Hostname: page-component-76fb5796d-zzh7m Total loading time: 0 Render date: 2024-04-28T00:25:57.278Z Has data issue: false hasContentIssue false

Postcolonial paths of pop: a suburban psychogeography of George Michael and Wham!

Published online by Cambridge University Press:  17 June 2022

Keith Negus
Affiliation:
School of Media, London College of Communication, University of the Arts, London SE1 6SB, UK E-mail: a.sledmere@lcc.arts.ac.uk
Adrian Sledmere
Affiliation:
Popular Music Research Unit, Goldsmiths, University of London SE14 6NW, UK E-mail: K.Negus@gold.ac.uk

Abstract

This article draws on psychogeography to explore suburban Bushey, Hertfordshire (UK), where the popular music duo Wham! formed and created the foundation for the later career of George Michael. It locates this neglected cultural narrative within the context of parental postcolonial and metropolitan journeys, arguing that migrations from the margins of the British Empire and across London form part of a ‘spatial moral order’. Exploring how a distinct pop group emerged at a particular time, it emphasises the importance of family and friendship within the suburban landscape of school, home, a pub, church halls, and a scout hut. A focus on the formation of Wham! contributes to debates about the postcolonial journeys and suburban circumstances that have shaped UK popular music since the end of World War II, and illustrates how psychogeography can contribute to the study of popular music.

