(2021). Pop Music and Hip Ennui: A Sonic Fiction of Capitalist Realism. Popular Music and Society. Ahead of Print.

(2021). 1957: the year that launched the American future. Popular Music and Society. Ahead of Print.

(2021). Headin’ for the Christmas Ball: 31 Swing and R&B Christmas Crooners. Popular Music and Society. Ahead of Print.

(2021). Looking to Get Lost: Adventures in Music and Writing. Popular Music and Society. Ahead of Print.

(2021). Transmissions, 1962–1968. Popular Music and Society. Ahead of Print.

(2021). At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris. Popular Music and Society. Ahead of Print.

(2021). No Home Record. Popular Music and Society. Ahead of Print.

(2021). Making Music American: 1917 and the Transformation of Culture. Popular Music and Society. Ahead of Print.

(2021). Brithop: The Politics of UK Rap in the New Century. Popular Music and Society. Ahead of Print.

(2021). Brian Eno: Oblique Music. Popular Music and Society. Ahead of Print.

ABSTRACT This article examines the impacts of Covid19 on musicians and music professionals in the Iranian music industry, an industry that heavily depends on concerts and live performance. Placing the pandemic-related restrictions in the context of larger regulatory limitations imposed by the state, we explore how musicians navigate and exploit existing and emerging restrictions through a number of

ABSTRACT Though the Beatles drew inspiration from avant-garde composer John Cage in songs like “A Day in the Life,” Cage himself had little interest in popular music. In one isolated statement, though, Cage expressed uncharacteristic admiration for the Beatles. This article explores what, for Cage, made the Beatles important by considering his statement within the context of a cross-influential network

(2021). Destination Health: Doc Feelgood’s Rock Therapy. Popular Music and Society. Ahead of Print.

(2021). The Routledge Companion to Popular Music and Humor. Popular Music and Society. Ahead of Print.

(2021). These Arms of Mine: The Birth of Southern Soul. Popular Music and Society. Ahead of Print.

(2021). Win the War Blues: The Blues and World War II. Popular Music and Society. Ahead of Print.

ABSTRACT In a February 2017 article, Guitar World dubbed Annie Clark, known by her moniker St. Vincent, a “postmodern guitar hero.” Over the course of her career Clark has made a name for herself as a modern virtuoso guitarist. This is notable, given the electric guitar has traditionally been a masculine-gendered instrument.  This article explores how Clark subverts gendered stereotypes and expectations

(2021). Why Karen Carpenter Matters. Popular Music and Society: Vol. 44, Music and the Politics of Memory: Resounding Antifascism across Borders; Guest editors: Monika E. Schoop, Federico Spinetti, Ana Hofman, pp. 233-235.

(2021). Nothing on Their Tongue but Hallelujah: Why Leonard Cohen’s Dark Hymn Will Forever Escape Trumping. Popular Music and Society: Vol. 44, No. 1, pp. 107-110.

(2020). Vera Lynn, 1917-2020. Popular Music and Society: Vol. 43, No. 5, pp. 582-585.

ABSTRACT In this article, I observe the role of collective singing and listening in recalling, reconfiguring, and repurposing the memory of antifascism in the current practices of activism and social engagement in the post-Yugoslav space. The crisis of global neoliberalism, which has its specific regional features in the area of former Yugoslavia, has fostered the (re)appropriation, reinterpretation

(2021). Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders. Popular Music and Society: Vol. 44, Music and the Politics of Memory: Resounding Antifascism across Borders; Guest editors: Monika E. Schoop, Federico Spinetti, Ana Hofman, pp. 119-138.

ABSTRACT The punk-rock band Consorzio Suonatori Indipendenti (CSI) exemplifies a wider movement of musical memorialization of the World War II antifascist Resistenza in contemporary Italy. Considering music as communicative medium, affective experience and social practice hatched within networks of engaged citizenship, I probe its contribution to public debates about the Resistenza since the 1990s

ABSTRACT This article explores music as a medium of memory of anti-Nazi resistance looking at the Edelweißpiratenfestival, its connected events and multimedia publications. It explores how the festival provides platforms for the transgenerational transmission of memory, secures the continuing presence of the Edelweißpiraten's voices, and represents their ideals and spirit. It considers music’s roles

ABSTRACT This article focuses on the song “L’estaca,” which was composed in 1968 by Catalan songwriter Lluís Llach and became emblematic of the struggle against the Francoist dictatorship. I trace the ways in which the song has been reused and assigned new valence in a variety of cultural and political contexts, including the 1980s Solidarność movement in Poland and the Arab Spring uprisings in Tunisia

