CALLS AND ANNOUNCEMENTS IN POPULAR MUSIC
MUSICultures: Call for Papers Le français suit MUSICultures solicits articles for publication. MUSICultures is the peer-reviewed journal of The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales. Membership in the Society is not a prerequisite to submit an article. MUSICultures publishes original articles in English and French on a wide range of topics in ethnomusicology, traditional music research, and popular music studies. MUSICultures welcomes articles on music in Canadian contexts as well as scholarship on any relevant issues in relation to any music practices in the world or to global processes. The journal also publishes reviews of books, and sound and visual recordings. We are currently seeking articles on any topic related to our mandate. Articles are normally in the range of 6500-8500 words. The next deadline for complete article manuscripts is October 1, 2026. Please visit our website for complete submission details:cstm-sctm.ca/publications/ Submit manuscripts or questions to:musicultures@cstm-sctm.ca Meghan Forsyth (Associate Professor of Ethnomusicology, Memorial University of Newfoundland), and Jonathan Dueck (Associate Professor of Anthropology, Canadian Mennonite University), General Editors | Rédacteurs en chef, MUSICultures MUSICultures : Appel à contribution MUSICultures lance un appel à contribution. MUSICultures est la publication érudite de la Société canadienne pour les traditions musicales / The Canadian Society for Traditional Music. C'est une revue avec comité de lecture, publiée une fois par année sous les auspices de la Société. L'adhésion à la Société n'est pas requise pour y contribuer. MUSICultures présente des articles originaux en français et en anglais portant sur une multitude de sujets touchant l'ethnomusicologie, la recherche sur la musique traditionnelle et les études de musique populaire. Les contextes des articles de ce périodique sont de nature tant canadienne que mondiale ou transnationale. Ce périodique présente également des comptes rendus de livres ainsi que d'enregistrements sonores et visuels. Nous invitons présentement toute proposition d’articles qui se rapporte au mandat de la revue. La longueur habituelle des articles du périodique varie entre 6 500 et 8 500 mots. La date limite pour la soumission des articles est le 1er octobre 2026. SVP visitez notre site web pour les détails de soumission:cstm-sctm.ca/publications/ Les manuscrits et les questions peuvent être envoyés par courriel à l’adresse suivante :musicultures@cstm-sctm.ca Meghan Forsyth (Associate Professor of Ethnomusicology, Memorial University of Newfoundland), et Jonathan Dueck (Associate Professor of Anthropology, Canadian Mennonite University), Rédacteurs en chef / General Editors | MUSICultures
MUSICultures: Call for Papers
Le français suit
MUSICultures solicits articles for publication.
MUSICultures is the peer-reviewed journal of The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales. Membership in the Society is not a prerequisite to submit an article.
MUSICultures publishes original articles in English and French on a wide range of topics in ethnomusicology, traditional music research, and popular music studies. MUSICultures welcomes articles on music in Canadian contexts as well as scholarship on any relevant issues in relation to any music practices in the world or to global processes. The journal also publishes reviews of books, and sound and visual recordings.
We are currently seeking articles on any topic related to our mandate.
Articles are normally in the range of 6500-8500 words.
The next deadline for complete article manuscripts is October 1, 2026.
Please visit our website for complete submission details:cstm-sctm.ca/publications/
Submit manuscripts or questions to:musicultures@cstm-sctm.ca
Meghan Forsyth (Associate Professor of Ethnomusicology, Memorial University of Newfoundland), and Jonathan Dueck (Associate Professor of Anthropology, Canadian Mennonite University), General Editors | Rédacteurs en chef, MUSICultures
MUSICultures : Appel à contribution
MUSICultures lance un appel à contribution.
MUSICultures est la publication érudite de la Société canadienne pour les traditions musicales / The Canadian Society for Traditional Music. C'est une revue avec comité de lecture, publiée une fois par année sous les auspices de la Société. L'adhésion à la Société n'est pas requise pour y contribuer.
MUSICultures présente des articles originaux en français et en anglais portant sur une multitude de sujets touchant l'ethnomusicologie, la recherche sur la musique traditionnelle et les études de musique populaire. Les contextes des articles de ce périodique sont de nature tant canadienne que mondiale ou transnationale. Ce périodique présente également des comptes rendus de livres ainsi que d'enregistrements sonores et visuels.
