New Books in Music

Seth Rogovoy's latest book for Oxford University Press is called Within You Without You: Listening to George Harrison (Oxford University Press, 2024). Often, biographies of musicians put the story of the subject’s life front and center, letting the music recede into the background. For a musician like George Harrison, this would be a mistake. George, the lead guitarist of the Beatles, sometimes referred to as the “quiet one,” was one of his generation’s greatest guitarists. He quietly steered the Fab Four in directions that made them legendary, through his innovative use of sitar or his thoughtful, self-reflective song-writing that contrasted with John’s ironic poetics and Paul’s cheery symphonies. A late-bloomer of sorts, George truly came into his own as a solo artist pursuing a rock and roll that centered spirituality and existential yearning. For a chapter-by-chapter playlist, check out Seth's guided listen. Subscribe to Seth's Substack: Everything is Broken. Seth Rogovoy is the author of Bob Dylan: Prophet Mystic Poet and The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music and contributing editor for The Forward. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In his new book, Instrument of War: Music and the Making of the America's Soldiers (University of Chicago Press, 2024), David Suisman shows that the US military has deep and multilayered investment in music. It employs thousands of musicians, whose music creates communal norms and identities. Music also helps soldiers to grapple with the realities of combat, while serving as a weapon in its own right, at places like Guantánamo Bay. Suisman calls music "a lubricant in the gears of the American war machine," and he ably shows how its elemental qualities have been used and transformed, much as the military itself has, by technology and by changing understandings of the self.  Instrument of War is a first-of-its-kind study of music in the lives of American soldiers. Although musical activity has been part of war since time immemorial, the significance of the US military as a musical institution has generally gone unnoticed. Historian David Suisman traces how the US military used—and continues to use—music to train soldiers and regulate military life, and how soldiers themselves have turned to music to cope with war’s emotional and psychological realities. Opening our ears to these practices, Suisman reveals how music has enabled more than a century and a half of American war-making. Instrument of War unsettles assumptions about music as a force of uplift and beauty, demonstrating how it has also been entangled in large-scale state violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From Broadway to the Bronx: New York City’s History through Song (Intellect, 2024) tells the history of New York City in song across a variety of different genres that the city has been home to and instrumental in developing, covering everything from early twentieth-century sheet music to Broadway’s musical theater, hip-hop, disco, punk, dancehall, but also contemporary metal, rock, and pop. It features an analysis of the work of artists with intimate connections to the city like Billy Joel, Lin-Manuel Miranda, Debbie Harry, Shinehead, and the Wu-Tang Clan, as well as an exclusive interview with RENT original cast member, Anthony Rapp. The collection includes essays from authors across the disciplines of cultural studies, media studies, cultural history, and musicology, resulting in a far-ranging treatment of the interconnection of the city space and its musical history. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Margaret Mehl’s Music and the Making of Modern Japan: Joining the Global Concert (Open Book 2024) examines the ways in which Western classical (or “art”) music contributed to Japanese nation-building in the late nineteenth and early twentieth centuries. Mehl’s analysis of this critical half-century or so in modern Japanese history is sensitive to the power of the participative “musicking” in shaping shared understandings of national and local community and their place within a larger world. The book, which is split into the global, national, and local, also demonstrates that as much as Western art music shaped Japan, Japan shaped back. In doing so, “Japanese” music was defined in important ways that have continued to influence a sense of national self and culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

