New Books In Music

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a his

There is no shortage of books about the British Invasion or the history of R&B and the Blues in the United Kingdom. Belfast might seem like something of a peripheral backwater to that story, only meriting a passing reference as Van Morrison’s hometown. Yet, in How Belfast Got the Blues: A Cultural History of Popular Music in the 1960s (Intellect Books, 2020) authors Joanna Braniff and Noel McLaughlin center Belfast, the complex political situation of Northern Ireland just before the Troubles, and the Blues as a politicized art form that played its part in the complicated dance among the Catholics, the Protestants, the generation just coming of age in the 1960s, and the Irish political leadership. They argue that popular music in Northern Ireland was central to the politics of the time. They demolish some cherished myths about the Blues in Belfast, bring some important figures back into the narrative—most importantly Ottilie Patterson, Ireland’s first Blues singer—and find unexpected meaning in the film, Charl

Timothy Hampton's Bob Dylan: How the Songs Work (Zone Books, 2020) is a fascinating and meticulous study of Bob Dylan's songwriting craft. Hampton discusses how Dylan incorporated and then transcended the Greenwich Village folk music tradition, how he reinvented himself as a visionary poet in the mid sixties, how he learned from poets as diverse as Rimbaud, Brecht, and Petrarch, and how his late-career work draws on and extends the themes he's been pursuing for his whole life. Hampton's book is written in a clear and accessible style and should appeal to anyone interested in the technique of this master songwriter. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre o

It is often assumed that creative people are prone to psychological instability, and that this explains apparent associations between cultural production and mental health problems. In their detailed study of recording and performing artists in the British music industry, Sally Anne Gross and George Musgrave turn this view on its head. By listening to how musicians understand and experience their working lives, Can Music Make You Sick?: Measuring the Price of Musical Ambition (University of Westminster Press, 2020) proposes that whilst making music is therapeutic, making a career from music can be traumatic. The authors show how careers based on an all-consuming passion have become more insecure and devalued. Artistic merit and intimate, often painful, self-disclosures are the subject of unremitting scrutiny and data metrics. Personal relationships and social support networks are increasingly bound up with calculative transactions. Drawing on original empirical research and a wide-ranging survey of scholarshi

In his new book, We're Not Here to Entertain: Punk Rock, Ronald Reagan, and the Real Culture War of 1980s America (Oxford UP, 2020), Kevin Mattson documents punk rock in the early 1980s through a comprehensive look into the music, zines, films, bands, and punk Do-It-Yourself (DIY) tactics. He shows how widespread the punk movement was in creating a counterculture that challenged the conservative narrative of 1980s America. Mattson places the punk countercultural movement into the wider context of Reagan’s America and the cultural war that his presidency created. In opposition to Reagan’s panic narratives of nuclear wars, his tax cuts for the rich, and cuts to public education and other social services, punks saw themselves as everything they rejected about the US. Mattson’s extensive archival research into the punk counterculture makes for an informative and captivating read into the larger ways in which punk impacted American cultural identities and challenged 1980s conservativism. Learn more about your ad c

CAN you hear the people sing? Political music is often understood as the property of the common people, used as a potent (and noisy) weapon against the interests of the powerful. This is particularly true within the unruly context of the early American republic, when rowdy public demonstrations typically went along with democratic politics. In Harnessing Harmony: Music, Power, and Politics in the United States, 1788-1865 (UNC Press, 2020), Billy Coleman pushes back against such assumptions, revealing an influential strand of conservative music-making that exerted influence on public life from the beginning of Washington’s government until the Civil War. Tying musical practice to visions of natural hierarchy, an intergenerational group of elites employed tempo and melody in an effort control the disorder they saw threatening the nation. Expanding our understanding of both the cultural and political dynamics of the early republic, Coleman provides a deft and theoretically innovative account of an underexamined

Born around 1820, Augusta Browne was a pianist, organist, composer, music pedagogue, entrepreneur, music critic, and writer. In Augusta Browne: Composer and Woman of Letters in Nineteenth-Century America (University of Rochester Press, 2020), author Bonny Miller contextualizes the life and career of this remarkable woman who built a public career that at times seems at odds with her conservative Christian belief system. Browne spent much of her life in New England and the area around Washington, D.C. and had a regional reputation by the time of her death in 1882. Miller uses Augusta Browne as an example at once of an extraordinary woman who was involved in establishing nineteenth-century musical culture in the US, but also an ordinary woman whose experiences were typical of people in that era—the loss of loved ones, the trauma of the Civil War, the pain of dislocation and living through financial hardship, the comfort of deep religious belief, and the joys of marriage and a close family. In Miller’s hands, Br

