DAVID SANJEK - A BIBLIOGRAPHY

I wanted to begin a bibliography for my late friend so that his work can be found by others. The bibliography excludes book reviews and conference papers except for David's much-remembered 2004 paper on Johnny Cash. For information on recent conference papers see his Salford Seek profile.

PLEASE GIVE GENEROUSLY TO

THE DAVID SANJEK ARCHIVE AT SALFORD

I know that I have missed some pieces below,

so please email me and I will update the list.

M U S I C

1991

Sanjek, R. and Sanjek, D. (1991) The American Popular Music Business in the 20th Century. New York: Oxford University Press.

1992

Sanjek, (1992) ‘Pleasure and Principles: Issues of Authenticity in the Analysis of Rock’n’Roll,’ Journal of Popular Music Studies.

… Reproduced in Soundscapes 3.

1994

Sanjek, D. (1994) ‘Don’t Have to DJ No More: Sampling and the Autonomous Creator,’ in Martha Woodmansee and Peter Jansi, eds. The Construction of Authorship: Textual Appropriation in Law and Literature. Duke University Press.

… Reproduced in Lee Harrington and Denise Bielby (2001) Popular Culture: Production and Consumption. Oxford: Blackwell, pp. 243-256.

1996

Sanjek, R. and Sanjek, D. (1996) Pennies from Heaven: The American Popular Music Business in the Twentieth Century. New York: Da Cappo Press.

1997

Sanjek, D. (1997) ‘Can a Fujiama Mama be the Female Elvis? The Wild, Wild Women of Rockabilly,’ in Whiteley, S. ed. Sexing the Groove. London: Routledge, pp. 137-167

Sanjek, D. (1997) ‘One Size Does Not Fit All: The Precarious Position of the African-American Entrepreneur in Post WW2 American Popular Music,’ American Music 15, 4, 535-562

1998

Sanjek, D. (1998) 'Reeling in the Years: American Vernacular Music & Documentary Film,' in Brophy, P. ed. Cinesonic: The World of Sound in Film. Sydney: AFTRS Publishing.

Sanjek, D. (1998) ‘Blue Moon of Kentucky Rising over the Mystery Train,’ in Cecilia Tichi, ed. Reading Country Music: Steel Guitars, Opra Stars and Honkytonk Bars. Duke University Press, p. 22-44

Sanjek, D. (1998) ‘Popular Music and the Synergy of Corporate Culture,’ in Thomas Swiss, J. Sloop and E. Herman, eds. Mapping the Beat: Popular Music and Contemporary Theory. Oxford: Blackwell,

1999

Sanjek, D. (1999) ‘Institutions,’ in T. Swiss and B. Horner, eds. Key Terms in Popular Music and Culture. Oxford: Blackwell, pp. 46-56

2002

Sanjek, D. (2002) ‘Tell Me Something I Don’t Already Know,’ in Norman Kelley, ed. Rhythm and Business: The Political Economy of Black Music. New York: Akashic Books.

2004

Sanjek, D. (2004) 'All the Memories Money Can Buy: Marketing Authenticity and Manufacturing Authorship,' in Eric Weisbard, ed.,This is Pop, Harvard University Press, 155–172.

Sanjek, D. (2004) ‘In My Time of Dying: Johnny Cash, Johnny Paycheck, Gary Stewart and Cycles of Hipness,’ Peper at American Studies Association Convention, November 13^th.

2005

Sanjek, D. (2005) ‘I Give it a 94. It’s Got a Beat and You can Dance to It. Valuing Popular Music,’ in Michael Berube, The Aesthetics of Cultural Studies: An Introduction. Oxford: Blackwell, p. 117-139.

2006

Sanjek, D. (2006) ‘Navigating the Channel: Recent Scholarship on African-American Popular Music,’ Journal of Popular Music Studies 11, 1, 167-192

2008

Sanjek, D (2008) 'Shock Jocks: Making Mayhem Over the Radio ', in Battleground: The Media Volume 2 (O-Z). Upper Saddle River, New Jersey: Pearson/Prentice-Hall.