On a winter's night in 1951, shortly after Evensong, the interior of St Paul's Cathedral echoed with gunfire. This was no act of violence but a scientific demonstration of new techniques in acoustic measurement. It aimed to address a surprising question: could a building be a musical instrument? Pistols in St Paul's: Science, Music, and Architecture in the Twentieth Century (Manchester University Press, 2024) by Dr. Fiona Smyth tells the fascinating story of the scientists, architects and musicians who set out to answer this question. Beginning at the turn of the century, their innovative experiments, which took place at sites ranging from Herbert Baker's Assembly Chamber in Delhi to Abbey Road Studios and a disused munitions factory near Perivale, would come to define the field of 'architectural acoustics'. They culminated in 1951 with the opening of the Royal Festival Hall - the first building to be designed for musical tone. Deeply researched and richly illustrated, Pistols in St Paul's brings to light a scientific quest spanning half a century, one that demonstrates the power of international cooperation in the darkest of times. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Brassroots Democracy: Maroon Ecologies and the Jazz Commons (Wesleyan UP, 2024) recasts the birth of jazz, unearthing vibrant narratives of New Orleans musicians to reveal how early jazz was inextricably tied to the mass mobilization of freedpeople during Reconstruction and the decades that followed. Benjamin Barson presents a "music history from below," following the musicians as they built communes, performed at Civil Rights rallies, and participated in general strikes. Perhaps most importantly, Barson locates the first emancipatory revolution in the Americas—Haiti—as a nexus for cultural and political change in nineteenth-century Louisiana. In dialogue with the work of recent historians who have inverted traditional histories of Latin American and Caribbean independence by centering the influence of Haitian activists abroad, this work traces the impact of Haitian culture in New Orleans and its legacy in movements for liberation. Brassroots Democracy demonstrates how Black musicians infused participatory music practice with innovative forms of grassroots democracy. Late nineteenth-century Black brass bands and activists rehearsed these participatory models through collective performance that embodied the democratic ethos of Black Reconstruction. Termed "Brassroots Democracy," this fusion of political and musical spheres revolutionized both. Brassroots Democracy illuminates the Black Atlantic struggles that informed music-as-world-making from the Haitian Revolution through Reconstruction to the jazz revolution. The work theorizes the roots of the New Orleans brass band tradition in the social relations grown in maroon ecologies across the Americas. Their fruits contributed to the socio-sonic commons of the music we call jazz today BENJAMIN BARSON is a historian, baritone saxophonist, and political activist. He is an assistant professor of music at Bucknell University. His work has been published in Black Power Afterlives: The Enduring Significance of the Black Panther Party (2020), Routledge Handbook on Jazz and Gender (2021) and Routledge Guide to Ecosocialism (2021). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

For fans of musical theatre, Stephen Sondheim is one of the true titans – the genius who brought us Sweeney Todd and West Side Story, Into the Woods, and Company. With acclaimed revivals of his landmark shows regularly performed in London and New York, and new generations being introduced to the man who forever transformed musical theatre, Sondheim’s legacy has only grown. What is it about such classic songs as ‘Being Alive’ from Company, ‘No One Is Alone’ from Into the Woods, or ‘Send in the Clowns’ from A Little Night Music (to name but a few) that still resonates for so many? In How Sondheim Can Change Your Life (Atria Books (North America) Ebury (UK and Commonwealth), 2024), Dr. Richard Schoch shows how Sondheim’s greatness (beyond the clever lyrics and adventurous music) lies in his ability to tell stories that speak to all of us. From Louise’s desire for freedom as Gypsy Rose Lee to Sweeney Todd’s thirst for revenge, the struggles we see in Sondheim’s characters are ones we all have – and we can learn valuable lessons from how those struggles are resolved. Following the arc of Sondheim’s extraordinary career, How Sondheim Can Change Your Life is rich with stories and insights into the master’s creative process, and reveals the many ways that Sondheim’s works can enrich the lives of all of us. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

During the early medieval Islamicate period (800–1400 CE), discourses concerned with music and musicians were wide-ranging and contentious, and expressed in works on music theory and philosophy as well as literature and poetry. But in spite of attempts by influential scholars and political leaders to limit or control musical expression, music and sound permeated all layers of the social structure. Lisa Nielson here presents a rich social history of music, musicianship and the role of musicians in the early Islamicate era. Focusing primarily on Damascus, Baghdad and Jerusalem, Lisa Nielson draws on a wide variety of textual sources written for and about musicians and their professional/private environments – including chronicles, literary sources, memoirs and musical