Global Pop Studies 2

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


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.


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

Omar Souleyman, ‘Warni Warni’ Official Video (2013)
Omar Souleyman wedding performance footage (Sublime Frequencies video from 2009)
Omar Souleyman at Glastonbury (2011)
Group Doueh in clip from Sublime Frequencies film Palace of the Winds
Bombino concert, Agadez (2010)
Baba Commandant & The Mandingo Band at the Tusk Festival, Gateshead, 2015
Konono N°1, ‘Lufuala Ndonga’
MERAPI GAYA: A portrait of Arrington de Dionyso in Indonesia (2012)

Other resources

‘Dustry African Grooves’: Feature on Samy Ben Redje of Analog Africa:

‘Finders Keepers – a Decade of Sonic Archaeology’: Listicle from The Attic (July 2015):

‘Bargou 08 Update Tunisian Folk Music for Modern Times’: Feature on Bargou 08:

Bandcamp Daily feature on the label Dust-to-Digital:

‘How Brazil is reclaiming its record culture’, feature on Vinyl Factory:

Global Rock Cultures


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.


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

Trailer for film My Buddha Is Punk
Baby Metal, ‘Karate’ (2016)
Sepultura, ‘Roots Bloody Roots’ (1996)
Tinariwen & IO:I, ‘Sastanàqqàm’ (2017)
Mortal Soul, ‘Solace’ (2013, reissued 2019)
Abdoulaye Bouzou “Mona” from the rock group Azna de L’Ader
Voice of Baceprot, ‘School Revolution’ (2018)

Other sources

‘P.K. 14’s Foundational Place in the Chinese Indie Rock Scene’:

‘“We Pretty Much Whine About the Same Things”: Emo in Asia’:

‘Cambodia’s Queen of Punk Wants to Kill the Love Song’:

Global Hip Hop & DJ Cultures


Clayton, Jace. Uproot: Travels in Twenty-First-Century Music and Digital Culture. New York: Farrar, Straus and Giroux, 2016. [extracts provided]

Dancecult journal.

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’]


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

RTP2 feature on DJ Marfox and Principe [click on Subtitles icon for English subs]
Feature by Rimas e Batidas on DJ Marfox
‘DJ Rupture: An Introduction’, from Dutty Artz
PBS News Hour slot on DJ Rupture
Lecture by DJ/Rupture for Loop/Ableton on global music and digital culture
Criolo & Emicida, ‘Demorô’
A Tribe Called Red, ‘Sisters’ ft Northern Voice
Tshetsha Boys, ‘Nwa Pfundla’ (2010)
Buraka Som Sistema feat. M.I.A. ‘Sound of Kuduro’ (2008)
Baloji, ‘Le Jour d’Après / Siku Ya Baadaye’ (Indépendance Cha-Cha)
Baloji with Konono N°1, ‘Karibu Ya Bintou’
Y.A.K., ‘Myanmar Women’ (2015)
Planet B-Boy trailer
Planet B-Boy Korea
Last For One ‘Canon’ promotional video

Other sources

Principe website:

Principe bandcamp:

Principe tumblr:

Website for the book Uproot, including curated mixes for each chapter:

DJ/Rupture Playlists and Archives at WFMU:

Cosmopolitanism and Utopia


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.


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

Psy, ‘Gangnam Style’
BLACKPINK, ‘Boombayah’
Sistar, ‘I Like That’
Crayon Pop, ‘Bar Bar Bar’
Crayon Pop, ‘Doo Doom Chit’
Wonder Girls “Be My Baby” M/V
Monrose, ‘Hot Summer’
f(x), ‘Hot Summer’
f(x), ‘Hot Summer’ (Japanese version)
WatchMojo Top 10 Iconic K-Pop Songs

Other sources

Billboard K-pop channel:
Reddit K-pop pages:
New Yorker article by John SEabrook on ‘Cultural technology and the making of K-pop’:

Bandcamp Daily feature on Vocaloids, Foodman and the Orange Milk label:

Thump feature on the Tokyo footwork scene:

Online lecture

This lecture was recorded during the Covid-19 lockdown in March 2020, when present-in-person sessions became impossible at Newcastle University.

Lecture – Part 1 of 2 – This part looks at recurring themes from the module (strangeness, distance, travel, translation, representation) and sets up the discussion of cosmopolitanism.
Manu Chao, ‘Clandestino’ (1998)
M.I.A., ‘Jimmy’, (2007).

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.

Buraka Som Sistema, ‘Sound of Kuduro’ (featuring DJ Znobia, M.I.A., Saborosa and Puto Prata) (2008)
Lecture – Part 2 of 2 – This part looks at cosmopolitanism and utopia, making reference to Janyna Brown’s article and to musical examples Manu CHao, M.I.A. and K-pop.