ABSTRACT In contemporary Chile the “new” Nueva Canción Chilena movement has been actively defying the legacyof the neoliberal fascist counterrevolution imposed by the dictatorship.. In this context, Manuel García constructs his poetics via a combination of rock, the trobador tradition, and various Latin American popular genres, while Aldo Asenjo has been recuperating long-marginalized musical forms

ABSTRACT This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts

ABSTRACT In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that

ABSTRACT The emphasis that child “popera” stars like Charlotte Church, Jackie Evancho, and Amira Willighagen place on the sacred has serious ramifications for opera’s meaning in contemporary popular culture. On one hand, these singers bring opera to the masses and, in the words of Lawrence Levine, fight against “the idea that culture is for an elite audience only, and that it cannot come from the young

ABSTRACT This article explores how the most recent works of the German Neue Deutsche Härte band Rammstein express a Vergangenheitsbewältigung that is not limited to the history of the Nazi regime and divided Germany, but includes a much broader time and geographical frame that extends to Germany’s present and future. In particular, the article argues that Rammstein’s members confront their own Heimatsehnsucht

(2020). Tom Jones: Live on Air 65–68. Popular Music and Society. Ahead of Print.

(2020). A Rockin’ Good Way. Popular Music and Society. Ahead of Print.

(2020). Sounding Dissent: Rebel Songs, Resistance, and Irish Republicanism. Popular Music and Society: Vol. 43, No. 5, pp. 571-573.

ABSTRACT In this article, I investigate the ways in which Rastafari discourse on repatriation to Africa – articulated through reggae music – engages utopianism to varying degrees based on the artists’ proximity to Ethiopia. I discuss reggae songs composed and recorded in Jamaica by five different artists/bands that engage Ethiopia-focused utopianism and compare these with songs composed and recorded

ABSTRACT Focusing on the theme of American exceptionalism, this essay explores the interplay between center and margin in punk rock produced in California in the late 1970s and early 1980s. After brief accounts of both punk and exceptionalism, the article surveys instances of exceptionalist rhetoric in lyrics by punk bands from Los Angeles and San Francisco and argues that, although some punks uncritically

ABSTRACT In the year following Prince’s death, his iconic song “Purple Rain” played an important role in his fans’ and colleagues’ mourning. This article focuses on the ways three performances used Prince’s own voice and image as part of the public mourning process. Drawing on ethnographic fieldwork in Minnesota, I examine how the same song presented in different contexts set the stage for varied emotional

Submissions are invited for a special issue of RockMusic Studies on Steely Dan at 50. The year 2022 will mark the fiftieth anniversary of Steely Dan, based on the release date of their debut record, Can’t Buy a Thrill. If one observes the 1971 film soundtrack You Gotta Walk It Like You Talk It (Or You’ll Lose That Beat), a record composed and performed by the Dan’s chief architects Donald Fagen andWalter

Following the news of the death of Prince on 21 April 2016, it was not long before iconic buildings and landmarks around the world were lit up in purple as the world mourned. It was as if the color purple had assumed a new and greater significance. We knew his music would live forever. In the obituary for this journal, Popular Music and Society, Stan Hawkins wrote: "Indisputably, Prince’s adeptness

(2020). Punk Crisis: The Global Punk Rock Revolution. Popular Music and Society: Vol. 43, No. 5, pp. 569-573.

(2021). The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock ’n’ Roll. Popular Music and Society: Vol. 44, No. 1, pp. 111-112.

(2020). The “Mojo Man” Presents Blink Before Christmas: A Koko Mojo Celebration. Popular Music and Society. Ahead of Print.

ABSTRACT This study argues that Prince was fundamentally ambivalent towards the genre of hip-hop, and proposes a four-phase model for understanding Prince’s engagement with it. Though Prince was initially dismissive towards hip-hop, over time he incorporated hip-hop elements such as rapped vocals and drum-machine based musical textures. As hip-hop gained national popularity and threatened Prince’s

(2020). Popular Music and Automobiles. Popular Music and Society. Ahead of Print.

