Seibt, Oliver, Martin Ringsmut, and David-Emil Wickström, eds. 2020. Made in Germany – Studies in Popular Music. Routledge Global Popular Music Series. New York, Oxon: Routledge. ISBN: 9780815391784.

Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of popular music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into the following thematic sections:

• Historical Spotlights
• Globally German
• Also “Made in Germany”
• Explicitly German and
• Reluctantly German.

Table of Contents

Introduction: Deutschland – Echt jetzt? German Popular Music’s Complicated Relationship with German Identity (Oliver Seibt, Martin Ringsmut, and David-Emil Wickström)
Interview: Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany. An Interview with Peter Wicke and Udo Dahmen (David-Emil Wickström)
Part I: Historical Spotlights
1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 (Caroline Stahrenberg)
2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 (Jens Gerrit Papenburg)
3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR (Michael Rauhut)
4: ‘Party on the Death Strip’ – Reflections on an Historical Turning Point (Susanne Binas-Preisendörfer)
Part II: Globally German
5: The Krauts Are Coming: Electronic Music and Rock in the 1970s (Ulrich Adelt)
6: German Metal Attack: Power Metal in and from Germany (Jan-Peter Herbst)
7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes (Melanie Schiller and Jeroen de Kloet)
Part III: Also “Made in Germany”
8: Peepl rock: Post-Soviet Popular Music in Germany (David-Emil Wickström)
9: Made in Almanya: The Birth of Turkish Rap (Thomas Solomon)
10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War (Bodo Mrozek)
Part IV: Explicitly German
11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion (Barbara Hornberger)
12: “One Day You Will Wish We’d Only Played Music”: Some Remarks on Recent Developments of Germany’s RechtsRock Scene (Thorsten Hindrichs)
13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany (Julio Mendiìvil)
Part V: Reluctantly German
14: “Meine Lieder sind anders”: Hildegard Knef and the Idea(l) of German Chanson (Reneì Michaelsen)
15: How Munich and Frankfurt Brought (Electronic) Dance Music to the Top of the International Charts with Eurodisco and Eurodance – and Why Germany Was Not Involved (Heiko Wandler)
16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist (Oliver Seibt)
Coda
17: The Germaican Connection – German Reggae Abroad (Martin Ringsmut)
Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) (Monika E. Schoop)
Selected Bibliography

More information can be found here.

David-Emil Wickström

David-Emil Wickström is a professor of popular music history at the Popakademie Baden-Württemberg. His areas of research include post-Soviet popular music as well as higher music education.

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