Relocating Popular Music / [Edited By] Ewa Mazierska, University of Central Lancashire, UK, and Georgina Gregory, University of Central Lancashire, UK

Copyrighted material – 978–1–137–46337–1 Selection and editorial matter © Ewa Mazierska and Georgina Gregory 2015 Remaining chapters © Respective authors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6– 10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–46337–1 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Relocating popular music / [edited by] Ewa Mazierska, University of Central Lancashire, UK, and Georgina Gregory, University of Central Lancashire, UK. pages cm Includes bibliographical references. ISBN 978–1–137–46337–1 1. Popular music—History and criticism. 2. Music and globalization. I. Mazierska, Ewa, editor of compilation. II. Gregory, Georgina, editor of compilation. ML3470.R45 2015 781.6309—dc23 2015004020 Typeset by MPS Limited, Chennai, India. Copyrighted material – 978–1–137–46337–1 Copyrighted material – 978–1–137–46337–1 Contents List of Figures vii Notes on Contributors ix Introduction: Setting Popular Music in Motion 1 Ewa Mazierska Part I Soundscapes of Power 1 Spaces of Protest in Turkish Popular Music 27 Lyndon C. S. Way 2 Sampling the Sense of Place in Baile Funk Music 44 Sandra D’Angelo 3 Die Antwoord: The Answer to the Unspoken Question 63 Katarzyna Chruszczewska 4 Recycled Music for Banal Nation: The Case of Serbia 1999– 2010 84 Srđan Atanasovski 5 ‘Escape and Build another World’: Relocations in Classical Minimalism and Minimal Techno 104 Isabel Stoppani de Berrié Part II Music, Place and Tourism 6 Abbey Road Studios, the Tourist, and Beatles Heritage 129 Peter Atkinson 7 East Meets West: Tallinn Old Town and Soviet Estonian Pop Music on Screen 148 Eva Näripea 8 Tourism and Heterotopia in Falco’s Songs 167 Ewa Mazierska 9 In Praise of Authenticity? Atmosphere, Song, and Southern States of Mind in Searching for the Wrong- eyed Jesus 186 Nick Hodgin v Copyrighted material – 978–1–137–46337–1 Copyrighted material – 978–1–137–46337–1 vi Contents 10 Emotional Places: The Role of Affect in the Relocation of Mancunian Melancholia 207 Georgina Gregory 11 Beauty Is Not the Word: Relocating Detroit in Eminem’s Video Beautiful 225 Żaneta Jamrozik Index 245 Copyrighted material – 978–1–137–46337–1 Copyrighted material – 978–1–137–46337–1 Introduction: Setting Popular Music in Motion Ewa Mazierska The purpose of this collection is to shed the light on the relations between music and place. Of specific interest to its editors and authors is the idea of relocation of popular music, which can mean many different things: transporting music from one place or historical period to another, hybridising it with a different style, placing it in a new context or furnishing it with a new meaning. On many occasions, this involves discussing music in relation to visual media, most importantly music video, but also film, graphic arts, fashion, and architecture. In our introduction we will present this approach against a background of the existing body of research on place and space in humanities at large, and popular music in particular. This steadily growing research can be seen as a reflection of what we propose to label a ‘spatial turn in humanities’ and a ‘spatial turn in the study of popular music’. From time to space, from place to space In the last four decades or so, we observe a rapidly growing interest in the study of place and space in relation to humanities. This shift was recognised or anticipated by Michel Foucault, as demonstrated by his writings from the 1960s and 1970s. Interviewed in 1976 by the editors of the journal Hérodote, he said A critique could be carried out of this devaluation of space that has prevailed for generations. Did it start with Bergson, or before? Space was treated as the dead, the fixed, the undialectical, the immobile. Time, on the contrary, was richness, fecundity, life, dialectic. For all those who confuse history with the old schemes of evolution, living continuity, organic development, the progress of consciousness 1 Copyrighted material – 978–1–137–46337–1 Copyrighted material – 978–1–137–46337–1 2 Ewa Mazierska or the project of existence, the use of spatial terms seems to have the air of anti- history. If one started to talk in terms of space that meant one was hostile to time. (Foucault 1980: 70) In the latter part of the interview, Foucault maintains, contrary to the suggestions made by his interlocutors, that there is no conflict between space and time as the principal hermeneutic tools in the humanities. One cannot do without the other, as his own studies on the history of medicine, penal systems or education, demonstrate; an opinion with which we agree. From our perspective another important aspect of his discussion is that by looking at spatial relations we discover relations of power. Terms such as ‘position’, ‘field’, ‘territory’, ‘displacement’, even belong to political and military discourse (ibid.: 68). In the lecture published in the 1980s as ‘Of Other Spaces’, although delivered in 1967, Foucault’s position appears to be that already by this point space is winning over history in contemporary culture: The great obsession of the nineteenth century was, as we know, history: with its themes of development and of suspension, of crisis, and cycle, themes of the ever- accumulating past, with its great prepon- derance of dead men and the menacing glaciation of the world. The nineteenth century found its essential mythological resources in the second principle of thermodynamics. The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side- by- side, of the dispersed. (Foucault 1986: 229) In the subsequent decades, this view was developed by a number of thinkers, including Deleuze and Guattari, the authors of the concepts of deterritorialisation and reterritorialisation (Deleuze and Guattari 1983). In 2003, Fredric Jameson began his essay ‘The End of Temporality’, with the question ‘After the end of history, what?’, to which he answered: [T]he spatial alternative. Statistics on the volume of books on space are as alarming as the birthrate of your hereditary enemy. The rise of intellectual stock of architecture accompanied the decline of belles lettres like a lengthening shadow … So the dictum that time was the dominant of the modern (or the modernism) and space of the postmodern means something thematic and empirical all at once: what we do, according to the newspapers and the Amazon statistics, and what we call what we are doing. I don’t see how we can avoid Copyrighted material – 978–1–137–46337–1 Copyrighted material – 978–1–137–46337–1 Introduction 3 identifying an epochal change here, and it affects investments (art galleries, building commissions) as much as the more ethereal things also called values. (Jameson 2003: 696) Jameson rightly identifies the fact that at the end of the twentieth century and beyond talking about time equals talking about the end or at least exhaustion, as exemplified by some influential books on the contemporary concept of time published in the last decades of the twentieth century and the beginning of the twenty- first century: Lutz Niethammer’s Posthistoire: Has History Come to an End? (1992), Francis Fukuyama’s The End of History and the Last Man (1992) or Slavoj Žižek’s Living in the End Times (2011). By contrast, the influential books about the character of places and spaces do not convey such a sense of finality and fatalism. Since the publication of Gaston Bachelard’s The Poetics of Space in 1958 (1994), place and space come across as subjective and infi- nitely flexible. In this way, space is represented in many books written in the shadow of Bachelard’s study, for example Jonathan Raban’s Soft City (1975) and Yi- Fu Tuan’s Topophilia (1974) and Space and Place: The Perspective of Experience (1977). I shall also mention here the influential book by Henri Lefebvre The Production of Space, published in 1974. The shifts from time to space and from history to spatial discourses are also explained by such factors as the proliferation of new media, especially the internet, which allows easy access to many distant sites at once, the increased speed of transportation and, connected with it, growth in migration and diaspora.

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