Writing as Performing Pop. A Conversation with Simon Reynolds (Audio)

On December 3rd, 2017, Fabian Holt and Dahlia Borsche from Humboldt-University’s department of musicology invited Simon Reynolds to a public panel discussion. Listen to the recording of the entire panel discussion.

Fabian Holt (HUB/Roskilde) introducing the panel. (Photo: Dahlia Borsche)

Reynolds, one of the most successful pop music journalists of our times and well known author, writes for newspapers and magazines as New Yorker, The Wire, Village Voice, or Uncut. Since 2002 he is running his blog Blissout. He is author of Generation Ecstasy (1998), Rip It Up And Start Again (2007), Retromania (2012), and many others.

A day before the Berlin presentation of his latest book (Shock and Awe: Glam Rock and its Legacy) he attended the panel on „Writing as Performing Pop“. Invited guests for the conversation were Missy Magazine’s editor Sonja Eismann and pop-historian Bodo Mrozek, author of Jugend – Pop – Kultur. Eine transnationale Geschichte (in print).

Simon Reynolds, Sonja Eismann, Bodo Mrozek – three authors, three settings, three positions, but all with one subject. They write about pop music, they write (about) pop history. Moderated by Stefanie Alisch they discussed challenges of writing about a topic as aesthetically and emotionally charged as (pop) music, the history of pop music journalism and the question, how far a written historical reconstruction of pop culture events renders pop history in the first place.

Stefanie Alisch, Sonja Eismann, Simon Reynolds and Bodo Mrozek at the Media Theatre of Humboldt University Berlin.

(photos: Dahlia Borsche; audio editing: Max Knoth productions.)

Dahlia Borsche

Dahlia Borsche is musicologist and curator. In 2019 she has taken on the position as Head of Music at the DAAD Artist-In-Residence programme. Dahlia Borsche was active as promoter, DJ, coordination manager and producer (CTM Festival Berlin, Labor Sonor et alt.). From 2014-2019 she co-curated CTM’s discourse programme. As a musicologist, her most recent engagement was at Humboldt-University’s Chair for Trans-Cultural Musicology in the Department of Musicology and Media Studies. Her research interests focus on contemporary and transcultural music processes, thereby expanding traditional discipline boundaries to the fields of sound, urban and cultural studies.

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