ABSTRACT This article explores the stances, ideas, and political vision of Prince Rogers Nelson through some of the songs he wrote and recorded. Prince used the term “aware” to describe someone who was knowledgeable. As he often demonstrated, he was concerned with some of the world’s big problems. Prince was consistently against war. Some of his songs contained lyrics decrying gun violence and calling

ABSTRACT This article explores Prince’s LM-1 rhythm programming techniques and sound ideals by considering song examples, interviews with Prince’s engineers and musicians, and online fan discussion. It is argued that given the constraints of music technologies in the early 1980 s and the production workflows for using them, Prince’s drum programming remains a model of compelling groove-making. By sequencing

ABSTRACT Prince opened the doors of diversity and opportunity for his race, ensuring that African Americans are seen as the beautiful bouquet that they are. By refusing to allow anyone but himself to define him, Prince practiced kujichagulia (self-determination). Thus, Prince became the archetype of the post-civil rights African American. His work identifies with a group of African Americans engaging

ABSTRACT In this music-analytic interpretation of two love songs from Prince’s Around the World in a Day album, we investigate the properties of groove, arrangement, and vocality, all of which contribute to the artist’s inimitable signature. With a disciplinary grounding in musicology, we demonstrate ways whereby musical features are associated with meaning in recorded songs. Underlying the approach

ABSTRACT The image of teenagers in the 1950s has permeated popular culture for decades. Within public historical memory, these kids seem perpetually carefree, dancing to jukebox tunes, sharing sodas with dates, and driving shiny new cars. But these teenagers are almost always depicted as white, even though a burgeoning African-American middle class meant that black kids also helped to shape this new

ABSTRACT Prince Rogers Nelson (1958–2016) was a once-in-a-generation songwriter, instrumentalist, singer, performer, and entrepreneur, occupying a singular place in the history of twentieth-century popular music. I served as his staff recording engineer during four of his most productive years (1983–1987), working on albums from Purple Rain through the unreleased Black Album. This article offers my

(2020). When You Find Love You’re Feelin’ Good. Popular Music and Society. Ahead of Print.

ABSTRACT This article analyzes musical practices of rurality in Asturias (northern Spain), focusing on these practices as transits beyond rural-urban, local-transnational, and music-life dichotomies. We map out three modes of the production of locality in relation to musical heritage in order to point out a prevalence of the phenomena of “aural friction” (García-Flórez) and “mutuality” (Colón-Montijo)

ABSTRACT This article examines three uses made of Haiti in Canadian popular music in the wake of the 2010 Haiti earthquake: K’naan’s “Wavin’ Flag” remade into a charity single, a documentary on hip-hop workshops held in Haiti by Nomadic Massive (Montreal), and the release of Arcade Fire’s Reflektor. In each case, the earthquake is addressed, transnational affiliation is expressed, and value is assigned

ABSTRACT While Southern California’s Inland Empire region receives copious press coverage for the annual Coachella Music and Arts and Stagecoach Festivals, this landscape, with its expansive deserts and suburban neighborhoods, has not always garnered such entertainment media attention. Prior to Coachella’s establishment in 1999, the local music scene rarely received substantial media recognition. This

ABSTRACT Research on regional and rural popular music scenes focuses on a number of issues and challenges confronting such scenes. These include venues, work and employment, regional sensitivity to boom-and-bust scenarios in local heavy industries, tourism and leisure, and out-migration. To date, however, there has been very little critical examination of what precisely is meant by the terms “regional”

The practices of hip-hop evolved during the mid-1970s in New York City’s dilapidated neighborhoods and are almost exclusively represented through the fabric of inner-city life. However, over the pa...

(2021). The Mojo of Dr. John. Popular Music and Society: Vol. 44, No. 1, pp. 116-118.

ABSTRACT This article explores some features of popular music production by uncovering the palimpsestic geography of Okinawa, and in particular the octogenarian island idols of Kohama that have achieved stardom at home and outside their small island setting. As an island Other on multiple levels of separation beyond the mainland, and imagined in terms of geographic and cultural difference within archipelagic

This special issue of Popular Music and Society considers the legacy of the Woodstock Music and Arts Festival that has become an overarching idea as much as a brief historical event, representing the ethos of the 1960s’ counterculture in a type of fetishized shorthand. This transformation over the past fifty years has been facilitated by the proverbial drugand age-induced amnesia of the Woodstock generation

ABSTRACT Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to

(2021). The Johnny Otis Show, 1948–1962. Popular Music and Society: Vol. 44, Music and the Politics of Memory: Resounding Antifascism across Borders; Guest editors: Monika E. Schoop, Federico Spinetti, Ana Hofman, pp. 238-240.