Type
Article
Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Ackroyd, P. 2001. London: The Biography (London, Vintage Books)Google Scholar
Bennett, A. 1997. ‘Going down the pub!: the pub rock scene as a resource for the consumption of popular music’, Popular Music, 16/1, pp. 97108CrossRefGoogle Scholar
Bennett, A., and Peterson, R. (eds) 2004. Music Scenes: Local, Translocal, and Virtual (Nashville, TN, Vanderbilt University Press)CrossRefGoogle Scholar
Bourdieu, P. 1986. Distinction: A Social Critique of the Judgement of Taste (London, Routledge)Google Scholar
Bracewell, M. 1998. England is Mine: Pop Life in Albion from Wilde to Goldie (London, Flamingo)Google Scholar
Burton, A. 2021. Personal email to Adrian Sledmere, 29 JuneGoogle Scholar
Bywaters, T. 2021. Personal emails to Adrian Sledmere, 3 and 5 AugustGoogle Scholar
Chaffer, J. 2021. Personal communication with Adrian Sledmere – Facebook Messenger, 27 JulyGoogle Scholar
Christgau, R. 1990. ‘Consumer guide review: Listen Without Prejudice Vol 1’. https://www.robertchristgau.com/get_artist.php?name=george+michael (accessed 4 May 2021)Google Scholar
Clawson, M.A. 1999. ‘Masculinity and skill acquisition in the adolescent rock band’, Popular Music, 18/1, pp. 99114CrossRefGoogle Scholar
Cohen, S. 1991. Rock Culture in Liverpool: Popular Music in the Making (Oxford, Clarendon Press)Google Scholar
Cohen, S. 1995. ‘Sounding out the city; music and the sensuous production of place’, Transactions of the Institute of British Geographers, 20/4, pp. 433–46CrossRefGoogle Scholar
Cohen, S. 2007. Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles (London, Routledge)Google Scholar
Cohen, S. 2012. ‘Bubbles, tracks, borders and lines: mapping music and urban landscape’. Journal of the Royal Musical Association, 137/1, pp. 135–70CrossRefGoogle Scholar
Collins, M. 2021. Personal communication with Adrian Sledmere via Messenger, 20 JulyGoogle Scholar
Coverley, M. 2010. Psychogeography (Harpenden, Pocket Essentials)Google Scholar
Curtis, J., and Rose, R. 1983. ‘The Miami sound: a contemporary Latin form of place-specific music’, Journal of Cultural Geography, 4, pp. 110–18CrossRefGoogle Scholar
Daniels, S. 2006. ‘Suburban pastoral: Strawberry Fields Forever and sixties memory’, Cultural Geographies, 13/1, pp. 2854CrossRefGoogle Scholar
Debord, D. 2006. ‘Theory of the derive’, in Situationist International Anthology, ed. McNabb, K. (Berkeley, CA, Bureau of Public Secrets)Google Scholar
Eckenroth, L. 2014. ‘Representing Joy Division: assembling audiovisual argument and psychogeography in rockumentary’, Rock Music Studies, 1/3, pp. 211–30CrossRefGoogle Scholar
Elkin, L. 2016. Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London (London, Chatto and Windus)Google Scholar
Fanon, F. 1986. Black Skin, White Masks (London: Pluto Press)Google Scholar
Fernandes, M. (2021). Telephone interview with Adrian Sledmere, 19 JulyGoogle Scholar
Finnegan, R. 1989. The Hidden Musicians: Music-making in an English Town (Cambridge, Cambridge University Press)Google Scholar
Forshaw, D. 2021. Personal email with Adrian Sledmere, 20 DecemberGoogle Scholar
Frith, S. 1983. Sound Effects: Youth, Leisure, and the Politics of Rock'n’Roll (London, Constable)Google Scholar
Frith, S. 1997. ‘The suburban sensibility in British rock and pop’, in Visions of Suburbia, ed. Silverstone, R. (London, Routledge)Google Scholar
Georgiou, M. 2001. ‘Negotiated uses, contested meanings, changing identities: Greek Cypriot media consumption and ethnic identity formations in North London’, PhD thesis, The London School of Economics and Political ScienceGoogle Scholar
Gilroy, P. 1993. The Black Atlantic: Modernity and Double Consciousness (London, Verso)Google Scholar
Hitchens, C. 1989. Cyprus (New York, Noonday)Google Scholar
Huq, R. 2006. Beyond Subculture: Pop, Youth and Identity in a Postcolonial World (London, Routledge)Google Scholar
Huq, R. 2012. ‘Darkness on the edge of town: depictions of suburban “Asian London” in popular youth culture’, Wasafiri, 27/4, pp. 314CrossRefGoogle Scholar
Huq, R. 2013. Making Sense of Suburbia Through Popular Culture (London, Bloomsbury)CrossRefGoogle Scholar
Jackson, L. 2011. Freddie Mercury: The Biography (London, Hachette Digital)Google Scholar
Johinke, R. 2018. ‘Take a walk on the wild side: punk music walking tours in New York City’, Tourist Studies, 18/3, pp. 315–31CrossRefGoogle Scholar
Jones, L. 1997. Freddie Mercury: The Definitive Biography (London, Hodder and Stoughton)Google Scholar
Jovanovic, R. 2007. George Michael: The Biography (London, Piatkus)Google Scholar
Kureishi, H. 1991. The Buddha of Suburbia (London, Faber and Faber)Google Scholar
Laing, D. 2010. ‘Gigographies: where popular musicians play’, Popular Music History, 4/2, pp. 196219CrossRefGoogle Scholar
