The only proper (living - there's one RIP) mate in this round-up - the rest are more like internet acquaintances - Michaelangelo Matos has a new book: a long-fermented and richly researched appreciation of the year 1984. Like similar year-focused tomes by other, older writers (Jon Savage's 1966, David Hepworth's 1971), pop's annus mirabilis just so happens to coincide with the author's youthful peak point in terms of excitement-capacity and impressionability / ability to be impressed. (So if I was to do one, the title would be 1979, or 1981 - when I was sixteen and eighteen respectively... but then again I was also blessed improbably with a second adolescence at the cusp of late twenties into early thirties, a proper one in which I actually went out and had wild fun rather than stayed in reading - so 1992, or 1993, or 1994, would also be strong contenders). But back to Matos's wonder year.. well of course, from the Brit perspective, '84 was the year the bloom went right off New Pop, although we did have the whole Frankie commotion... but it was definitely slipping into the Bad Music Era... but from a young American's perspective it must have indeed been a supremely exciting year, especially on the MTV and mainstream radio front, with the Brit invaders still coming through but starting to get out-done by Americans who'd cottoned on to the power of video (Prince, ZZ Top, Springsteen, Madonna, Cyndi Lauper, M. Jackson et al). But as Matos amply demonstrates, there was a whole lot more going on. Can't Slow Down: How 1984 Became Pop's Blockbuster Year is out in a couple of weeks.
Everybody knows the hits of 1984 - pop music's greatest year. From "Thriller" to "Purple Rain," "Hello" to "Against All Odds," "What's Love Got to Do with It" to "Wake Me Up Before You Go-Go," these iconic songs continue to dominate advertising, karaoke nights, and the soundtracks for film classics (Boogie Nights) and TV hits (Stranger Things). But the story of that thrilling, turbulent time, an era when Top 40 radio was both the leading edge of popular culture and a moral battleground, has never been told with the full detail it deserves - until now. Can't Slow Down is the definitive portrait of the exploding world of mid-eighties pop and the time it defined, from Cold War anxiety to the home-computer revolution. Big acts like Michael Jackson (Thriller), Prince (Purple Rain), Madonna (Like a Virgin), Bruce Springsteen (Born in the U.S.A.), and George Michael (Wham!'s Make It Big) rubbed shoulders with the stars of the fermenting scenes of hip-hop, indie rock, and club music. Rigorously researched, mapping the entire terrain of American pop, with crucial side trips to the UK and Jamaica, from the biz to the stars to the upstarts and beyond, Can't Slow Down is a vivid journey to the very moment when pop was remaking itself, and the culture at large - one hit at a time.
update 11/24/2020 - I forgot, there's another book about 1984 as pop wonderyear coming out, at almost the same time bizarrely - but this one is from the UK perspective: David Elliott's 1984: British Pop's Dividing Year. Read Elliott's piece on it at The Quietus. Information about the book and its scope here.
Ten Cities tells a transnational tale of club culture across six decades, 1960-2020, focusing on five European and five African cities: Lagos, Luanda, Berlin, Bristol, Johannesburg, Kiyv, Nairobi, Lisbon, Naples, and Cairo. Edited by Johannes Hossfeld, Joyce Nyairo and Florian Sievers and published by the art book imprint Spector Books, it weaves together contributions from 20 writers and 19 photographers from those ten cities.
In Africa as well as in Europe, club cultures create free spaces that can function as nocturnal laboratories for societies. Nightclubs are hubs in a complex global network – and at the same time they are manifestations of very local and specific practices. This book tells the story of club music and club cultures from 1960 to the present in ten cities in Africa and Europe: Nairobi, Cairo, Kyiv, Johannesburg, Berlin,Naples, Luanda, Lagos, Bristol, Lisbon. It expands the focus beyond the usual North Atlantic narrative of centres and periphery and instead aims at a coeval narrative. In 21 essays, playlists and photo sequences the book draws intimate portraits of these cities’ subcultures, their transnational flows, as well as the societies from which they evolve and which they, in turn, influence. An urban and political rhythm-analysis from the viewpoint of sound and night.
More information about Ten Cities here at the Spector Books website.
An earlier blogpost of mine about Ten Cities and "xenotronica".