Nous invitons présentement toute proposition d’articles qui se rapporte au mandat de la revue.
La longueur habituelle des articles du périodique varie entre 6 500 et 8 500 mots. La date limite pour la soumission des articles est le 1er octobre 2026. SVP visitez notre site web pour les détails de soumission:cstm-sctm.ca/publications/
Les manuscrits et les questions peuvent être envoyés par courriel à l’adresse suivante :musicultures@cstm-sctm.ca
Meghan Forsyth (Associate Professor of Ethnomusicology, Memorial University of Newfoundland), et Jonathan Dueck (Associate Professor of Anthropology, Canadian Mennonite University), Rédacteurs en chef / General Editors | MUSICultures
Call for Chapters Green Day and the Politics of Pop-Punk Edited by Ellen Bernhard, Stefano Morello, and David Pearson Green Day has often been treated as a problem in the “longview” of punk: too popular, too melodic, too commercial, too successful. Green Day and the Politics of Pop-Punk (working title) starts from the opposite assumption. Green Day matters precisely because the band’s career makes it impossible to separate punk from the mass-cultural conditions it has so often claimed to resist. This edited collection offers the first sustained scholarly reassessment of Green Day and their place in the history of punk, pop-punk, and popular music. From the East Bay punk scene to the Rock & Roll Hall of Fame, Green Day’s career forces us to reconsider what punk became after its early canonical moments. Their rise in the 1990s turned underground debates about authenticity, selling out, and subcultural belonging into mass-cultural controversies. At the same time, their music gave millions of listeners a language for boredom, alienation, anxiety, sexuality, political disillusionment, and the refusal—or inability—to grow up into normative adulthood. Rather than rehearse familiar arguments about punk purity, this volume asks what Green Day’s career reveals about pop-punk as a cultural form. Often dismissed as juvenile, commercial, or apolitical, pop-punk became one of the most widely available languages through which late-twentieth- and early-twenty-first-century youth culture articulated cultural and political critique. Green Day’s oeuvre and publics offer a privileged site for thinking about many of the tensions that have animated pop-punk, and punk more broadly, since its early days, including underground credibility versus mass appeal, local scenes versus global circulation, youth refusal versus nostalgic retrospection, and political dissent versus anti-programmatic refusal. We invite chapter proposals from scholars working in punk studies, popular music studies, American studies, cultural studies, media and communication studies, musicology, performance studies, gender and sexuality studies, youth culture studies, and related fields. We also welcome submissions from archivists, musicians, critics, journalists, and other writer-practitioners whose work engages punk as a lived cultural practice. Chapters should be scholarly and well researched, but written in an accessible style suitable for students, scholars, and intellectually curious readers beyond the academy. Possible topics include, but are not limited to: Green Day’s relationship to East Bay punk and its infrastructure The contradictions of maintaining punk principles under conditions of commercial success and celebrity Boredom, suburban alienation, panic, burnout, anger, disgust, and other “ugly feelings” in Green Day’s affective repertoire The politics of pop-punk in the context of youth culture Green Day as an entry point into punk, political consciousness, queer identification, or non-normative identity Masculinity, vulnerability, sexuality, theatricality, and queer self-fashioning The band’s shifting relationship to genre The political awakening of pop-punk and the mainstreaming of its politics in the aftermath of September 11 and the “War on Terror” The band’s movement across albums, eras, styles, and personae Green Day’s (and pop-punk’s) relationship to punk history and punk canon Fandom, intergenerational reception, and nostalgia International reception and the repurposing of Green Day’s language of refusal outside the United States The performative dimensions of Green Day’s concerts, music videos, Broadway adaptation, and public persona The whiteness, suburban coding, and class politics of Green Day (vis-a-vis punk and pop-punk more broadly) Gender, sexuality, race, class, disability, and geography in Green Day’s repertoire and reception Green Day’s relationship to other punk, pop-punk, emo, alternative, and mainstream rock acts Green Day members’ side projects (The Networks, Pinhead Gunpowder, Foxboro Hot Tubs, etc.) We are especially interested in chapters that move beyond fan biography or familiar “sellout” narratives to ask what Green Day reveals about punk’s place in cultural history. We also welcome essays that examine the broader range of listeners, identities, and imagined communities through which Green Day’s music has acquired meaning. Please submit an abstract of 300-500 words, a brief bio of 100 words, and contact information to punkbeyonditsbeginnings@gmail.com by August 15. Notifications of acceptance will be sent by September 15. Completed chapters of approximately 4,000–6,000 words, including notes and bibliography, will be due by February 1st, 2027. Having a Blast: Green Day and the Politics of Pop-Punk will be part of the forthcoming book series Punk: Beyond Its Beginnings, published by Bloomsbury. Inquiries may be directed to the editors at punkbeyonditsbeginnings@gmail.com.
