| Contents |
Modernism and nationalism in English and Afro-American popular music. Appropriation and crossover ; The postmodern condition and how pop ate itself ; The Pet Shop Boys and pop modernism ; Nationalism in British pop and the music press ; Hip hop and 'populist modernism' ; 'Black music' and nationalism ; Hispanic rap in the USA ; Global rap: the view from the USA ; Some developments in francophone rap -- World music: Beating through the jungle. The cultural imperialism thesis ; Mapping world music ; Hybridization and transculturation: the Bhundu boys ; Bhangra and 'Asian beat': diasporas adrift ; Musical migration, 'ouverture' and sonic tourism ; Algerian rai: Thursday night fever ; 'New sounds for a bored culture' ; Sampling, jungle, deracination and exile ; Lasers in the jungle: Graceland and other appropriations ; Commodity fetishism, imaginary geography and locality -- Mixing pop and politics? Rock music in the Czech Republic. The politics of bloc rock ; The 'rock 'n' roll president', the Velvet Underground and the Velvet revolution 1989/1968 ; Jazz, pop and rock in Czechoslovakia: a brief history ; The plastic people of the universe ; 'Eccentrics on the ground floor' ; The Prague music scene in the 1990s ; Punk lives ; 'Slacker city' ; World music and the Czech Republic ; Progress in Prague -- Questions of style: the Italian posses and their social contexts. Crossovers, novelties and parodies ; The hip hop nation takes Cisternino ; Italian rap, the centri sociali and a culture of antagonism ; Jovanotti and pop-rap ; Questions of style: 'street credibility' versus 'funky sensibility' ; The Italian roots of rap -- Real wild child: Australian popular music and national identity. Australia Day ; Yothu Yindi and aboriginal popular music ; World music in Australia ; Australian hip hop: kickin' to the undersound ; Australian dance music: back to terra nullius? ; 'Oz rock': Australian music's dead centre -- The sounds of nowhere? Bicultural music in Aotearoa/New Zealand. A history of appropriations ; Splitting Enz ; Dunedin, Noisyland ; Flying Nun and the British indie scene ; A 'Kiwi head' subculture ; He waiata na Aotearoa (Maori music in New Zealand) ; Historical hybrids ; Soul, reggae and waiata ; Maori and Pacific Islander hip hop ; Once Were Warriors and Maori music ; The proud project and the 'Otara sound' -- Conclusion: Globalization and local identity. |
