This article gives a historical account of the intricate crossover between pop music and the British fairground, focusing on the evolving visual resources of pop music and how these came to be utilised on the fairground. The visual identity of the fairground – expressed predominantly through painted work – reflects the fairground as a subcultural space for music, and draws from the iconography of pop music and subcultural strands. This gives British fairground art a unique character and vibrant, expressive essence. A start point is taken as the formative music styles and associated imagery in the period 1950–1980, proposing a parallel to the Pop Art movement arising through the 1960s. The 1980s are examined through the lens of transmediality, i.e. a non-media specific interpretation, and the crossover between music and horror exemplified by Michael Jackson’s song “Thriller”. Finally, the 1990s to the present are documented as a new mode of image production and representation, with iconography from the Rave movement in dance music and subculture becoming the ubiquitous visual syntax of the fairground. The article considers the process of translation between the visual resources of two realms of popular culture with particular regard to the challenge presented by popular music to be translated into fairground art and the evolving structure of fairground machinery and its affordance of fairground art.

中文翻译：

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战后英国露天市场的音乐流派和亚文化艺术作品

本文对流行音乐和英国露天市场之间错综复杂的交叉进行了历史记录，重点介绍了流行音乐不断发展的视觉资源以及这些资源如何在露天市场上得到利用。游乐场的视觉特征——主要通过绘画作品表达——反映了游乐场作为音乐的亚文化空间，并借鉴了流行音乐和亚文化线的图像。这赋予了英国露天市场艺术独特的个性和充满活力、富有表现力的精髓。起点被视为 1950 年至 1980 年期间形成的音乐风格和相关意象，提出与 1960 年代兴起的波普艺术运动平行。1980 年代是通过跨媒体的镜头来审视的，即非媒体特定的解释，迈克尔杰克逊的歌曲“Thriller”体现了音乐和恐怖之间的交叉。最后，1990 年代至今被记录为一种新的图像制作和表现模式，舞曲和亚文化中 Rave 运动的图像成为了游乐场无处不在的视觉句法。本文考虑了两种流行文化领域的视觉资源之间的转换过程，特别是流行音乐在将其转化为游乐场艺术所带来的挑战，以及游乐场机械的演变结构及其对游乐场艺术的可提供性。舞曲和亚文化中 Rave 运动的图像成为游乐场无处不在的视觉句法。本文考虑了两种流行文化领域的视觉资源之间的转换过程，特别是流行音乐在将其转化为游乐场艺术所带来的挑战，以及游乐场机械的演变结构及其对游乐场艺术的可提供性。舞曲和亚文化中 Rave 运动的图像成为游乐场无处不在的视觉句法。本文考虑了两种流行文化领域的视觉资源之间的转换过程，特别是流行音乐在将其转化为游乐场艺术所带来的挑战，以及游乐场机械的演变结构及其对游乐场艺术的可提供性。