The information and resources provided on this and other other Global Pop Studies pages relate to the ‘Global Pop’ module that I have taught at Newcastle University since 2016 and to the broader research project that feeds into, and is informed by, my teaching in this area.
The Global Pop project traces the growth in awareness of musics from around the world from the early twentieth century onwards, an awareness made possible by developments in sound recording. From the first global recording boom of the 1920s to the contemporary mania for digging into the past (vinyl archaeology), sound recordings have been a primary means for listeners to experience otherness, for the music industry to diversify its market and for ‘experts’ (critics, DJs, collectors, academics) to attempt to master discourses around other cultures.
Reading, listening, viewing
Crate Digging, Compilations and Outernational Music: Phonographic Archaeology
Reading
Novak, David. ‘The Sublime Frequencies of New Old Media’. Public Culture 23, no. 3 (2011): 603-34.
Damai, Puspa. ‘Babelian Cosmopolitanism: Or Tuning in to “Sublime Frequencies”’. CR: The New Centennial Review 7, no. 1 (2007): 107-138.
Roy, Elodie A. Media, Materiality and Memory: Grounding the Groove. Farnham: Ashgate, 2015.
Veal, Michael E. and E. Tammy Kim, eds. Punk Ethnography: Artists & Scholars Listen to Sublime Frequencies. Middletown: Wesleyan University Press, 2016.
Butler, Mark J. ‘Listener Orientation’. In Sound as Popular Culture: A Research Companion. Edited by Jens Gerrit Papenburg and Holger Schulze. Cambridge, MA: The MIT Press, 2016, 367-72.
Bennett, Roger and Josh Kun. And You Will Know Us By the Trail of Our Vinyl: The Jewish Past as Told by the Records We Have Loved and Lost. New York: Crown, 2008.
Clifford, James. ‘On Ethnographic Surrealism’. Comparative Studies in Society and History 23 (1981): 539 – 64.
Novak, David. ‘Cosmopolitanism, Remediation, and the Ghost World of Bollywood’. Cultural Anthropology 25 (2010): 40 – 72.
Listening
Group Doueh & Cheveu. ‘Bord de Mer’. Dakhla Sahara Session. LP. Born Bad BB092. 2017.
Hedzoleh. ‘Rekpete’. Hedzoleh. CD. Soundway SNDWCD019. 2010.
The Dwarfs Of East Agouza. ‘Baka of the Future’. Bes. LP. Nawa NAWA005LP. 2016.
Alipio Martins, ‘Piranha’. Mr Bongo Record Club Volume One. Mr Bongo MRBLP141. 2016.
Fadoul. ‘Sid Redad’. Al Zman Saib. Habibi Funk HABIBI 002. 2015.
Below: Spotify playlist for this session
Videos
https://www.youtube.com/embed/lVlgMEFu1PI
Omar Souleyman, ‘Warni Warni’ Official Video (2013)
https://www.youtube.com/embed/frwK_ID8GEY
Omar Souleyman wedding performance footage (Sublime Frequencies video from 2009)
https://www.youtube.com/embed/YsRlKvGdZn0
Omar Souleyman at Glastonbury (2011)
https://www.youtube.com/embed/TyStrt0f5cQ
Group Doueh in clip from Sublime Frequencies film Palace of the Winds
https://www.youtube.com/embed/fzWBow0OAeA
Bombino concert, Agadez (2010)
https://www.youtube.com/embed/FzatVZqCtnw
Baba Commandant & The Mandingo Band at the Tusk Festival, Gateshead, 2015
https://www.youtube.com/embed/Los0qjV9Ecg
Konono N°1, ‘Lufuala Ndonga’
https://www.youtube.com/embed/nX4EgXWFxvY
MERAPI GAYA: A portrait of Arrington de Dionyso in Indonesia (2012)
Other resources
‘Dustry African Grooves’: Feature on Samy Ben Redje of Analog Africa: https://daily.bandcamp.com/2013/12/03/dusty-african-grooves/
‘Finders Keepers – a Decade of Sonic Archaeology’: Listicle from The Attic (July 2015): http://the-attic.net/features/1498/finders-keepers-_-a-decade-of-sonic-archaeology.html
‘Bargou 08 Update Tunisian Folk Music for Modern Times’: Feature on Bargou 08: https://daily.bandcamp.com/2017/02/09/bargou-08-interview
Bandcamp Daily feature on the label Dust-to-Digital: https://daily.bandcamp.com/2018/01/17/dust-to-digital-label-profile/
‘How Brazil is reclaiming its record culture’, feature on Vinyl Factory: https://thevinylfactory.com/features/brazil-reclaiming-records/
Global Rock Cultures
Reading
Regev, Motti. Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity. Cambridge: Polity Press, 2013. [Chapter 2: ‘Expressive Isomorphism’]
Basu, Sharmadip. ‘Between Rock and a Hard Place: Cultural Politics of 1970s Rock Music in Calcutta’. South Asian Popular Culture 10, No. 3 (2012); 285-94. DOI: 10.1080/14746689.2012.706025
Boyle, Catherine and Gina Cánepa. ‘Violeta Parra and Los Jaivas: Unequal Discourse or Successful Integration?’. Popular Music 6, No. 2 (1987): 235-40.