2009

Sanjek, D. (2009) 'Bank Accounts and Black Narcissus: Jimmie Rodgers and the Professionalization of American Popular Music', in Waiting For A Train: Jimmie Rodgers's America. Burlington, Mass.: Rounder Books , 65-81

2011

Sanjek, D. (2011) 'What Hath Phast Phreddie Wrought?: Los Angeles, Punk Music and the Recovery of Race,' Journal of Post-Punk.

Sanjek, D. (2011) 'Hard of Hearing: Acoustic Legacies and Public Policies,' Popular Music & Society.

Sanjek, D. (2011) 'African-American Music and the Recording Industry: An Introduction,' in Encyclopedia of African-American Music, Santa Barbara: Greenwood Press.

Sanjek, D. (2011) 'African-American Music and the Recording Industry: 1919-1942', in: Encyclopedia of African-American Music,' Santa Barbara: Greenwood Press.

Sanjek, D. (2011) 'African-American Music and the Recording Industry: 1942-68', in Encyclopedia of African-American Music. Santa Barbara: Greenwood Press.

Sanjek, D. (2011) 'Jump Blues,' in Encyclopedia of African-American Music. Santa Barbara: Greenwood Press.

Sanjek, D. (2011) 'What's Syd Got To Do With It?: King Records, Henry Glover and the Complex Achievement of Crossover,' in Hidden In The Mix: African American Country Music Traditions. Durham: Duke University Press.

2012

Sanjek, D (2012) 'Groove Me: Listening to the Discs of Northern Soul,' in Transatlantic Routes of American Roots Music. Farnham: Ashgate.

Sanjek, D. (2012) 'Putting It Together: The Institutionalization of the American Musical Theatre,' in Oxford Handbook of the American Musical Theatre. New York: Oxford University Press.

Sanjek, D. (2012) 'Jimmy Bowen', in Grove Dictionary of American Music. New York: Oxford University Press.... [and various other entries]

Sanjek, D. (2012) 'Zappa and the Freaks: Recording Wild Man Fisher', in Paul Carr, ed. Frank Zappa: Key Essays on the Contextualization of his Legacy. Farnham: Ashgate.

2013

Sanjek, D. (2013) 'You Can't Always Get What You Want: Riding on the Medicine Ball Caravan,' in Sights and Sounds: Interrogating the Music Documentary. Edinburgh: University of Edinburgh Press.

Sanjek, D. and Halligan, B. eds. (2013) The Music Documentary. London: Routledge.

C I N E M A
1990
Sanjek, D. (1990) ‘Fans’ Notes: The Horror Film Magazine,’ Literature / Film Quarterly 18, 3, p. 150-160

… Reprinted in Ken Gelder, ed. (2000) The Horror Reader. London: Routledge, pp. 314-323 and
Ernst Mathijs and Xavier Mendiks, eds. The Cult Film Reader (2007) Maidenhead: Open University Press, pp. 419-428.

1994
Sanjek, D. (1994) ‘Twilight of the Monsters: The English Horror Film 1968-1975,’ in Wheeler Winston Dixon, ed. Re-Viewing British Cinema 1900-1992. Albany: University of New York Press, p. 195-209.

1996
Sanjek, D. (1996) ‘Dr Hobbes Parasites: Victims, Victimization and Gender In David Cronenberg’s Shivers,’ Cinema Journal 36, 1, 55-74.

2001
Sanjek, D. (2001) Dario Argento's Blood on the Walls,’ Bad Subjects

Sanjek, D. (2001) ‘Big Boss Man: Samuel J. Arkoff (1917-2001)’ Pop Matters

2002
Sanjek, D. (2002) ‘Cold, Cold Heart: Joseph Losey’s The Damned and the Compensations of Genre,’ Senses of Cinema 21

Sanjek, D. (2002) ‘Fate Wears a Fedora (on Jean Pierre Melville),’ Pop Matters

Sanjek, D. (2002) ‘Smile When You Say That: James Coburn (1908-2002),’ Pop Matters