treatises – as well as the disciplinary approaches of musicology to offer insights into musical performances and the lives of musicians. In the process, Music and Musicians in the Medieval Islamicate World: A Social History (Bloomsbury, 2021) sheds light onto the dynamics of medieval Islamicate courts, as well as how slavery, gender, status and religion intersected with music in courtly life. It will appeal to scholars of the Islamicate world and historical musicologists. Lisa Nielson is an Anisfield-Wolf Fellow and Lecturer in the Department of Music at Case Western Reserve University, Cleveland, USA.. She received her PhD from the University of Maine at Orono, USA and holds a bachelor's and master's degree in music performance and pedagogy. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How to think about the contradictory figure of R. Murray Schafer? A renegade scholar who used sound technology to create an entirely new field of study, even as he devalued the very tools of its trade. A gifted composer who claimed a sincere appreciation for indigenous cultures, yet one who, perhaps, could only love them on his own terms, only as they fit into his sweeping vision for Canadian music. An erudite reader with a deep knowledge of world cultures, who nevertheless dismissed Canada’s most multicultural areas as less than truly Canadian. And a man, who despite a bomb-throwing persona on the page, is described by those who knew him as a kind and generous person. Today we speak to Jonathan Sterne, Mitchell Akiyama, and Hildegard Westerkamp to learn the critiques and contradictions of Schafer. Perhaps the greatest testament to his lasting legacy is the fact that we aren’t done arguing with him. Works discussed in this episode:  Jonathan Sterne’s first book, The Audible Past, includes critiques of Schafer’s work, especially his concept of schizophonia. His chapter “Soundscape, Landscape, Escape” (PDF, in the edited volume Soundscapes of the Urban Past) traces the intellectual and audiophile histories of Schafer’s term soundscape.   Listen, a short film on Schafer directed by David New, includes Shafer’s claim that recorded sounds are not “real sound.” Hildegard Westerkamp’s Kits Beach Sound Walk presents a subtler way of thinking about “schizophonic” sounds. Her chapter “The Disruptive Nature of Listening: Today, Yesterday, Tomorrow” (in the edited volume Sound Media Ecology) reexamines the World Soundscape Project through the political lenses of the 1970s and today.   An episode of the CBC radio program “Soundscapes of Canada” is available at the Canadian Music Centre’s music library.  Rafael de Oliveira, Patrícia Lima, and Alexsander Duarte‘s interview with Schafer in Corfu, Greece is available on YouTube.   Mitchell Akiyama’s critique of the World Soundscape Project appears in “Unsettling the World Soundscape Project: Soundscapes of Canada and the Politics of Self-Recognition” (on the sound studies blog Sounding Out) and in his chapter “Nothing Connects Us but Imagined Sound” (in the edited volume Sound, Music, Ecology).  The program notes (PDF) to Schafer’s North/White contain his dismissal of urban Canadians (page 43). Dylan Robinson’s book Hungry Listening opens with Schafer’s insulting words about “Eskimo music” and contains a critique of the way Schafer appropriates indigenous music to create his “Canadian” music.   The Vancouver Chamber Choir shares this performance of Schafer’s “Miniwanka” complete with a side scrolling presentation of the graphic score.  Today’s music was by R. Murray Schafer, Vireo, and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today, the Hong Kong Philharmonic is one of the world’s great symphony orchestras. But when John Duffus landed in Hong Kong in 1979 as the Philharmonic’s general manager–its fifth in as many years–he quickly learned just how much work needed to be done to make a Western symphony orchestra work in a majority Chinese city. John Duffus’s memoir Backstage in Hong Kong: A Life with the Philharmonic, Broadway Musicals and Classical Superstars (Blacksmith: 2024) charts his life from running the Philharmonic, bringing acts like the Three Tenors and Cats to Asia, and his thoughts on the Hong Kong Cultural Center and the West Kowloon Cultural District. John joins the show today to explain what the general manager of an orchestra actually does, the trickiest problems he had to solve in Hong Kong and China, and his thoughts on whether Hong Kong is truly a “cultural wasteland.” You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Backstage in Hong Kong. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