Harbert, Benjamin J. ‘Noise and Its Formless Shadows: Egypt’s Extreme Metal as Avant-Garde Nafas Dawsha’. In The Arab Avant-Garde: Music, Politics, Modernity, edited by Thomas Burkhalter, Kay Dickinson and Benjamin J. Harbert. Middletown: Wesleyan University Press, 2013, 229-74.
Kahn-Harris, Keith. ‘“Roots”?: The Relationship Between the Global and the Local within the Extreme Metal Scene’. Popular Music 19 (2000): 13-30.
Luvaas, Brent. ‘Exemplary Centers and Musical Elsewheres: On Authenticity and Autonomy in Indonesian Indie Music’. Asian Music 44, No. 2 (2013): 95-114. DOI: 10.1353/amu.2013.0011.
Martínez-Rivera, Mintzi Auanda. ‘“De El Costumbre Al Rock”: Rock Indígena and Being Indigenous in 21st-Century México’. Latin American and Caribbean Ethnic
Studies 9, No. 3 (2014): 272-92. DOI: 10.1080/17442222.2014.959778.
Moore, Rebekah. ‘Elevating the Underground: Claiming a Space for Indie Music among Bali’s Many Soundworlds’. Asian Music 44, No. 2 (2013): 135-159. DOI: 10.1353/amu.2013.0013.
Pacini Hernandez, Deborah, Héctor Fernández L’Hoeste and Eric Zolov, eds. Rockin’ Las Américas: The Global Politics of Rock in Latin/o America. Pittsburgh: University of Pittsburgh Press, 2004.
Rasmussen, Susan. ‘Moving beyond Protest in Tuareg Ichumar Musical Performance’. Ethnohistory 53, No. 4 (2006): 633-55. DOI: 10.1215/00141801-2006-017.
Baulch, Emma. Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali. Durham, NC: Duke University Press, 2007.
Cope, Julian. Japrocksampler: How the Post-War Japanese Blew Their Minds on Rock ’n’ Roll. London: Bloomsbury, 2007.
Eyre, Banning. Lion Songs: Thomas Mapfumo and the Music That Made Zimbabwe. Durham, NC: Duke University Press, 2015.
Jones, Andrew F. Like a Knife: Ideology and Genre in Contemporary Chinese Music. Ithaca: Cornell East Asia Series, 1992.
Novak, David. Japanoise: Music at the Edge of Circulation. Durham: Duke University Press, 2013.
Ryback, Timothy W. Rock Around the Bloc: A History of Rock Music in Eastern Europe and the Soviet Union. Oxford: Oxford University Press, 1990.
Listening
Flower Travellin’ Band. ‘Satori Part II’. Satori. CD. Phoenix ASH3002. 2009.
Rikki Ililonga & Musi-O-Tunya. ‘Chalo Chawama’. CD. Dark Sunrise. Now-Again Records NA 5067, 2010.
Sroeng Santi. ‘Kuen Kuen Lueng Lueng’. Thai? Dai! (The Heavier Side of The Luk Thung Underground). Finders Keepers FKR044LP, 2011.
Los Jaivas. ‘Guajira Cósmica’. Los Jaivas. CD. EMI Odeon Chilena 710 831251, 1994.
Imarhan. ‘Imarhan’. Imarhan. LP. City Slang SLANG50094LP, 2016.
