'Jack of All Trades' or 'Double Agent?' The German Popular Musician as Novelist

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dc.contributor.author Hurley, Andrew en_US
dc.contributor.editor en_US
dc.date.accessioned 2014-04-27T18:08:17Z
dc.date.available 2014-04-27T18:08:17Z
dc.date.issued 2013 en_US
dc.identifier 2012004541 en_US
dc.identifier.citation Hurley, Andrew 2013, ''Jack of All Trades' or 'Double Agent?' The German Popular Musician as Novelist', Journal of Popular Music Studies, vol. 25, no. 2, pp. 127-153. en_US
dc.identifier.issn 1524-2226 en_US
dc.identifier.other C1 en_US
dc.identifier.uri http://hdl.handle.net/10453/27779
dc.description.abstract A survey of contemporary German literature reveals that the figure of the popular musician-cum-novelist has gained a certain prominence since the latter part of the 1990s, including in the context of what has been referred to as Popliteratur, or Pop II.2 Although other examples could be given, Thomas Meinecke (songwriter for Freiwillige Selbstkontrolle [FSK], and author of Tomboy [1998] and other novels) and Sven Regener (songwriter for Element of Crime, and author of Herr Lehmann [2001] and other novels) have both attained a noticeable and sustained degree of fame and/or critical success as novelists. In doing so, they have avoided a career move hitherto common amongst those popular musicians with ambitions as writers?the genre of musician's autobiography?and other one-off attempts to transfer music to the written word, such as compendiums of song lyrics.3 At the same time, both Meinecke and Regener have maintained their pre-existing careers as proponents of what one might call ?ambitious? popular music. Even though Popliteratur is not a new notion?there was, in the late 1960s, a first phase of Popliteratur, sometimes referred to as Pop I?durable, hybrid careers such as Meinecke's seem to be a new phenomenon, and can tell us about important changes in the contemporary German literary market, as well as about the cultural trajectory of certain types of German popular music. There may be some counterparts in other national contexts, but it is my contention that conditions specific to the German setting promoted the dual careers of people like Meinecke and Regener. Using Meinecke and Regener as case studies then, this article posits a fruitful, and increasing symbiosis, in Germany, of two cultural sub-fields and markets (the popular-musical and the literary), which inter alia calls into question the traditional hierarchization of literature and popular music (and perhaps even the strict separation of both). en_US
dc.language en_US
dc.publisher Wiley Blackwell Periodicals en_US
dc.relation.isbasedon http://dx.doi.org/10.1111/jpms.12021 en_US
dc.title 'Jack of All Trades' or 'Double Agent?' The German Popular Musician as Novelist en_US
dc.parent Journal of Popular Music Studies en_US
dc.journal.volume 25 en_US
dc.journal.number 2 en_US
dc.publocation Hoboken, New Jersey en_US
dc.identifier.startpage 127 en_US
dc.identifier.endpage 153 en_US
dc.cauo.name FASS.Cultural Studies Group en_US
dc.conference Verified OK en_US
dc.for 190400 en_US
dc.personcode 102435 en_US
dc.percentage 100 en_US
dc.classification.name Performing Arts and Creative Writing en_US
dc.classification.type FOR-08 en_US
dc.edition en_US
dc.custom en_US
dc.date.activity en_US
dc.location.activity en_US
dc.description.keywords NA en_US
dc.staffid 102435 en_US


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