In 1985, Greg Mack, a DJ working for Los Angeles radio station KDAY, played a song that sounded like nothing else on West Coast airwaves: Toddy Tee’s “The Batteram,” a hip hop track that reflected the experiences of a young man growing up in 1980s Compton. The song tells about the Los Angeles Police Department’s battering ram truck, an emblem of the city under Police Chief Daryl Gates, and which terrorized largely African American neighborhoods across Los Angeles under his watch. In To Live and Defy in LA: How Gangsta Rap Changed America (Harvard UP, 2020), historian at San Francisco State University Felicia Angeja Viator describes how rap leapt across the continent from its New York roots in the mid-1980s and took hold in Los Angeles. Often gaining popularity by word of mouth and mobile DJ parties, local groups like NWA pioneered a new, harder-edged, style of hip hop music that reflected their experiences as youth growing up in Gates era LA. Viator explains how the rapid rise of West Coast rap became engulfe

Simone C. Drake and Dwan K. Henderson's Are You Entertained?: Black Popular Culture in the Twenty-First Century (Duke UP, 2020) is an engaging and interdisciplinary exploration of contemporary black popular culture and how to think about this broad and diverse landscape, especially in relation to power, capitalism, gender identity, and presidential politics. Simone C. Drake and Dwan K. Henderson have pulled together a fascinating array of scholars of popular culture, cultural critics, as well as those who have produced popular artifacts. A number of the cultural voices in Are You Entertained? are presented in interviews at the end of each section of the book, with artists thinking through questions about black popular culture from an expansive perspective as a maker of art and as someone who creates within the context of politics, economics, and culture. Are You Entertained? is a dynamic, interdisciplinary and transdisciplinary analysis of contemporary shifts, trends, and debates within the context of seeing

In his new book, Memoir of a Roadie: Axl said I made a great Cup of Tea…Scott Weiland liked The Carpenters…and Ozzy Drinks Rosé (2020) Joel Miller recounts his time in the early 2000s as a road for Stone Temple Pilots, Guns N’ Roses, Poison, and The Cranberries. Using his journal entries from being on the road, Miller shares what it was like for a young man in his early 20s to be on the road, learning about what it meant to be a roadie. Often humorous and also thoughtful, Miller brings readers into the backstage world of the hardworking crews that make sure performances and tours go on without a hitch (or at least without a hitch for the fans). Although the book does share insight into some of the biggest names in rock-n-roll during the time Miller was a roadie, the focus on the day to day life and Miller’s attempt at trying to navigate the world during this time is what readers will find most interesting. Rebekah Buchanan is an Assistant Professor of English at Western Illinois University. Her work examines

It would be hard to overstate the importance of culture. It teaches us, heals us, rips us apart and puts us back together in new and surprising ways. Given its fundamental importance to the human experience, it would make sense that looking at the sort of people who produce it for us, thinking about who they are, what their experiences are, and what that may say about the cultural products they then make. There is no product without a producer, and cultural products are no different, so understanding cultural products means thinking more critically about who produces them. This is the goal of the recently published ​Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020). Written by Orian Brook, Mark Taylor and, my guest today, Dave O’Brien, the book combines quantitative data analysis with personal interviews to weave together the complicated picture of who the people behind some of our most cherished experiences are. Dave O’Brien is Chancellor’s Fellow

Farzaneh Hemmasi is the author of Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music (Duke UP, 2020). The title obviously refers the song "California Dreamin'," but in this case the "Dreaming" refers to the active imagining, or reimagining, of Iranian and Persian identity by the artistic community that relocated to southern California following the 1979 Islamic Revolution. In our discussion, Farzaneh and I discuss the history of popular music in Iran, the correlation between notions of morality and music in general, and women's voices in particular, and the kind of cultural output that is generated by an artistic community in a highly-politicized and not impoverished diaspora. We talk about a couple of the artists she highlights in her book, Googoosh and Dariush Eghbali, and discuss their personal and political messages, as well as Farzaneh's personal experience of their music. Professor Farzaneh Hemmasi is an Associate Professor of Ethnomusicology at the University of T

How do we distinguish art from non-art artifacts, and what does cognitive science have to do with it? In Attentional Engines: A Perceptual Theory of the Arts (Oxford University Press, 2020), William Seeley offers a cognitive science-based account of how we engage with art, what it is that artworks do, and what artists do to make sure they do it. In his diagnostic recognition framework for locating art, artworks are communicative devices in which artists embed perceptual cues that enable the perceiver to categorize the work as intended and thereby unlock its meanings. Seeley, an associate professor at the University of Southern Maine, also considers how his framework might handle conceptual art, what goes wrong when a novice about art perceives an artwork, and the relation between the neuroscience of art and neuroaesthetics. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Everyone Loves Live Music: A Theory of Performance Institutions (University of Chicago Press), Fabian In Everyone Loves Live Music: A Theory of Performance Institutions (University of Chicago Press), Fabian Holt shows how festivals and other institutions of musical performance have evolved in recent decades. Adopting a critical approach, Holt upends commonly-held ideas of live music and introduces a theory of performance institutions. The two central institutions of popular music—the club and the festival—are analyzed within the broader history of music and cultural life in modernity, shedding new light on organized cultural life in capitalism, urban media cultures, and the role of festive events in society. Everyone Loves Live Music argues that while live music provides exciting experiences for many people, it also promotes a new ideology of music in neoliberal capitalism. Dr. Fabian Holt is associate professor in the Department of Communication and Arts at Roskilde University. He is also the author of th