Below: Spotify playlist for this session
Videos
https://player.vimeo.com/video/122998054
Trailer for film My Buddha Is Punk
https://www.youtube.com/embed/GvD3CHA48pA
Baby Metal, ‘Karate’ (2016)
https://www.youtube.com/embed/F_6IjeprfEs
Sepultura, ‘Roots Bloody Roots’ (1996)
https://www.youtube.com/embed/vACZA9dGvV4
Tinariwen & IO:I, ‘Sastanàqqàm’ (2017)
https://www.youtube.com/embed/gmRlyyLaHhY
Mortal Soul, ‘Solace’ (2013, reissued 2019)
https://www.youtube.com/embed/ZVEI-GpBTy4
Abdoulaye Bouzou “Mona” from the rock group Azna de L’Ader
https://www.youtube.com/embed/4aZX-C8HKJc
Voice of Baceprot, ‘School Revolution’ (2018)
Other sources
‘P.K. 14’s Foundational Place in the Chinese Indie Rock Scene’: https://daily.bandcamp.com/2016/08/22/pk14-interview-chinese-indie-rock/
‘“We Pretty Much Whine About the Same Things”: Emo in Asia’: https://daily.bandcamp.com/2016/10/20/emo-in-asia-list/
‘Cambodia’s Queen of Punk Wants to Kill the Love Song’: http://www.ozy.com/rising-stars/cambodias-queen-of-punk-wants-to-kill-the-love-song/82985
Global Hip Hop & DJ Cultures
Reading
Clayton, Jace. Uproot: Travels in Twenty-First-Century Music and Digital Culture. New York: Farrar, Straus and Giroux, 2016. [extracts provided]
Dancecult journal. https://dj.dancecult.net/
Baker, Geoffrey. ‘¡Hip Hop, Revolución! Nationalizing Rap in Cuba’. Ethnomusicology 49, no. 3 (2005): 368-402.
Barrett, Rusty. ‘Indigenous Hip Hop as Anti-colonial Discourse in Guatemala’. In Music as Multimodal Discourse: Semiotics, Power and Protest, edited by Lyndon C. S. Way and Simon McKerrell. New York: 2017.
Gámez Torres, Nora. ‘Hearing the Change: Reggaeton and Emergent Values in Contemporary Cuba’. Latin American Music Review / Revista de Música Latinoamericana 33, no. 2 (2012): 227-60.
Kun, Josh. ‘The Aesthetics of Allá: Listening Like a Sonidero’. In Audible Empire: Music, Global Politics, Critique. Edited by Ronald Radano and Tejumola Olaniyan. Durham, NC: Duke University Press, 2016, 95-115.
Marshall, Wayne and Jayson Beaster-Jones. ‘It Takes a Little Lawsuit: The
Flowering Garden of Bollywood Exoticism in the Age of Its Technological Reproducibility’. South Asian Popular Culture 10, no. 3 (2012): 249-260. DOI:10.1080/14746689.2012.706015
Mitchell, Tony. ‘Icelandic Hip Hop: From ‘Selling American Fish to Icelanders’ to Reykjavíkurdætur (Reykjavík Daughters)’. Journal of World Popular Music 2, no. 2 (2015): 240-61.
Perry, Marc. ‘Currents of Revolutionary Confluence: A View from Cuba’s Hip Hop Festival’. In Audible Empire: Music, Global Politics, Critique. Edited by Ronald Radano and Tejumola Olaniyan. Durham, NC: Duke University Press, 2016, 209-24.
Roth-Gordon, Jennifer. ‘Racial Malleability and the Sensory Regime of Politically Conscious Brazilian Hip Hop’. The Journal of Latin American and Caribbean Anthropology 18, no. 2 (2013): 294–313. DOI: 10.1111/jlca.12021
Zuberi, Nabeel. ‘Sampling South Asian Music’. In South Asian Technoscapes, edited by Radhika Gajjala and Venkataramana Gajjala. New York: Peter Lang, 2008, 49–70.
Alim, H. Samy, Awad Ibrahim and Alastair Pennycook, eds. Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language. New York: Routledge, 2009.
Bradley, Lloyd. Bass Culture: When Reggae Was King. London: Penguin, 2001.
Mitchell, Tony, ed. Global Noise: Rap and Hip-Hop Outside the USA. Middletown: Wesleyan University Press, 2001.
Rivera, Raquel Z., Wayne Marshall and Deborah Pacini Hernandez, eds. Reggaeton Durham, NC: Duke University Press, 2009.
Rollefson, J. Griffith. Flip the Script: European Hip Hop and the Politics of Postcoloniality. Chicago: The University of Chicago Press, 2017.
Saucier, Paul Khalil, ed. Native Tongues: An African Hip-Hop Reader. Trenton: Africa World Press, 2011.
St. John, Graham. Global Tribe: Technology, Spirituality and Psytrance. Sheffield: Equinox, 2012.
St. John, Graham, ed. The Local Scenes and Global Culture of Psytrance. New York: Routledge, 2010.
Sullivan, Paul. Remixology: Tracing the Dub Diaspora. London: Reaktion, 2014.
Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middletown: Wesleyan University Press, 2007.
Weheliye, Alexander G. Phonographies: Grooves in Sonic Afro-Modernity. Durham, NC: Duke University Press, 2005. [Chapter 4: ‘Consuming Sonic Technologies’]
Listening
Luísa Maita. ‘Lero-Lero’ (DJ /rupture remix). Maita Remixed. CD. Cumbancha Discovery CMB-CD-87, 2010.
Baloji. ‘Karibu Ya BIntou’ (feat. Konono No. 1). Kinshasa Succursale. CD. EMI 5099996657928, 2010.
Buraka Som Sistema. ‘D..D..D..D..Jay’ (feat. Petty). Black Diamond. CD. Fabric fabcd002, 2008.
Africaine 808. ‘Yes We Can’. Basar. LP. Golf Channel CHANNEL55LP, 2016.
Nidia Minaj. ‘Estudio Da Mana Na Casa’. Danger. EP. Príncipe P008, 2015.
Below: the Spotify playlist for this session
Videos
https://www.youtube.com/embed/gfElOKA71uo
RTP2 feature on DJ Marfox and Principe [click on Subtitles icon for English subs]
https://www.youtube.com/embed/4SRv2yi6x1c
Feature by Rimas e Batidas on DJ Marfox
https://player.vimeo.com/video/20004234
‘DJ Rupture: An Introduction’, from Dutty Artz
https://www.youtube.com/embed/OPaUzuIaRd8
PBS News Hour slot on DJ Rupture
https://www.youtube.com/embed/TDHrhRemFJE
Lecture by DJ/Rupture for Loop/Ableton on global music and digital culture
https://www.youtube.com/embed/ECxNBNtqmx8
Criolo & Emicida, ‘Demorô’
https://www.youtube.com/embed/QbrvwaVXJ48
A Tribe Called Red, ‘Sisters’ ft Northern Voice
https://www.youtube.com/embed/IXE6_j1N7o8
Tshetsha Boys, ‘Nwa Pfundla’ (2010)
https://www.youtube.com/embed/4CkXhtw7UNk
Buraka Som Sistema feat. M.I.A. ‘Sound of Kuduro’ (2008)
https://www.youtube.com/embed/C4vc25TcIe0
Baloji, ‘Le Jour d’Après / Siku Ya Baadaye’ (Indépendance Cha-Cha)
https://www.youtube.com/embed/sD3tWgZAav8
Baloji with Konono N°1, ‘Karibu Ya Bintou’
https://www.youtube.com/embed/9FDMqYqFJac
Y.A.K., ‘Myanmar Women’ (2015)
https://www.youtube.com/embed/SJh2QDqgYwo
Planet B-Boy trailer
https://www.youtube.com/embed/gNh6qpsuo58
Planet B-Boy Korea
https://www.youtube.com/embed/SYun8iDG8wU
Last For One ‘Canon’ promotional video
Other sources
Principe website: https://principediscos.wordpress.com/
Principe bandcamp: https://principediscos.bandcamp.com/
Principe tumblr: http://principediscos.tumblr.com/
Website for the book Uproot, including curated mixes for each chapter: http://uprootbook.com/
DJ/Rupture Playlists and Archives at WFMU: http://wfmu.org/playlists/dr/
Cosmopolitanism and Utopia
Reading
Brown, Jayna. ‘Buzz and Rumble: Global Pop Music and Utopian Impulse’. Social Text 28, no. 1 (2010): 125-46.
Hogarth, Hyun-key Kim. ‘The Korean Wave: An Asian Reaction to Western-Dominated Globalization’. Perspectives on Global Development & Technology 12, no. 1 / 2 (2013): 135-51.
Howard, Keith. ‘Mapping K-Pop Past and Present: Shifting the Modes of Exchange’. Korea Observer 45, no. 3 (2014): 389-414.
Lacasse, Serge. ‘(Re)generations of Popular Musicology’. In The SAGE Handbook of Popular Music, edited by Andy Bennett and Steve Waksman. Los Angeles: SAGE.
Maier, Carla J. ‘Sonic Modernities: Listening to Diasporic Urban Music’. In Sound as Popular Culture: A Research Companion. Edited by Jens Gerrit Papenburg and Holger Schulze. Cambridge, MA: The MIT Press, 2016, 173-81.
Mori, Yoshitaka. ‘J-Pop Goes the World: A New Global Fandom in the Age of Digital Media’. In Made in Japan: Studies in Popular Music, edited by Toru Mitsui. New York: Routledge, 2014.