A veteran music journalist argues that the rise of music streaming and the consolidation of digital platforms is decimating the musical landscape, with dire consequences for the future of our culture ... In The Endless Refrain: Memory, Nostalgia, and the Threat to New Music (Melville House, 2024), former Washington Post writer and editor David Rowell lays out how commercial and cultural forces have laid waste to the cultural ecosystems that have produced decades of great American music. From the scorched-earth demonetizing of artist revenue accomplished by Spotify and its ilk to the rise of dead artists "touring" via hologram, Rowell examines how a perfect storm of conditions have drained our shared musical landscape of vitality. Combining personal memoir, intimate on-the-ground reporting, industry research, and cultural criticism, Rowell's book is a powerful indictment of a music culture gone awry, driven by conformity and subverted by the ways the internet and media influence what we listen to and how we listen to it. David Rowell grew up in North Carolina and graduated from the University of North Carolina at Chapel Hill. For nearly 25 years he was an editor at The Washington Post Magazine and has taught literary journalism in the MFA department at American University. He is currently a senior editor at the International Consortium of Investigative Journalists. His previous books include the novel The Train of Small Mercies, and Wherever the Sound Takes You: Heroics and Heartbreak in Music Making. He lives just outside of Chapel Hill. David Rowell’s website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

R. Murray Schafer recently passed away on August 14th 2021. If you’re someone who works with sound or enjoys sound art or experimental music–or you’ve just thrown around the word “soundscape”–you’ve probably engaged with his intellectual legacy. Schafer was one of Canada’s most influential avant-garde composers. He was also the creator of acoustic ecology, the founder of the World Soundscape Project, and the author of the classic book The Soundscape: Our Sonic Environment and the Tuning of the World. He brought a musician’s ear to the field of ecology and he brought an ecological perspective to music. And he bequeathed us a generative vocabulary for talking about and thinking about sound.  This is the first of a two-part series on R. Murray Schafer. Next month, we speak with two of Schafer’s critics–Mitchell Akiyama and Jonathan Sterne. But today, we speak with three of Schafer’s associates to understand the person, his creative works, and his lasting impact on the study of sound: Ellen Waterman, ethnomusicologist, flutist, and Schafer expert Hildegard Westerkamp, soundscape composer and member of the World Soundscape Project Eric Leonardson, sound artist and President of the World Forum for Acoustic Ecology Creative works heard on today’s show: Listen, a short film on Schafer, directed by David New. Snowforms, R. Murray Schafer The Greatest Show, R. Murray Schafer The Crown Of Ariadne, R. Murray Schafer Wolf Music V: Nocturne, R. Murray Schafer Le Testament, Ezra Pound Loving, R. Murray Schafer Beneath the Forest Floor, Hildegard Westerkamp Miniwanka, R. Murray Schafer   Special thanks to Elisabeth Hodges for translation assistance, Alex Blue V for our outtro music, and Craig Eley for his dramatic turn as R. Murray Schafer. Today’s show was produced and edited by Mack Hagood with additional editing by Ravi Krishnaswami. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What happens when the elitist space of 'Western' classical music seeks to diversify itself? And what are the social effects worked through diversity discourses in classical music institutions? The Sound of Difference: Race, Class and the Politics of 'Diversity' in Classical Music (Manchester UP, 2024) by Dr. Kristina Kolbe addresses these concerns by critically examining how diversity work takes shape in a cultural sector so deeply implicated in hierarchies of class, structures of whiteness, and legacies of imperialism. The book draws from ethnographic and interview data to analyse how diversity discourses become constructed in the organisational and creative processes of music production. From rehearsal and performance practices to the impact of the Covid-19 pandemic on the sector's commitment to change, Dr. Kolbe reveals the institutional constraints and precarious labour relations that form around diversity work in classical music and skillfully considers what these processes can tell us about the remaking of class, race, and racism today. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today, in honor of World Listening Day, we rebroadcast our story on renowned Australian sound composer, media artist and curator Lawrence English. This episode of gets deep into English’s own listening practices as an artist, specifically a technique he calls Relational Listening. In fact, as you’ll hear, he describes himself not as a sound maker but as a professional listener—that’s how central the act of listening is to his artistic practice. In particular he talks about his reworking of an important work in the fields of musique concrète and field recording, Presque Rien by Luc Ferrari, and the recent premiere of Wave Fields, his own 12-hour durational sound installation for sleepers at Burleigh Heads in Queensland as part of the Bleach* Festival. Lawrence is interested in the nature of listening and the capability of sound to occupy a body. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of relation listening and perception, through live performance, field recordings and installation. The show includes extracts from the following tracks: Album: Cruel Optimism: “Hammering a Screw.” Album: Wilderness of Mirrors: “Wilderness of Mirrors,” “Wrapped in Skin.” Album: Songs of the Living: “Trigona Carbonaria Hive Invasion, Brisbane Australia,” “Cormorants Flocking At Dusk Amazon Brazil,” “Various Chiroptera Samford Australia.” Album: Ghost Towns: “Ghost Towns.” Album: Kiri No Oto: “Soft Fuse.” Luc Ferrari: Presque Rien.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars. Rock stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. Indeed, casting rock stars for film provided a tool for bridging new relationships across media industries and practices. From Elvis Presley to Madonna, this book examines the casting rock stars in films. In so doing, Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom (Oxford UP, 2020) offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock's emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. This book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new - ideal media laborers whose power lies in the fact that they are rarely recognized as such. Combining star studies with media industry studies, this book proposes an integrated methodology for writing media history that combines the actions of individuals and the practices of industries. It demonstrates how stars have operated as both the gravitational center of media production as well as social actors who have taken on a decisive role in the purposes to which their images are used. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry’s Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry’s productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Folk music of the 1960s and 1970s was a genre that was always shifting and expanding, yet somehow never found room for so many. In the sounds of soul-folk, Black artists like Terry Callier and Linda Lewis began to reclaim their space in the genre, and use it to bring their own traditions to light- the jazz, the blues, the field hollers, the spirituals- and creating something wholly new, wholly theirs, wholly ours. Soul-Folk (Bloomsbury, 2024) traces the growing imprints of soul-folk and how it made its way from folk tradition to subgenre. Along the way, it explores the musicians, albums, and histories that made the genre what it is. Ashawnta Jackson is a writer based in Brooklyn. She writes mostly about music and culture and has written for Atlas Obscura, Artsy, Crime Reads, Bandcamp, JSTOR Daily, The Whitney Museum, and most recently Vinyl Me Please, where she wrote the liner notes for the reissue of Lee Morgan's Take Twelve. Earlier in her career, she was on the radio at KMHD Jazz Radio in Portland, OR. Ashawnta on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In 1924, the crown prince and future emperor of Ethiopia, Ras Täfäri, on a visit to Jerusalem, called on forty Armenian orphans who had survived the genocide of 1915-1916 to form his empire's royal brass band. The conductor, who was also Armenian, composed the first official anthem of the Ethiopian state. Drawing on this highly symbolic event, and following the history of the small Armenian community in Ethiopia, in The Brass Band of the King: Armenians in Ethiopia (Bloomsbury, 2024) Boris Adjemian shows how it operated on the margins of political society, hiding in its interstices, preferring intimacy and discreet loyalty to the glitter of open politics. The astonishing role of the Armenians in their host country was embodied in the friendship that the kings and queens of Ethiopia extended to them, a theme that is echoed in the life stories collected from their descendants. Bringing to light the political and cultural importance of a community that has long been ignored and has almost vanished, this study draws on the collective memory of Armenian immigration and the centuries-long history of proximity between the Armenian and Ethiopian Churches. The author argues for a sedentary approach to the diaspora, for a socio-history of this collective rootedness, which dates back to the 19th century and builds on historical representations of otherness from the early modern period up to the colonial era. Highlighting stateless immigrants halfway between the national and the foreign, this history reveals the agency of stateless immigrants and their descendants, their ability to play with identities and undermine assigned belongings. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today’s guest, Kate Carr, is an accomplished sound artist and field recordist whose recent work grapples with issues of communication and longing—themes we can all relate to in the Covid era.  