Since the 1970s, deindustrialization – or the massive reduction in industrial production, facilities, and jobs – has fundamentally changed Western societies. This history has tended to be narrated in terms of decline and loss, usually within a local or national locus. Recently, scholars have challenged the isolated directionality of these narratives by bringing global and cross-industrial perspectives to the fore. Deindustrialization instigated an uneven set of experiences in different spaces, and forms of rupture and continuity. Those experiences have been reflected in various forms of pop culture. As examples from Germany and Great Britain demonstrate, Western deindustrialization unfolded in the midst of global, and particularly Asian, industrialization, reinforcing each other, as the example of South Korea illustrates.
Tag Archives: cultural history
Workshop “Popkultur und die Historizität der Gegenwart” (Berlin, 29.11.2023)
After three semesters of looking into the medial premises and sociological dynamics of audiovisual cultures, our research focus of the winter term of 2023/24 will be on their historiographical implications. With this shift we take up discussions of previous semesters on topics such as the Cinematic Image and Historical Experience, as well as Material and Method. The notion of a historical phenomenology aims at the historicity of concrete forms of appearance and perception: To what extent can we think of audiovisual images as themselves bringing forth the spheres in which they emerge by shaping the possibilities of communal experience at a given point in time and space? Continue reading
Popular Cultures of Conservatism in Western Europe since the 1960s (new publication)
The most recent volume of the German Yearbook of Contemporary History focuses on cultures of conservatism in Western Europe, particularly the United Kingdom. It is especially interested in the transnational and transatlantic traffic in ideas, culture, and lifestyles between Europe and the United States in the final decades of the twentieth century. The first two contributions, “‘Abolish Economists!’: The Britcom Yes Minister and the Transformation of British Conservatism in the Thatcher Era” and “Thatcherism and Andrew Lloyd Webber’s Musicals” by Nikolai Wehrs and Amanda Eubanks Winker explore the relationship between Thatcherism and culture. Continue reading
Rezensions-Forum: Popgeschichte in Ost & West (Rez.)
“In der Geschichtswissenschaft zeigt eine ganze Reihe von Neuerscheinungen an, dass sich seit frühen, teils in der Protest-, Alltags- und Konsumgeschichte wurzelnden Pionierstudien [1] auch in der Zeitgeschichtsschreibung Pop als neues Feld etabliert hat. [2] […] Nun vertieft und erweitert gleich ein ganzer Schwung neuer Monografien und Sammelbände das Forschungsfeld empirisch.”
Das Forum “Popgeschichte in Ost und West” (Ausgabe 02/22) stellt diese Bücher vor:
CFP: Cultures populaires postcoloniales : critique du colonialisme, décolonisation et #BlackLivesMatter (Deadline 15 Fevrier 2022)
Ce colloque dans le cadre du 13e congrès des francoromanistes (21-24 Septembre 2022 à Vienne (Autriche)) explore comment le processus historique de la décolonisation se reflète dans les cultures populaires francophones mondiales. Elle explore la question de la renégociation des dynamiques de l’altérité et de la production de nouveaux langages esthétiques. Le postcolonial est compris comme un processus en mouvement qui commence bien avant l’indépendance des colonies françaises et s’étend jusqu’à l’époque actuelle des mouvements de protestation mondiaux. Continue reading
Research Project: Punk in the Federal Republic Germany 1976-1990s (English & German text)
Campino, singer of Die Toten Hosen, interviewed the then youth minister Angela Merkel for a special issue of the German news magazine Der Spiegel with the title “Pop & Politics” in 1994. The cover featured a collage which comprised of people like Elvis Presley, the Beatles and Bill Clinton playing a saxophone. Among them, Sid Vicious of the Sex Pistols glared at the possible buyers in neighbourhood kiosks. In this issue the journalist and pop theorist Diedrich Diederichsen formulated ten theses for contemporary pop culture. Tony Parsons, one of the first journalists to write about British punk from 1976 onwards in the New Musical Express, pondered about the popularity of punk and its relation to mass culture in the 1990s. Punk as a media phenomenon and a lifestyle became part of mass culture and was a topic taken seriously by cultural critics. Continue reading
Research project: Radio Luxembourg and Europe n°1 in the Long Sixties
Commercial radio stations Radio Luxembourg (French and English services) and Europe n°1 are the focal point of my PhD thesis (defended at the University of Luxembourg in November 2020.). They were popular institutions in Western Europe throughout the Long Sixties (1958-1974) working across media and broadcasting transnationally. My thesis Commercial Radio Stations and their Dispositif. Transnational and Intermedial Perspectives on Radio Luxembourg and Europe n°1 in the Long Sixties postulates the existence of an overarching dispositif of commercial radio stations that enabled them to operate on various dimensions and differentiated them from other broadcasters. Continue reading
Special Issue “Popular Music History”: Narrating Popular Music History of the GDR: A Critical Reflection of Approaches, Sources and Methods (CfA, Deadline: January 29, 2021)
Background
Histories of German popular music generally focus on examples of West German music which were commercially successful and/or are considered to be aesthetically and musically ground-breaking. Bands such as Kraftwerk, Can, Neu! or the Scorpions are the subject of many academic as well as non-academic publications, and they are considered as canonical as genres such as Krautrock or Neue Deutsche Welle. East German musicians or movements, on the other hand, tend to be overlooked, as do specific artistic forms of expression which were developed in response to authoritarian leadership in the socialist German Democratic Republic (GDR). The examination of a relationship between the GDR and the arts is almost altogether absent from a pan-German popular music history. Continue reading
The cold German: The thermo-aesthetics of Kraftwerk. On the Obituaries on Florian Schneider
Nothing is more German than Kraftwerk, not even Germans themselves. Kraftwerk has long since risen to national myth, with significant help from English-speaking writers with a certain affinity for everything German. The obituaries that appeared after the recent death of founding member Florian Schneider resemble the usual pieces written about the group. All emphasize the numerous popular references to the band and the influence their sounds, beats and melodies have had on the music world: from David Bowie’s “Berlin Trilogy” and “V2 Schneider” (1977) to the Kraftwerk samples in the early hip hop and techno tracks of Afrika Bambaataa’s “Planet Rock” (1982) and Cybotron’s “Clear” (1983) and the work of Daft Punk and Coldplay. What they do not mention, however, is that Florian Schneider, together with his long-time partner Ralf Hütter, managed to create an image that would prove to be Germany’s most internationally successful pop export: the cold German.
