[ecrea] Popular Music History Journal: CFP and EOI for new Reviews Editor

As the incoming editors for Popular Music History Journal, we are 
seeking a new Reviews Editor for the journal. The current editor Andy 
Linehan has chosen to step down from the role after many years, and we 
thank him for all his hard and excellent work. If you would like to take 
on this position, please send a CV and a short (2-300 word) statement on 
your experience in this area to (Catherine.strong /at/ rmit.edu.au) 
<mailto:(Catherine.strong /at/ rmit.edu.au)> by August 20 (or email if you have 
any queries about the role).

We are also actively seeking content for the journal, and would like to 
invite scholars working on any aspects of popular music’s past to submit 
their work. While any historical articles are very welcome, we are also 
working to emphasise the following areas in the journal, and are 
interested in either single papers or ideas for special issues on the 
following topics:

*Histories outside the Western canon*

While the histories of the bands and scenes that are central to the 
Anglophone music canon have been extensively analysed, popular music 
histories beyond this are increasingly coming to light, and offer new 
and challenging ways to think about the effects of popular music. We 
welcome submissions from scholars working outside the Anglophone world, 
and also those focusing on narratives emerging from within that give 
voice to hidden, alternative and counter-histories.

*Fan voices/perspectives*

The growth of DIY archives and museums, and the increasing use of social 
media to circulate historical artefacts and facilitate discussions among 
fans of popular music mean there has been a growth in ‘bottom up’ 
materials available to scholars studying popular music histories, both 
in terms of what is preserved/circulated and the processes by which this 
happens. We would encourage scholars working in this area, and those 
using methodologies that privilege the voices of fans in various ways, 
to publish with us.

*Institutional histories*

We welcome papers that continue the journal’s interests in how cities, 
regions and nations construct and display popular music histories, and 
industrial, state and fan agendas. For example, the Victorian state 
Government in Australia has established the Australian Music Vault as an 
institutional archive and digital participatory space. We would envisage 
these sort of landmark events across the globe to be worthy of special 
issues as well as one-off papers.

*History, archiving and material culture*

While the journal has aired particular articles on contemporary 
archiving, we would like to continue this tradition, in exploring 
further the material constraints of ‘completist’ music archives, and the 
relationships/differences in amateur and ‘official’ archiving. Papers 
that explore music’s role in debates about popular culture in this 
space, in terms of practices, philosophies and agendas, are of 
particular interest.

*Proactive responses to events*

Music heritage debates regularly occur in the mainstream media. As 
editors, we believe it is imperative to be responsive to contemporary 
events (e.g. musician deaths or events such as the Manchester bombing or 
Punk 40 event in London) and construct special issues in as real time as 
possible in relation. Proposals along these lines are very welcome.

Please contact us if you have any ideas for special issues, or if you 
would like to see if a paper you have would be suited to the journal.

Finally, we would like to acknowledge the many years of hard work and 
dedication that Dave Laing, the outgoing editor, has put into this 
journal. We will do our best to live up to his fine example.

Yours truly,

Shane Homan ((shane.homan /at/ monash.edu) <mailto:(shane.homan /at/ monash.edu)>)

Catherine Strong ((Catherine.strong /at/ rmit.edu.au) 
<mailto:(Catherine.strong /at/ rmit.edu.au)>)


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