In part one of the show, we mark Phantom Power’s three-year anniversary and 25th episode. Mack does a little thinking out loud about the different kinds of audio work that we’ve featured over the past three years. The terminology and practices for audio work always seem to be in flux—and people can have completely different terms for similar kinds of work. Mack imagines a spectrum of sound work, from more materialist genres like musique concrete to more conceptual or idealist genres like the audiobook, which emphasize meaning over form. In the end, the spectrum eats its own tail—the material is always conceptual and the conceptual is always material. Sound is always both resonance and meaning and the two can never be completely teased apart. Signal and noise are one.  In part two, we meet Kate Carr, an artist the critic Matthew Blackwell describes as a “sound essayist.” Since she began it in 2010, Kate Carr’s work as a musician and field recordist has taken her around the world, from her native Australia to a doctoral program at University of the Arts London. She’s been featured in The New York Times, The New Yorker, The Wire, and Pitchfork. She also runs the field recording label Flaming Pines.  Since slightly before the pandemic, the theme of communication at a distance—always implicit in field recording—has taken center stage in her work. We examine three such pieces by Kate Carr. Each one explores how sound helps us communicate at a distance and how it comforts us in moments of loneliness: “Contact”—a meditation on sonic connection through radio, morse code, and digital technology. “Where to Begin”—a study of love letter writing, which Carr says has profound similarities with field recording. “For Some Odd Reason”—an exploration of the kinds of noise we came to miss during social distancing and the mediated ways we’ve tried to add it back.  Together, these three pieces—one from before the pandemic, one from its beginning, and one from its interminable middle—explore how earnestly we try to connect across distance—and how heightened these attempts have become over the past year. Huge thanks to our co-producer on this episode, Matthew Blackwell. He is a Visiting Assistant Professor of English at the University of Iowa and a freelance music writer. He writes and edits Tusk Is Better Than Rumours, a newsletter that covers the discographies of experimental musicians.  He is also a contributor to Tone Glow, a newsletter featuring interviews with experimental musicians.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What is the future of classical music? In The Sound of Difference: Race, Class and the Politics of 'Diversity' in Classical Music (Manchester UP, 2024), Kristina Kolbe, an assistant professor of Sociology of Arts and Culture in the School of History, Culture and Communication at the Erasmus University Rotterdam, explores how the genre is seeking to become more diverse. In doing so, it reveals the challenges associated with changing audiences, performers and performances. Using a detailed case study, the book examines why classical music faces the need to change in the context of diversity discourses in both the music and the more general creative industries.  Offering a nuanced but critical perspective, the analysis outlines how diversity has had a limited impact on both case study opera house and the industry more generally. The critical perspective sets out how diversity can be easily commodified, how it depends on precarious workers, and how the pandemic of 2020 demonstrated just how much more work needs to be done. Offering rich empirical data as well as theoretical depth, the book is essential reading across the humanities and the social sciences, as well as for anyone interested in music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn’t get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970’s Fly, and recording artist of experimental pop albums such as that Fly’s soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono’s voice. Of course, as we’ve explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono’s case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today’s show, we’re going to actually listen. What is the purpose and meaning and effect of Ono’s vocal artistry? We’re exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono’s Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Listenings (Spuyten Duyvil, 2023) is a collection of meditations on the art of experiencing sound. The writings reflect Jason Weiss's passion for illuminating details, momentary experiences, and the most subtle and brief of auditory stimulations to consider their role in thought and emotion. The chapter-sections, each on a particular subtheme, invite us to visit concerts, to analyze music, to interpret sounds far and near, from friends, parents, relatives, and strangers, and to appreciate and esteem them as a key part of the human condition. Listenings summons readers to reflect but also to consider listening