Call for Chapters
Green Day has often been treated as a problem in the “longview” of punk: too popular, too melodic, too commercial, too successful. Green Day and the Politics of Pop-Punk (working title) starts from the opposite assumption. Green Day matters precisely because the band’s career makes it impossible to separate punk from the mass-cultural conditions it has so often claimed to resist.
This edited collection offers the first sustained scholarly reassessment of Green Day and their place in the history of punk, pop-punk, and popular music. From the East Bay punk scene to the Rock & Roll Hall of Fame, Green Day’s career forces us to reconsider what punk became after its early canonical moments. Their rise in the 1990s turned underground debates about authenticity, selling out, and subcultural belonging into mass-cultural controversies. At the same time, their music gave millions of listeners a language for boredom, alienation, anxiety, sexuality, political disillusionment, and the refusal—or inability—to grow up into normative adulthood.
Rather than rehearse familiar arguments about punk purity, this volume asks what Green Day’s career reveals about pop-punk as a cultural form. Often dismissed as juvenile, commercial, or apolitical, pop-punk became one of the most widely available languages through which late-twentieth- and early-twenty-first-century youth culture articulated cultural and political critique. Green Day’s oeuvre and publics offer a privileged site for thinking about many of the tensions that have animated pop-punk, and punk more broadly, since its early days, including underground credibility versus mass appeal, local scenes versus global circulation, youth refusal versus nostalgic retrospection, and political dissent versus anti-programmatic refusal.
We invite chapter proposals from scholars working in punk studies, popular music studies, American studies, cultural studies, media and communication studies, musicology, performance studies, gender and sexuality studies, youth culture studies, and related fields. We also welcome submissions from archivists, musicians, critics, journalists, and other writer-practitioners whose work engages punk as a lived cultural practice. Chapters should be scholarly and well researched, but written in an accessible style suitable for students, scholars, and intellectually curious readers beyond the academy.
Possible topics include, but are not limited to:
We are especially interested in chapters that move beyond fan biography or familiar “sellout” narratives to ask what Green Day reveals about punk’s place in cultural history. We also welcome essays that examine the broader range of listeners, identities, and imagined communities through which Green Day’s music has acquired meaning.
Please submit an abstract of 300-500 words, a brief bio of 100 words, and contact information to punkbeyonditsbeginnings@gmail.com by August 15. Notifications of acceptance will be sent by September 15. Completed chapters of approximately 4,000–6,000 words, including notes and bibliography, will be due by February 1st, 2027.
Having a Blast: Green Day and the Politics of Pop-Punk will be part of the forthcoming book series Punk: Beyond Its Beginnings, published by Bloomsbury.
Inquiries may be directed to the editors at punkbeyonditsbeginnings@gmail.com.
Popular Music Event Sponsorship Program
Call for Applications
IASPM-US
The U.S. branch of the International Association for the Study of Popular Music is pleased to offer financial support of up to $2,500 for graduate student-led events that promote wider engagement with current research on popular music, broadly conceived. Conferences, invited lectures, workshops, roundtable discussions, lecture-performances, or other events that invite collaboration across disciplinary, geographic, and/or institutional boundaries are eligible for support. All events receiving support must list IASPM-US as a sponsor on their program and marketing materials. Calls for applications will be circulated twice per year, in the Fall and in the Spring. Whereas the Fall application cycle was open to all IASPM-US members, the Spring 2026 cycle is restricted to proposals from graduate students.
Applicants must be current members of the IASPM-US branch in good standing with the organization. Events with open calls for participation and those that are accessible to the public will be given priority.
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