“History Goes Pop? On the Popularization of the Past in Eastern European Cultures” (Conference, 10.-12.12.19)
Vom 10.12. bis 12.12.2019 findet an der Europa-Universität Viadrina in Frankfurt (Oder) der Workshop: “History Goes Pop? On the Popularization of the Past in Eastern European Cultures” statt – in Kooperation mit dem Leibniz-Zentrum für Kultur- und Literaturforschung
Interessierte sind herzlich Willkommen!
Organizers: Nina Weller (European University Viadrina, Frankfurt (Oder)), Matthias Schwartz (Leibniz Center for Literary and Cultural Research and Free University, Berlin)
Venue: Europa-Universität Viadrina, Gräfin-Dönhoff-Gebäude, Raum 05, Europaplatz 1, 15230 Frankfurt (Oder)
Date: December 10-12, 2019
Negotiating Machismo, ‘Exoticism’ and Feminism on the Dancefloor: Tango Argentino and Transcultural Encounters in the 20th and 21st Century (Review)
In the 20th century, tango argentino, Argentinean tango dancing, became a popular cultural practice in many metropolises all over the world. The image the broader public has of the traditional pair dancing style is, to a large degree, shaped by its depiction in mostly Western, but also Latin American popular culture. Movies such as Tango, no me dejes nunca [English title: Tango] (1998), Naked Tango (1998) and Scent of a Woman (1992) as well as celebrity dancing shows like Dancing with the Stars promote Argentinean tango as a highly sexualized, intimate and exotic dance oozing with stereotypical attributes of masculinity and femininity. In this sense, tango dancing can be fascinating and engaging, but may also be perceived as disreputable or discriminatory, and, thus, repelling. This tension makes for interesting and complicated characterizations of tango dancing, both when it first became a transnational phenomenon at the beginning of the 20th century and from a contemporary perspective. Continue reading
Research Project: ENDZEITOPIA. Forever Celebrating The End. Post Punk, Goth and Avant Garde in East Germany (1982 – 1992)
The punk scene was in a deep existential crisis when post punk, new wave and goth music and fashion trends finally reached East Germany in the Orwellian year 1984. For the punk community in particular, the prevailing mood was indeed a dystopian one (Pehlemann, Papenfuβ, Mieβner, 2015). Punk was not dead (yet), but East German punk (no) future views increasingly contained a sense of pessimist fatalism, while goths escaped any kind of future scenario by playing already being dead. In any case, change was happening within the cultural underground which corresponded with a broader societal change and a spreading Endzeitstimmung (Wirsching, 2006) during the final phase of the Cold War. This ‘global’ existential fear, caused by political, societal and environmental crises, like nuclear threat, AIDS and environmental pollution (for example the ‘Waldsterben‘: dying forests) inspired both avant garde artists and participants in protest movements on both sides of the Iron Curtain.
Lectures: Pophistory at the Institute of Historical Research (London, May & June 2016)
British pophistory is not just visible in London’s physical and cultural landscape. Upcoming events related to the history of pop culture at the Institute of Historical Research representing the long tradition of studying the everyday culture of people in Britain: Continue reading
CfP: “Pop Nostalgia: The Uses of the Past in Popular Culture” (London, Deadline: 30.6.2016)
Pop nostalgia, we are told, is everywhere. Our current golden age of television—from Mad Men to Vinyl, Downton Abbey to Call the Midwife—lovingly recreates earlier periods of the twentieth century, while club nights devoted to the 1980s or 1990s allow us to return to our youth. What is more, popular culture is, in the words of music journalist Simon Reynolds, addicted to its own past. It not only reminisces, it revives, reissues, remixes earlier forms and styles instead of coming up with genuinely new. Finally, our most modern technologies are always also time machines: producing sepia-coloured images of the present for an anticipated nostalgic recollection in the future.
CfP: Wie klingt Demokratie? / Musiques en démocratie (Paris)
Eine internationale Tagung wird sich vom 5. bis 7. November 2015 in der Philharmonie Paris mit der Frage „Wie klingt Demokratie?“ beschäftigen. Gefragt sind Beiträge aus den unterschiedlichsten Disziplinen der Geistes- und Sozialwissenschaften. Mit der provokanten Frage möchte die deutsch-französisch organisierte Tagung einen Raum öffnen, um Konzeptionen und Funktionalisierungspotentiale von Musik innerhalb demokratisch ausgerichteter Gesellschaftsformationen zu diskutieren. Continue reading