Lashua, B., Cohen, S., and Schofield, J. 2010. ‘Popular music, mapping and the characterization of Liverpool’, Popular Music History, 4/2, pp. 126–44CrossRefGoogle Scholar
Lawrey, A. 2015. ‘Putting the psycho in psychogeography: Tom Vague's musical mapping of Notting Hill’, in Sites of Popular Music Heritage: Memory, Histories, Places, ed. Cohen, S., Knifton, R., Leonard, M. and Roberts, L. (London, Routledge)Google Scholar
Long, P. 2014. ‘Popular music, psychogeography, place identity and tourism: the case of Sheffield’, Tourist Studies, 14/1, pp. 4865CrossRefGoogle Scholar
Manzoor, S. 2007. Greetings from Bury Park: Race, Religion and Rock'n’Roll (London, Bloomsbury)Google Scholar
Meades, J. 2021. Pedro and Ricky Come Again: Selected Writing 1988–2020 (London, Unbound)Google Scholar
Michael, G., and Parsons, T. 1991. George Michael: Bare (London, Penguin Books)Google Scholar
Milburn, K. 2019. ‘Rethinking music geography through the mainstream: a geographical analysis of Frank Sinatra, music and travel’, Social & Cultural Geography, 20/5, pp. 730–54CrossRefGoogle Scholar
Mitchell, T. 2009. ‘Sigur Rós's Heima: an Icelandic psychogeography’, Transforming Cultures eJournal, 4/1, https://epress.lib.uts.edu.au/journals/index.php/TfC/article/view/1072CrossRefGoogle Scholar
Mitchell, T. 2013. ‘New Zealand glimpsed through Iceland: music, place and psychogeography’, Musicology Australia, 35/1, pp. 4166CrossRefGoogle Scholar
Nairn, I. 2014. Nairn's London [originally published 1966] (London, Penguin)Google Scholar
Napier-Bell, S. 2005. I'm Coming to Take You to Lunch (London, Ebury Press)Google Scholar
Negus, K. 1992. Producing Pop: Culture and Conflict in the Popular Music Industry (London, Arnold)Google Scholar
Negus, K. 2017. ‘The gendered narratives of nobodies and somebodies in the popular music economy’, in The Routledge Research Companion to Popular Music and Gender, ed. Hawkins, S. (London, Routledge)Google Scholar
Nicholson, G. 2011. The Lost Art of Walking: The History, Science, Philosophy, Literature, Theory and Practice of Pedestrianism (Chelmsford, Harbour Books East)Google Scholar
Orange, H., and Graves-Brown, P. 2020“MY DEATH WAITS THERE AMONG THE FLOWERS”: popular music shrines in London as memory and remembrance’, in The Routledge Handbook of Memory and Place, ed. De Nardi, S., Orange, H., High, S. and Koskinen-Koivisto, E. (Abingdon, Taylor and Francis)Google Scholar
Orange, H., and Graves-Brown, P. (2021) ‘Station to station’, in Music and Heritage, ed. Maloney, L. and Schofield, J. (London, Routledge)Google Scholar
Panayi, P. 1999. Outsiders: A history of European Minorities (London, The Hambledon Press)Google Scholar
Panayi, P. 2008. Spicing Up Britain; a Multi-cultural History of British Food (London, Reaktion)Google Scholar
Papadimitriou, N. 2012. Scarp: in Search of London's Outer Limits (London, Sceptre)Google Scholar
Pevsner, N. 2002. The Buildings of England: Hertfordshire (New Haven, CT, Yale University Press) [Originally published by Penguin Books in 1953]Google Scholar
Ridgeley, A. 2019. Wham! George and Me (London, Penguin Random House)Google Scholar
Said, E. 1994. Culture and Imperialism. (London, Vintage Books)Google Scholar
Said, E. 2000. Reflections on Exile and Other Essays, (Cambridge, MA, Harvard University Press)Google Scholar
Sandhu, S. 2003. ‘London calling’, Architectural Association School of Architecture AA Files, 49, pp. 50–6Google Scholar
Selfhout, M.H.W., Branje, S.J.T., Ter Bogt, T.F.M., Meeus, Wim H.J., and W.H.J., 2009. ‘The role of music preferences in early adolescents’ friendship formation and stability’, Journal of Adolescence, 32/1, pp. 95107CrossRefGoogle ScholarPubMed
Sinclair, I. 2003. Lights Out for the Territory (London, Penguin Books)Google Scholar
Sinclair, I. 2018. The Last London (London, Oneworld Publications)Google Scholar
Sledmere, A. 2021. ‘Psychogeography: reimagining and re-enchanting the smart city’, in Equality in the City: Imaginaries of the Smart Future, ed. Flynn, S. (Bristol, Intellect)Google Scholar
Smith, S. 2017. George (London, HarperCollins)Google Scholar
Solnit, R. 2001. Wanderlust: a History of Walking (London, Penguin Books)Google Scholar
Summers, A. 2021. Public comments on Bushey Memories & History Facebook Group, 19 JulyGoogle Scholar
Talbot, I. 2011. ‘The end of the European colonial empires and forced migration: some comparative case studies’, in Refugees and the End of Empire, ed. Panayi, P. and Virdee, P. (Basingstoke, Palgrave Macmillan)Google Scholar
Webb, P. 2007. Exploring the Networked Worlds of Popular Music: Milieux Cultures (London, Routledge)Google Scholar
Webster, E., Brennan, M., Behr, A., and Cloonan, M. (2018). Valuing Live Music: The UK Live Music Census 2017 Report (Glasgow, Live Music Census)Google Scholar
Wood, J. 2021. Personal email with Adrian Sledmere, 20 JulyGoogle Scholar