How does the music industry work in the modern world? In Selling Out: Culture, Commerce and Popular Music (Bloomsbury, 2020), Bethany Klein, a Professor of Media and Communication at the University of Leeds, explores the relationship between music and money, from the early years of the pop industry to contemporary society’s ‘promotional culture’. The book conceptualises ‘selling out’, and offers a nuanced understanding of how the idea developed and how it might still be important and relevant. Crucially, the book stresses the changing nature of selling out, not only over time but also through thinking critically about key categories such as race and gender. The book is packed with examples from across a range of genres and gives an overview of key theories to help understand the importance of ‘selling out’. The book is essential reading across the humanities and social scientists, as well as for anyone interested in contemporary culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Beatles’ sojourn in the St. Pauli district of Hamburg during the early 1960s is part of music legend. As Julia Sneeringer reveals in A Social History of Early Rock ‘n’ Roll in Germany: Hamburg from Burlesque to The Beatles, 1956-69 (Bloomsbury, 2018), though, this was just the most famous episode in the neighborhood’s momentous engagement with rock ‘n’ roll during that period, one of importance not just to music history but to the history of modern Germany. Located as it was outside the walls of the medieval city, St. Pauli was known for centuries as the entertainment quarter of Hamburg. The neighborhood had only recently recovered from the hardships of the postwar era when German club owners began booking English bands to play the new style of music that had just been introduced in Europe. The performances quickly proved a hit among teenage Germans, who flocked to out-of-the-way venues to watch the acts perform. As Sneeringer details, the encounters changed everyone involved, giving the musicians the cha

Mozart, Haydn, and Beethoven were all working in Europe during the last quarter of the eighteenth century, so perhaps it is no surprise that musicologists have diligently studied these men and their music. Yet, the musical culture of the generation born around the time of the Revolution in the United States has been all but ignored. In Cultivated by Hand: Amateur Musicians in the Early American Republic (Oxford University Press), Glenda Goodman begins to remedy this oversight. Through a penetrating examination of music manuscript books, Goodman analyzes the gendered and classed dynamics of the white New England gentry who made these hand-copied music documents. She also reveals how enslaved labor supported the wealth that allowed her subjects the leisure and resources to participate in amateur music making. These books, often but not exclusively created by women, are intertwined in the developing culture of a new nation and expose America’s dependence upon British artistic production. Glenda Goodman is an ass

Can’t Be Faded: Twenty Years in the New Orleans Brass Band Game (University of Mississippi Press, 2020) is a collaboration between musician and ethnomusicologist Kyle DeCoste and more than a dozen members of the Stooges Brass Band, past and present. It is the culmination of five years of interviews, research, and writing. Told with humor and candor, it’s as much a personal account of the Stooges’ careers as it is a story of the city’s musicians and, even more generally, a coming-of-age tale about Black men in the United States at the turn of the twenty-first century. DeCoste and the band members take readers into the barrooms, practice rooms, studios, tour vans, and streets where the music is made and brotherhoods are shaped and strengthened. Comprised of lively firsthand accounts and honest dialogue, Can’t Be Faded is a dynamic approach to collaborative research that offers a sensitive portrait of the humans behind the horns. The Stooges Brass Band is based in New Orleans, Louisiana. They are known for incor

Red Wave: An American in the Soviet Music Underground (Doppelhouse Press, 2020) is Joanna Stingray’s autobiographical account of her time on the underground music scene in the USSR and Russia in the late 1980s and early 1990s. During this time Joanna met and worked with some of the most important names in Russian rock like Boris Grebenshchikov of Aquarium and Victor Tsoi of Kino. She also had encounters with both the KGB and FBI who were incredulous that an American girl would come to the USSR just to listen to rock. Listen in as she describes the creativity, inspiration and events that helped create iconic underground Russian rock. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Johnny Cash International: How and Why Fans Love the Man in Black (University of Iowa Press, 2020), Michael Hinds and Jonathan Silverman examine transnational and translocal fandoms and the legacy of Johnny Cash beyond the United States. Hinds and Silverman explore Cash fandom through YouTube comments, fan pilgrimages to the American South, and other unique relationships to the Man in Black. Hinds and Silverman use ethnography, documentary, and fieldwork and discover the ways Cash transcends race, class, geography, and politics. Cash’s identity as an American performer finds a way to inspire fans worldwide. Starting with their experiences with Cash fans in Norway and Northern Ireland, Hinds and Silverman expand their exploration into the legacy of Johnny Cash to show the ways fans use modern technology and real-world fan communities to create global fan sites and cultures. Hinds and Silverman’s Johnny Cash International is a unique and thoughtful book into why fans love the Man in Black. Learn more about y