Sanjek, D. (2002) ‘A Cynic’s Demise: Billy Wilder (1906-2002),’ Pop Matters

2003
Sanjek, D. (2003) ‘The Doll and The Whip: Pathos and Ballyhoo in William Castle´s Homicidal,’ Quarterly Review of Film and Video 20, 4, pp.247-264

Sanjek, D. (2003) ‘A Brief Reign of Terror [on Gordon Hessler],’ Pop Matters

2004
Sanjek, D. (2004) ‘Monkey King [on Jerry Lewis],’ Pop Matters

2005
Sanjek, D. (2005) Getting Something Out [on Claude Chabrol],’ Pop Matters

Sanjek, D. (2005) ‘Thrills [on Harold Lloyd],’ Pop Matters



F I L M R E V I E W S

Hands Up! (1928)

The Man Who Laughs (1928)

Sous Les Toits de Paris (1930)

The Edge of the World (1937)

Pépé Le Moko (1937)

Drôle de Drame (1937)

The Lady Eve (1941)

Sullivan's Travels (1941)

The Killers (1946)

I See a Dark Stranger (1946)

The Rocking Horse Winner (1950)

The Marrying Kind (1952)

The Naked Jungle (1954)

Bonjour Tristesse (1958)

A Double Tour (d. Claude Chabrol 1959)

Strangers When We Meet (1960)

Il Posto (1961)

Hatari (1962)

I Fidanzati (1962)

Lord Love a Duck (1966)

Salesman (doc. 1968)

Le Cercle Rouge (1970)

The Grissom Gang (1971)

The Crazies (1973)

The White Dawn (1974)

Grey Gardens (doc. 1975)

Assault on Precinct 13 (1976)

Martin (d. George Romero 1976)

Cuba (1979)

The Stunt Man (1980)

Cutters Way (1981)

Knightriders (d.George Romero 1981)

The Black Marble (1980)

SCTV Network 90 (TV comedy series 1981-1983)

SCTV Volume 2 (TV comedy series 1981-1983)

Real Genius (1985)

My Life As a Dog (1985)

Something Wild (1986)

Big Trouble in Little China (1986)

Street of No Return (d. Sam Fuller) (1989)

The Vanishing (1988)

Street of No Return (1989)

The Harvest (1993)

So Wrong They’re Right (1993)

Méliès The Magician / The Magic of Méliès (1997)

Chop Suey (2000)

It All Starts Today (2000)

Diamond Men (2001)

Fulltime Killer (2001)

The Flower of Evil (La Fleur Du Mal) (2003)

The Eye (2003)

Bright Future (2003)

Memories of Murder (2003)

The Weeping Meadow (2004)

Searching for the Wrong-Eyed Jesus (2004)

MARS 2012 conference, 1-4 February 2012, Seinjoki, Finland

Following a kind invitation from organizers the Sibelius Academy, last week I attended the MARS 2012 conference as a keynote speaker.

MARS is an annual Finnish popular music event held at the Rytmikorjaamo (a large garage-turned-music venue) in Seinäjoki. It specializes in blending music industry concerns with academic speakers: past keynotes have included Mark Percival, Lee Marshall and Simon Frith. This year the Sibelius Academy invited alternative media expert Professor Chris Atton to talk about the history of music journalism. Chris is seen here with the award-winning Finnish braodcaster and dedicated music enthusiast Pekka Laine (on the right and left respectively):

Maintaining the focus on issue of music audiences, the organizers also asked me to discuss popular music fandom in terms of its definition, mechanics and future...

Beyond the two keynotes, a series of panels - presented in Finnish - explored various ‘popular musiikkikulttuuria’ topics, including how to attract younger audiences to festivals.

Finland has a very interesting popular music scene. A range of national bands like Lordi and Nightwish show that the country has had an especially strong heavy rock and metal tradition. Several local bands took to the stage on the first night of our conference including the fascinating Mr Peter Hayden - a Hawkwind-style instrumental outfit who fused prog rock, grunge and straight metal with a dash of new wave style bass.

Despite the predictable freezing weather it was a great trip. Apparently, Finland can have snow on the ground from as early as late October all the way through until May. When we were there, temperatures in Seinäjoki plummeted down to as low as -32 degrees centigrade: not good weather for hanging around outside. Even the locals were finding it extremely cold.

