0000 The pandemic disco http://journal.equinoxpub.com/PMH/article/view/19822 <p lang="en-US" align="JUSTIFY">The COVID-19 crisis has brought unprecedented disruption to the social and economic status quo and has redefined music culture. The sudden shift from a collective to an exclusively private music experience has undoubtedly changed both the market and listening practices. Live shows and club culture have been suspended. However, while disco clubs remain closed, private apartments become the only possible dancefloor. Surprisingly, nostalgic disco albums have been very popular among listeners during the past coronavirus year. Artists like Dua Lipa, Jessie Ware, Róisín Murphy and Kylie Minogue have presented disco utopias that have carried the listeners into a world before pandemic. Although disco albums are full of joyful synthesizer sounds, they also resonate with trauma from the past. At their core we can find traces of another epidemic that never came to an end: the HIV/AIDS epidemic. My goal is to show continuity between musical responses to different pandemics and to interpret the side effects of the (pre) COVID disco nostalgia, which, while giving hope, reminds us that HIV/AIDS is not yet a closed case.</p> Konrad Sierzputowski (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19822 Wed, 08 Dec 2021 00:00:00 +0000 Ephemeral income http://journal.equinoxpub.com/PMH/article/view/19828 <p>There are two main types of income earned by musicians. The first is capital income, which is the type of income derived from owning the intellectual rights to music, either through record sales or leveraging moral rights. The second is labour income, which is generated from live performance and takes the form of performance fees. Historically, these two activities are considered separate with some ontological and economic interdependences, creating two different streams of income; however, we present a case which shows that the two merged when much ‘live’ music appeared online during the COVID-19 pandemic in the form of livestreams. These livestreams theoretically allow musicians to earn both capital income and labour income from the same activity. We use ‘design culture’, as a form of organizational culture, to describe how musicians can use the new livestreaming trend to realize better/fairer deals for themselves. This is especially prescient because in contemporary history, most musicians cannot earn a sustainable income from releasing recorded music, so have relied on live performance. Live performance has thus become less ephemeral, as has the income derived from it.</p> Josh Barlow, Guy Morrow (Author) Copyright (c) 2021 Equinox Publishing Ltd. http://journal.equinoxpub.com/PMH/article/view/19828 Wed, 08 Dec 2021 00:00:00 +0000