Nocturnes: Popular Music and the Night (Pop Music, Culture and Identity)

The night and popular music have long served to energise one another, such that they appear inextricably bound together as trope and topos. This history of reciprocity has produced a range of resonant and compelling imaginaries, conjured up through countless songs and spaces dedicated to musical life after dark. __Nocturnes: Popular Music and the Night__ is one of the first volumes to examine the relationship between night and popular music. Its scope is interdisciplinary and geographically diverse. The contributors gathered here explore how the problems, promises, and paradoxes of the night and music play off of one another to produce spaces of solace and sanctuary as well as underpinning strategies designed to police, surveil and control movements and bodies. This edited collection is a welcome addition to debates and discussions about the cultures of the night and how popular music plays a continuing role in shaping them. Front Matter ....Pages i-xvii Introduction: Because the Night... (Giacomo Bottà, Geoff Stahl)....Pages 1-18 Front Matter ....Pages 19-19 “In the Pitch Black Dark”: Searching for a “Proper Allnighter” in the Current Northern Soul Scene (Sarah Raine)....Pages 21-34 Putting Paris and Berlin on Show: Nightlife in the Struggles to Define Cities’ International Position (Myrtille Picaud)....Pages 35-48 Pubcrawling Lisbon: Nocturnal Geoethnographies of Bairro Alto (Jordi Nofre, Daniel Malet Calvo)....Pages 49-61 When Night Fails? Wellington’s Night-Time Culture in Flux (Geoff Stahl)....Pages 63-77 Learning by Doing: Young Indonesian Musicians, Capital and Nightlife (Oki Rahadianto Sutopo)....Pages 79-94 Front Matter ....Pages 95-95 “Sounds and Scents Turn in the Evening Air”: Sense and Synaesthesia in Popular Song Settings of Baudelaire’s Evening Harmony (Caroline Ardrey)....Pages 97-111 Got Any Gay Music? London’s “Anti-Gay” Queer Clubs 1995–2000 (Leon Clowes)....Pages 113-127 Music and Fear in Night-Time Apartheid (Michael Drewett)....Pages 129-144 Front Matter ....Pages 145-145 Nocturnal Paradox: How Breakdancing Reveals the Potentials of the Night (Rachael Gunn)....Pages 147-162 Can We Play Here? The Regulation of Street Music, Noise and Public Spaces After Dark (Jhessica Reia)....Pages 163-176 Transformative Darkness: Fear, Vigilantism and the Death of Trayvon Martin (Abimbola Cole Kai-Lewis)....Pages 177-190 Front Matter ....Pages 191-191 Songs of Apple: The Flâneuse in Nocturnal Tokyo (Karen Anne Mata)....Pages 193-203 A Hustle Here and a Hustle There: Lou Reed in the City of Night (Jarek Paul Ervin)....Pages 205-218 “Tonight You’re Still on My Mind”: Nostalgia and Parody in Donald Fagen’s The Nightfly (Nathan Seinen)....Pages 219-239 Algorithm of the Night: Google’s DeepDream and (Dis)Harmonies of an Eternal Nocturnal (Christopher M. Cox)....Pages 241-255 Afterword (Will Straw)....Pages 257-267 Back Matter ....Pages 269-280 The night and popular music have long served to energise one another, such that they appear inextricably bound together as trope and topos. This history of reciprocity has produced a range of resonant and compelling imaginaries, conjured up through countless songs and spaces dedicated to musical life after dark. Nocturnes: Popular Music and the Night is one of the first volumes to examine the relationship between night and popular music. Its scope is interdisciplinary and geographically diverse. The contributors gathered here explore how the problems, promises, and paradoxes of the night and music play off of one another to produce spaces of solace and sanctuary as well as underpinning strategies designed to police, surveil and control movements and bodies. This edited collection is a welcome addition to debates and discussions about the cultures of the night and how popular music plays a continuing role in shaping them. Geoff Stahl is Senior Lecturer in Media Studies at Victoria University of Wellington, New Zealand. His research areas include cities, scenes, subcultures, semiotics, popular music and advertising. He has published on music making in Montreal, Berlin and Wellington. Giacomo Bottà is a grant researcher and part-time lecturer in cultural urban studies at the University of Helsinki, Finland. He has researched and written about post-punk in Manchester and Düsseldorf, social beat and poetry slam in Berlin, punk in Turin and Tampere, a Clash gig in Bologna and about music scenes in declining industrial cities in general. He edited Invisible Landscapes: Popular Music and Spatiality (2016)