Meanwhile our hosts, Finnish music scholars Saijaleena Rantanen of the Sibelius Academy and Dr Heikki Uimonen from the University of Tampere (below left and right) were both extremely helpful and hospitable.

... All I can say to you is thank you again for a wonderful trip, and in my best Finnish:

"Toivon, että tämä ihana tapahtuma jatkuu menestyä isompi ja suuremmassa mittakaavassa."

NORTHWEST POPULAR MUSIC STUDIES NETWORK

Call for Papers:

POPULAR MUSIC AND AUTOMOBILE CULTURE: A ONE DAY SYMPOSIUM

Binks Building, University of Chester, England

Friday 22nd June 2012

Event organisers:

Dr Chris Hart, Dr Mark Duffett and Dr Beate Peter

From Cadillacs to tour buses, motor vehicles and popular music have developed in parallel as symbiotic commodities. Their intimate and intertwined relationship evokes issues and feelings that characterize life in modern society. The conference aims to outline and discuss this relationship between these two culturally charged commodities. Motor transport is a dominant feature of the modern world. Cars, buses, trucks and everything in between have their followers and dissenters. Vehicles offer the functions of mobility, freedom, speed and comfort, but they are not just physical machines. Contemporary and historic brands offer consumers opportunities to display status, belonging, style and choice. Social and utilitarian elements combine within a motor aesthetic that provides individuals with entry into particular imagined communities. A multiplicity of brands and logos symbolizes the various styles, designs and attitudes that are now a global currency. Advertising and marketing have elevated the social place of particular vehicles to objects of fantasy, desire, status and play. Just as motor vehicles are referenced in popular music, so music is a part of automobile culture and design. From the 1950s onwards drivers and passengers have been able to enjoy a choice of music styles, genres and artists as in-car audio technology has became a feature of most vehicles. Linking the two commodities has allowed auto-manufacturers to stylize mass-produced lines as emblems of social and personal identity. Whether one discusses Motown, the Oldsmobile 88 or Route 66, motor vehicles and roads have been at the centre of popular music cultures that have defined the attitudes of whole sections of modern society. We therefore suggest the following themes for consideration:

* The role of vehicles in the music or images of key artists.
* Music stars as celebrity endorsers for motoring.
* Glittering prizes: vehicles as commodities (eg. Elvis, Beach Boys).
* Vehicles, gender, youth and courtship (eg. Grease, surf sounds, Beatles).
* Vehicles and particular music genres, places or scenes (eg. hip-hop, surf music, Detroit).
* Dimensions of identity: place, class, vehicles, music.
* Alienation / twisted celebrations (e. Gary Numan, Kraftwerk).
* Metaphorical critiques: crashes and traffic jams (Jan & Dean, Hendrix, The Normal).
* Popular music and racing cars.
* “Driving” and “the road” as themes and metaphors in music.
* Vehicles as vehicles for listening (eg. in-car audio culture).
* Drive time: music formats, radio and the experience of driving.
* Retro culture: vehicle collecting, music and nostalgia.
* Low-riding: race and music, vehicles and the urban landscape.
* Futurism, vehicles, speed and music (eg. Kylie, Electronic music).
* Motor companies use of music for branding (eg. David Guetta / Transformers).
* Use of vehicles in music videos.

The event will not charge a registration fee, but we will expect those attending to register and fill in a photography clearance form.

At this stage we invite submission of abstracts for proposed papers of 300 words or less with the addition of a 50 word biography by 31st January 2012.

Please send abstracts or enquiries to C.Hart@chester.ac.uk

About the organisers:

Dr Chris Hart is Senior Lecturer in Advertising at Chester. He recently co-managed the largest study done to date into the economics and social impact of historic vehicles in Europe.

Dr Mark Duffett is Senior Lecturer in Media and Cultural Studies at Chester. He is known as a popular music scholar whose central interests include fandom and Elvis Presley.

Dr Beate Peter is a member of the Institute for Performance Research at Manchester Metropolitan University with research interests in music psychology and popular culture. Her comparative study of techno in Detroit and Berlin is to be published in Spring 2012.

