Andy Bennett and Jon Stratton are editing a collection discussing pub rock in the UK and Australia. We are looking for someone to write a chapter on gender, focusing on women, and pub rock in the UK. The completed chapter will be around 6000 words and we will need it around the middle of November. The book is to be published by Routledge. All enquiries should go to either Andy or Jon, or both of us. Andy’s email address is a.bennett@griffith.edu.au, Jon’s email address is jon.stratton@unisa.edu.au.

After All This Time: Legacy Acts, Fandom, and Collective Identity

Guest-edited by Andy Bennett and Devpriya Chakravarty (Griffith University, Australia)

Submissions are invited for a special issue of Rock Music Studies on the topic of Legacy Acts, Fandom, and Collective Identity. Popular music is now increasingly acknowledged as a key aspect of contemporary history and heritage. The marketing of popular music as a form of youth-based leisure and consumption from the mid-1950s onward has had significant implications for its cultural meaning as a collective soundtrack and a means through which successive generations of youth have sought to distinguish themselves from the parent culture. This aspect of the relationship between popular music and youth became more pointed during the 1960s and into the 1970s with a new political sensibility among youth, and was also reflected in much of the popular music of the time, which gave rise to a global counter-cultural movement. This sensibility continued to reverberate in subsequent musical genres such as punk, post-punk and new wave.

Kia ora koutou,

With the usual apologies for cross posting. I am pleased to announce a call for abstracts for a special issue of Popular Music History Journal on jazz and gender. Please see below for details:

Special Issue of Popular Music History (2023)

Title: Gender and Jazz: Histories and Scenes

From the latter half of the twentieth century there has been increasing interest and work in gender and jazz, with several collections examining the roles of women and gay and lesbian musicians in the jazz world, both historically and contemporarily. Nichole Rustin-Paschel and Sherrie Tucker’s 2008 collection Big Ears: Listening for Gender in Jazz Studies has now become an eminent text in the area, and more recently, the Jazzinstitut, Darmstadt held its 14th Jazzforum on the topic of gender and identity in jazz (resulting in a published collection by the same name in 2016). These, and other collections and articles, have delved into gender and its roles in the jazz world, however there are still many more aspects to explore.  Gender, and gender binaries, have shaped the jazz world since the 1920s. Now in the 2020s, the centennial of the Jazz Age gives us an opportunity to explore the many ways that perceptions of gender have been defined and evolved over the last 100 years. There is a need to examine where we are at in the 2020s, and to give thought to the work ahead as creative practitioners, researchers and historians. This themed issue seeks to explore both the known and unknown about gender in the jazz world. Asides from issues around femininity and masculinity (and men and women) in jazz, we seek articles that explore musicians, bands, and scenes who have been ignored or shunned because their performance of gender and/or sexual orientation did not comfortably fit into the perceptions held by critics and audiences. We also seek explorations around power dynamics and gender on and off the bandstand, #MeToo, and collectives such as We Have Voice and Keychange.

Please submit a short abstract (no more than 200 words) to guest editor, Aleisha Ward: a.ward@auckland.ac.nz Abstracts deadline: 1 June 2022