Sharma, Nitasha. ‘Rap, Race, Revolution: Post 9/11 Brown and a Hip Hop Critique of Empire’. In Audible Empire: Music, Global Politics, Critique. Edited by Ronald Radano and Tejumola Olaniyan. Durham, NC: Duke University Press, 2016, 292-313.
Turino, Thomas. ‘Are We Global Yet? Globalist Discourse, Cultural Formations and the Study of Zimbabwean Popular Music’. British Journal of Ethnomusicology 12, no. 2 (2003): 51-79. DOI: 10.1080/09681220308567363.
Berger, Harris M. and Michael Thomas Carroll, eds. Global Pop, Local Language. Jackson: University Press of Mississippi, 2003.
Chow, Yiu Fai and Jeroen de Kloet. Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image. Bristol: Intellect, 2013.
Homan, Shane, ed. Access All Eras: Tribute Bands and Global Pop Culture. Maidenhead: Open University Press, 2006.
Howard, Keith, ed. Korean Pop Music: Riding the Wave. Folkestone: Global Oriental, 2006.
Kavoori, Anandam P. and Aswin Punathambekar, eds. Global Bollywood. New York: New York University Press, 2008.
Madrid, Alejandro L. Nor-tec Rifa! Electronic Dance Music from Tijuana to the World. New York: Oxford University Press, 2008.
Stewart, Gary. Rumba on the River: A History of the Popular Music of the Two Congos. London: Verso, 2000.
Tragaki, Dafni, ed. Empire of Song: Europe and Nation in the Eurovision Song Contest. Lanham: The Scarecrow Press, 2013.
Wallach, Jeremy. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001. Madison: University of Wisconsin Press, 2008.
Listening
Natacha Atlas. ‘I Put a Spell on You’. Ayeshteni. Mantra MNTCD1024, 2001.
Psy. ‘Gangnam Style’. WMA File. YG Entertainment, 2012.
Fatima Al Qadiri. ‘Shanzhai (For Shanzhai Biennial)’ )feat. Helen Fung). Asiatisch. LP. Hyperdub HDBLP024, 2014.
Björk ‘Crystalline’ (Omar Souleyman Remix). Bastards. LP. One Little Indian tplp1178, 2012. M.I.A. ‘Freedun’ (feat. Zayn). AIM. LP. Interscope 00602557164015, 2016.
Below: the Spotify playlist for this session
Videos
https://www.youtube.com/embed/9bZkp7q19f0
Psy, ‘Gangnam Style’
https://www.youtube.com/embed/bwmSjveL3Lc
BLACKPINK, ‘Boombayah’
https://www.youtube.com/embed/LJVUjmNMF8c
Sistar, ‘I Like That’
https://www.youtube.com/embed/yMqL1iWfku4
Crayon Pop, ‘Bar Bar Bar’
https://www.youtube.com/embed/vaijpqksV8Q
Crayon Pop, ‘Doo Doom Chit’
https://www.youtube.com/embed/3fy4cqWMhyI
Wonder Girls “Be My Baby” M/V
https://www.youtube.com/embed/GDbUqDGGtl8
Monrose, ‘Hot Summer’
https://www.youtube.com/embed/z-rftpZ7kCY
f(x), ‘Hot Summer’
https://www.youtube.com/embed/wKeCOKsi37Q
f(x), ‘Hot Summer’ (Japanese version)
https://www.youtube.com/embed/EzJvBgsFjvQ
WatchMojo Top 10 Iconic K-Pop Songs
Other sources
Billboard K-pop channel: http://www.billboard.com/k-pop
Reddit K-pop pages: https://www.reddit.com/r/kpop/
AllKpop: http://www.allkpop.com/
New Yorker article by John SEabrook on ‘Cultural technology and the making of K-pop’: http://www.newyorker.com/magazine/2012/10/08/factory-girls-2
Bandcamp Daily feature on Vocaloids, Foodman and the Orange Milk label: https://daily.bandcamp.com/2016/11/18/orange-milk-records-feature/?utm_source=Facebook&utm_content=Orange+Milk
Thump feature on the Tokyo footwork scene: https://thump.vice.com/en_us/article/thump-specials-footwork-in-tokyo
Online lecture
This lecture was recorded during the Covid-19 lockdown in March 2020, when present-in-person sessions became impossible at Newcastle University.
M.I.A.’s song ‘Jimmy Jimmy’ is based on ‘Jimmi Jimmi Jimmi Aaja’, as sung by Parvati Khan in the film Disco Dancer (1982). That version is available on YouTube.
Late Voice 