Older NW Pop Studies Events

Popular Music Fandom: A One Day Symposium 25 June 2010

In memory of David Sanjek

Last night when I heard the news about Dave, I couldn’t quite believe it. We had a friendly get-together planned for this coming weekend. How inconsiderate: he never said goodbye. But Dave could be sentimental, so I think that if he had to go, his doing it by slipping away was for the best. He died as he lived - a high flyer - and he died in his own native country.

The last time I saw him in the flesh was a couple of weeks ago, when he popped his head into the jazz studies reading group that I attended at Salford. He was organizing another event that day and in retrospect I was sorry that I didn’t go. We stayed in email contact right up until he flew to the USA. He was going to argue the case for George Clinton to be added to the National Recordings Registry.

I first met Dave when he came over to present a paper at a conference in Sheffield in about 1999 - we just said a quick hello. When he got the job at Salford I saw him at another event and suggested that we should meet up: we worked in the same field and lived in the same city. We became very dear friends, partly I think because without any comeback we could hear about what was going on (and sometimes going down) in each other’s institutions, and also because we use each other as sounding boards and strategize together. I always felt we were extremely lucky to have a scholar like Dave in this region. But we became more that professional allies. When I got to know Dave as a person, I felt that I was very lucky to have him in my life. We’d be in contact by email all the time, sometimes go out for meals at the Red Chilli on Portland Street, and he’d visit my place every couple of weeks with a ragbag full of DVDs.

Dave knew as much about film as he knew about music. When you watched a film with Dave he’d always turn to you afterwards and want to know your opinion. He had such catholic tastes. I think he liked quirky, ensemble pieces the best as they fitted his inclusive ethics, but we watched everything - from old film noirs to westerns, films by Orson Welles to Dario Argento, Claude Chabrol and all else in between. I still have a pile of DVDs sitting on my shelf that he loaned me. Beyond cinema and popular music Dave was a cultural omnivore whose interests also extended across theatre, literature and American politics (a little sign of home sickness). Between talking about music research and giving me a priceless education in cinema, Dave would reminisce about his past in the USA: his family life, college days, the summer camps (some of his happiest days) and his time working for BMI… By the end of the night, we’d watched a couple of films, had a few hours of conversation, and it would be getting late. Dave would clap my hand and say, “Alright, man” then be off into the night to get his taxi across town. I never counted how many times we repeated the ritual, but I was always grateful that he’d taken the time. For such a busy person, one of the wonderful things about Dave was how often he found the time to be there with you. He was creative, considerate, compassionate and thoughtful. And I’m going to really miss him.

There are more posts from those who met Dave here.

CFP - POPULAR MUSIC FANDOM, special issue of Popular Music and Society

Guest editor, Mark Duffett

Popular Music and Society invites article proposals for a new special issue. Fandom is both a personal expression of emotional conviction and a complex, changing, multi-faceted social phenomenon that now encompasses both online and offline activity.

The study of fandom is a scholarly niche that exists at the intersection of a wide range of interests and connections. It can be contextualized by wider media research (theory by scholars such as Henry Jenkins and Matt Hills; reception analysis; celebrity studies; ethnography; subcultural theory) and by direct research into popular music culture (ethnomusicology; research on listening; live music audiences; studies of music in everyday life).

We invite papers with themes that may include, but are not limited to:

· Fans as musicians / musicians as fans

· The consumer marketplace, perceptions of the music industry

· Collecting, listening, and other fan practices

· Live music, local scenes, and fandom as living culture

· Stereotyping, self-awareness, media representation, lit and fiction

· Fandom and social identities (such as gender, age, disability, race)

· Methodology, research practice, cultural theory

· Histories, critiques of fandom as a response to mass culture

· Taste, cultural capital, and the canon

· Online participatory cultures

· Case studies and ethnographies; personal narratives, memories, and investments

· Stardom and celebrity; identification, reading, and textuality

· Legacies of key representations (e.g., Fred Vermorel and Judy Vermorel's book Starlust)

· Modernity, religion, pathology, and the "cult" analogy

· Differing fandoms / specific music genres

· The fan community: insiders, outsiders, and the "ordinary" audience

· Fan culture and the paradigm of performance

· The uses of fandom: political activism, heritage, and tourism

· Fandom, the family, and / or the life cycle

Send proposals of up to 500 words in the first instance.

