Popular Music History https://journal.equinoxpub.com/PMH <p><em>Popular Music History</em>&nbsp;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.</p> Equinox Publishing Ltd. en-US Popular Music History 1740-7133 <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> Jon Stratton, Jon Dale and Tony Mitchell, eds., An Anthology of Australian Albums: Critical Engagements. https://journal.equinoxpub.com/PMH/article/view/20608 <p>Jon Stratton, Jon Dale and Tony Mitchell, eds., An Anthology of Australian Albums: Critical Engagements. New York and London: Bloomsbury, 2020. 223 pp. ISBN 9781501339875 (hbk).</p> Shane Homan Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 298–301 298–301 10.1558/pomh.42384 Matt Brennan, Kick It: A Social History of the Drum Kit. https://journal.equinoxpub.com/PMH/article/view/18471 <p>Matt Brennan, Kick It: A Social History of the Drum Kit. Oxford: Oxford University Press, 2020. 392 pp. ISBN 9780190683870 (pbk)</p> Karlyn King Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 302–305 302–305 10.1558/pomh.42780 Punk Portugal, 1977–2012 https://journal.equinoxpub.com/PMH/article/view/20604 <p>In this article, we discuss the emergence and development of punk in Portugal since the final years of the 1970s, its relationship to the social structure of Portugal over the last four decades and to the cultural and symbolic manifestations of Portuguese urban popular cultures. It is a preliminary genealogy that situates the Portuguese punk scene in a broader, global context, without overlooking the specificities that originated through its appropriation of a non-Anglo-Saxon context and a society located in Southern Europe—therefore, importance is stressed throughout the article in maintaining a global-local perspective. The theoretical basis of the article applies perspectives drawn from post-subcultural theory, notably the concept of scene which is used to conceptualize the localization of punk in Portugal and its appropriation of various styles and images associated with different eras of punk since the 1970s. The article uses ethnographic data, specifically data generated through interviews with key actors in the Portuguese punk scene spanning an age range of 23 to 57 years old and from different&nbsp;geographical locations in the country. Overall, 20 key interviews were conducted between 2013 and 2015.</p> Paula Guerra Andy Bennett Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 215–234 215–234 10.1558/pomh.39660 Space to play https://journal.equinoxpub.com/PMH/article/view/20605 <p>British punk in the 1970s gave young women in the subculture the opportunity to play rock instruments that had previously been played by young men. They often learned to play through using reggae records, because the defined production made it easy to hear individual instruments. Much of 1970s reggae underlined Rastafarian principles regarding women’s behaviour, but these women ignored this aspect of the music and listened out for the sonic qualities of reggae. This article examines this apparent anomaly, noting a common purpose in the resistant musical activities of (especially women) punks and Rastas despite differences in culture and privilege between the two communities. New interviews by the author with Gina Birch from the Raincoats, and Tessa Pollitt from the Slits, are included to provide a retrospective viewpoint on this phenomenon.</p> Helen Reddington Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 235–253 235–253 10.1558/pomh.39477 In my tomb https://journal.equinoxpub.com/PMH/article/view/20606 <p>In recent decades, popular music in the USA, UK and elsewhere has increasingly been addressed as cultural heritage: by state authorities, commercial and professional interests, and fans. This article contributes to the growing scholarship on popular music heritage through a case study of the 2005 dedication of a California state historical landmark at the site of the Beach Boys’ childhood home and the process that enabled it. Drawing on concepts rehearsed by scholars in popular music, heritage studies and related fields, it identifies the discourses and interests attached to the exercise, and argues that the landmark’s establishment saw a high degree of cooperation between public officials, professional interests and grass-roots activists. Although the landmark risked enshrining and entombing the group in a monument to their early-era image of surf, sand and romance, its dedication ceremony saw fans recognizing the group in more informed, realistic, respectful and up-to-date ways.</p> Dale Carter Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 254–272 254–272 10.1558/pomh.39054 A sonic step closer https://journal.equinoxpub.com/PMH/article/view/20607 <p>The preservation risks surrounding music master tapes—the high-quality sources of most commercial recordings between the 1950s and 1990s—were dramatically highlighted in recent coverage of Universal Music’s 2008 vault fire. Other challenges include storage costs, chemical instability of tape stocks and technological obsolescence of playback equipment, with the industry’s ability to tackle these still unclear. This article examines an emerging solution—donation to public archival institutions—using recent experiences at the Alexander Turnbull Library (part of the National Library of New Zealand) as a case study. Focusing on the master-tape collections of the Viking and Ode record labels, it examines their status as a form of ‘popular music heritage’, practical considerations such as copyright, digitization work, and how this work is leveraged by the labels to reissue legacy recordings. There has been little scholarly study of master tapes and the article also explores their research potential in terms of sound quality, studio production and industry history. Master tapes, the article concludes, hold considerable aesthetic, commercial and historical significance.</p> Michael Brown Copyright (c) 2021 Equinox Publishing Ltd. 2021-04-01 2021-04-01 13 3 273–297 273–297 10.1558/pomh.40992