Oliver Seibt is Assistant Professor of Cultural Musicology at the University of Amsterdam, The Netherlands.Martin Ringsmut is Research Assistant in the Ethnomusicology Department at the University of Cologne, Germany, where he has taught courses in Ethnomusicology and Popular Music Studies.David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg, in Mannheim, Germany.

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• Introduction: Deutschland – Echt jetzt? German Popular Music’s Complicated Relationship with German Identity Oliver Seibt, Martin Ringsmut, and David-Emil Wickström / Interview: Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany. An Interview with Peter Wicke and Udo Dahmen David-Emil Wickström / Part I: Historical Spotlights / 1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 Caroline Stahrenberg / 2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 Jens Gerrit Papenburg / 3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR Michael Rauhut / 4: ‘Party on the Death Strip’ – Reflections on an Historical Turning Point Susanne Binas-Preisendörfer / Part II: Globally German / 5: The Krauts Are Coming: Electronic Music and Rock in the 1970s Ulrich Adelt / 6: German Metal Attack: Power Metal in and from Germany Jan-Peter Herbst / 7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes Melanie Schiller and Jeroen de Kloet / Part III: Also "Made in Germany" / 8: Peepl rock: Post-Soviet Popular Music in Germany David-Emil Wickström / 9: Made in Almanya: The Birth of Turkish Rap Thomas Solomo / 10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War Bodo Mrozek / Part IV: Explicitly German / 11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion Barbara Hornberger / 12: "One Day You Will Wish We’d Only Played Music": Some Remarks on Recent Developments of Germany’s RechtsRock Scene Thorsten Hindrichs / 13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany Julio Mendiìvil / Part V: Reluctantly German / 14: "Meine Lieder sind anders": Hildegard Knef and the Idea(l) of German Chanson Reneì Michaelsen / 15: How Munich and Frankfurt Brought (Electronic) Dance Music to the Top of the International Charts with Eurodisco and Eurodance – and Why Germany Was Not Involved Heiko Wandler / 16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist Oliver Seibt / Coda / 17: The Germaican Connection - German Reggae Abroad Martin Ringsmut / Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) Monika E. Schoop / Selected Bibliography

Oliver Seibt is Assistant Professor of Cultural Musicology at the University of Amsterdam, The Netherlands.Martin Ringsmut is Research Assistant in the Ethnomusicology Department at the University of Cologne, Germany, where he has taught courses in Ethnomusicology and Popular Music Studies.David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg, in Mannheim, Germany.

Select Guide Rating

• Introduction: Deutschland – Echt jetzt? German Popular Music’s Complicated Relationship with German Identity Oliver Seibt, Martin Ringsmut, and David-Emil Wickström / Interview: Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany. An Interview with Peter Wicke and Udo Dahmen David-Emil Wickström / Part I: Historical Spotlights / 1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 Caroline Stahrenberg / 2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 Jens Gerrit Papenburg / 3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR Michael Rauhut / 4: ‘Party on the Death Strip’ – Reflections on an Historical Turning Point Susanne Binas-Preisendörfer / Part II: Globally German / 5: The Krauts Are Coming: Electronic Music and Rock in the 1970s Ulrich Adelt / 6: German Metal Attack: Power Metal in and from Germany Jan-Peter Herbst / 7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes Melanie Schiller and Jeroen de Kloet / Part III: Also "Made in Germany" / 8: Peepl rock: Post-Soviet Popular Music in Germany David-Emil Wickström / 9: Made in Almanya: The Birth of Turkish Rap Thomas Solomo / 10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War Bodo Mrozek / Part IV: Explicitly German / 11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion Barbara Hornberger / 12: "One Day You Will Wish We’d Only Played Music": Some Remarks on Recent Developments of Germany’s RechtsRock Scene Thorsten Hindrichs / 13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany Julio Mendiìvil / Part V: Reluctantly German / 14: "Meine Lieder sind anders": Hildegard Knef and the Idea(l) of German Chanson Reneì Michaelsen / 15: How Munich and Frankfurt Brought (Electronic) Dance Music to the Top of the International Charts with Eurodisco and Eurodance – and Why Germany Was Not Involved Heiko Wandler / 16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist Oliver Seibt / Coda / 17: The Germaican Connection - German Reggae Abroad Martin Ringsmut / Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) Monika E. Schoop / Selected Bibliography

Oliver Seibt is Assistant Professor of Cultural Musicology at the University of Amsterdam, The Netherlands.Martin Ringsmut is Research Assistant in the Ethnomusicology Department at the University of Cologne, Germany, where he has taught courses in Ethnomusicology and Popular Music Studies.David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg, in Mannheim, Germany.

Select Guide Rating

• Introduction: Deutschland – Echt jetzt? German Popular Music’s Complicated Relationship with German Identity Oliver Seibt, Martin Ringsmut, and David-Emil Wickström / Interview: Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany. An Interview with Peter Wicke and Udo Dahmen David-Emil Wickström / Part I: Historical Spotlights / 1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 Caroline Stahrenberg / 2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 Jens Gerrit Papenburg / 3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR Michael Rauhut / 4: ‘Party on the Death Strip’ – Reflections on an Historical Turning Point Susanne Binas-Preisendörfer / Part II: Globally German / 5: The Krauts Are Coming: Electronic Music and Rock in the 1970s Ulrich Adelt / 6: German Metal Attack: Power Metal in and from Germany Jan-Peter Herbst / 7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes Melanie Schiller and Jeroen de Kloet / Part III: Also "Made in Germany" / 8: Peepl rock: Post-Soviet Popular Music in Germany David-Emil Wickström / 9: Made in Almanya: The Birth of Turkish Rap Thomas Solomo / 10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War Bodo Mrozek / Part IV: Explicitly German / 11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion Barbara Hornberger / 12: "One Day You Will Wish We’d Only Played Music": Some Remarks on Recent Developments of Germany’s RechtsRock Scene Thorsten Hindrichs / 13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany Julio Mendiìvil / Part V: Reluctantly German / 14: "Meine Lieder sind anders": Hildegard Knef and the Idea(l) of German Chanson Reneì Michaelsen / 15: How Munich and Frankfurt Brought (Electronic) Dance Music to the Top of the International Charts with Eurodisco and Eurodance – and Why Germany Was Not Involved Heiko Wandler / 16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist Oliver Seibt / Coda / 17: The Germaican Connection - German Reggae Abroad Martin Ringsmut / Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) Monika E. Schoop / Selected Bibliography