Contributions will be peer-reviewed for potential inclusion in the main section of the journal. Polemical papers will also be considered for inclusion in the Forum section. Indicate the name under which you would wish to be published, your professional/academic affiliations, a postal address, and preferred email contact.

Deadline for submission of proposals is October 31, 2011. We would hope to commission articles by December 31, 2011, and deadline for submission of the articles will be July 31, 2012.

Please email proposals to guest editor Mark Duffett at m.duffett@chester.ac.uk.

Making Things Whole Again - Take That Reunion Events

My friends Anja Lobert and Dr Tim Wise were busy last week putting on a double-header exhibition and conference on Take That, designed to coincide with the band's triumphant home run of several reunion dates at the Manchester City football stadium.

For American readers who don't know them so well, Take That were a boyband from the North of England who had phenomenal success before splitting in 1996. In their heyday they had a string of chart-topping singles in the UK, but only one hit in the USA. After the break-up, all went their separate ways. The incomparable Robbie Williams went on to have a successful solo career. Gary Barlow became a credible singer-songwriter with a career in his own right. Some of the others - who were called Mark, Jason and Howard - released albums of their own. Then about four or five years ago they reformed as a four-piece without Robbie. Last year he rejoined for a carefully controlled reunion that extended the band's reach to encompass the quality press, giving the Take That reunion mass phenomenon status.

As might be imagined, the Making Things Whole Again conference was rife with discussions of fandom and gender, generational memory, and Take That's in-group masculine dramaturgy. My own contribution explored how we constantly frame boybands and their followers with four interlocking discourses - youth, exploitation, gender and fandom - that collectively function to allay anxieties about us loving music that is undeniably created for the process of commercial marketing. Even in the liberate age of social media, boybands still come in for a kind of mass culture critique.

Anja's exhibition, called Take That Fandom before the Internet is also fascinating. I never realized the extent to which she was a 1990s Take That fan herself. Held in the Northern Quarter, Anja's installation is based on her research contact with around 500 fans. What it shows is that the girls who loved Take That formed a living social culture. They sent each other penpal letters, traded stickers and candid photos of band members, and some made "FBs". Many of the girls would receive pen pal letters on a daily basis.

The "FB" (or "friendship book" to give it the full title) is a hand-made compilation of fans' addresses, circulated between enthusiasts. FBs were often just a few sheets of paper folded or stapled together. Yet they were chocked full of mini-appeals in felt-tip squiggles for girls seeking new pen pals - the one page or less ads frequently featured text-speak teen acronyms for things like which bandmember the girl liked and whether she would accept corresponds from other countries. FBs also contained pictures, doodles, stickers and the like. As Anja shows, there were three types: Slams (get-to-know-yous that feature repeated answers to the same set of questions), Crams (that cram in lots of addresses) and Decos (ornate, heavily decorated lists - in effect, homemade portable "shrines" to the band).

Beyond the FBs and their ephemeral culture of performed self-representation, the currency of the fan community included real life amateur photos of the boys in the band, taken by girls who waited by stage doors or followed them round the country. While presenting a less glossy image that Take That's publicity stills, in effect these candids offered a vicarious back-stage pass to anyone who wanted to see what the boys were like in ordinary life. For most girls, the photos were the only evidence that the Take That boys were "real" lads who goofed around off-duty. Sometimes the photos were also evidence that the pen pal you were corresponding with had actually met a band member and could claim to have got nearer and known about them. Girls would write "no copies" on the back of the pictures to stop others copying them into oblivion as the pictures circulated through the fan community. Take That Fandom before the Internet shows that the 1990s were an eventual, social time in the lives of adolescent female fans from different countries. Before the days of Facebook there was indeed a communicative, living culture of active, producerly Take That fans invigorated through their engagement with what might have appeared to be, on the face of it, the glossy yet glossed over end of teen pop culture.