THE past couple of weeks have been a great journey for me, digging deeper into the social history of music making in the region.
Aside from my own contributions – I recently published an academic book chapter on the Chinese-language underground music scene (that I co-wrote with my fellow musician-academic partner-in-crime Adil Johan) and presented a performance lecture at a recent popular music studies conference in Penang – the informal interactions that orbit these events are just as equally important.