as an artform, a dialogue, and a locus of experiences – to make music by listening. Jason Weiss adroitly argues that to listen is not merely to perceive sound as a stimulus but to interpret, to participate, to reflect, to engage in an activity that can shift from a passive one toward a new creative beginning. This conversation includes Jason Weiss, Jeffrey Herlihy-Mera and Jorge Rodríguez Acevedo of the Departamento de Humanidades at the Universidad de Puerto Rico-Mayagüez (UPR-M). They discuss listening as a creative resource; the importance of listening in memory; Weiss’s precise and harmonious approach to linking language, sound and listening; the role of technology how we interpret sound; and the role of listening in the author’s life, experiences and creative process. This interview, our podcast, and the Instituto Nuevos Horizontes were made possible by generous support from the Mellon Foundation. This is our second episode on Listenings - the first, on New Books Network en español, is available here. Topics discussed in the interview: Listening in translingual environments. Music, performance, concerts. Travel, distance, and new language contexts. Technology and sound. When Jason Weiss met Jorge Luis Borges in Paris. The circumstances surrounding Roland Barthes’s death. Jason Weiss’s book The Lights of Home: A Century of Latin American Literature in Paris and our podcast episode on that title. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Scores sewn into coat linings, instruments hidden in suitcases, sheet music stashed among dirty laundry, concertos written on discarded food wrappers - these are just some of the ingenious ways prisoners in civilian, political and military captivity from 1933 to 1953 protected their music in the darkest of times. Italian pianist and composer Francesco Lotoro has been on a lifelong quest to find this remarkable music. He has painstakingly salvaged and performed symphonies, operas and songs written by the incarcerated musicians, many of whom died in the camps. He has travelled the globe to meet with families and survivors whose harrowing testimonies bear witness to the most devastating experiences in twentieth-century history. Movingly piecing together the human stories of those who wrote and performed whilst imprisoned, The Lost Music of the Holocaust: Bringing the Music of the Camps to the Ears of the World at Last (Headline, 2024) takes readers on a journey into their extraordinary lives and music, shining a light on a unique beauty that somehow prevailed against all odds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian’s music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn’t just document Shawnee’s narrative—he intervenes in it. He’s an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I’ll speak to Brian about his project.  Learn more: Visit Brian Harnetty’s studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From television to travel bans, geopolitics to popular dance, The Subject of Revolution: Between Political and Popular Culture in Cuba (UNC Press, 2024) explores how knowledge about the 1959 Cuban Revolution was produced and how the Revolution in turn shaped new worldviews. Drawing on sources from over twenty archives as well as film, music, theater, and material culture, this book traces the consolidation of the Revolution over two decades in the interface between political and popular culture.  The "subject of Revolution," it proposes, should be understood as the evolving synthesis of the imaginaries constructed by its many "subjects," including revolutionary leaders, activists, academics, and ordinary people within and beyond the island's borders. The book reopens some of the questions that have long animated debates about Cuba, from the relationship between populace and leadership to the archive and its limits, while foregrounding the construction of popular understandings. It argues that the politicization of everyday life was an inescapable effect of the revolutionary process, as well as the catalyst for new ways of knowing and being. Jennifer Lambe is Associate Professor of History at Brown University.  Katie Coldiron is the Outreach Program Manager for the Digital Library of the Caribbean (dLOC) and PhD student in History at Florida International University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Paul Robeson's Voices (Oxford UP, 2023) is a meditation on Robeson's singing, a study of the artist's life in song. Music historian Grant Olwage examines Robeson's voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being? Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson's sense of self and his politics. Paul Robeson's Voices charts the dialectal process of Robeson's vocal and self-discovery, documenting some of the ways Robeson's practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It’s the UConn Popcast, and today we offer a political science / popular culture studies view of Taylor Swift’s endorsement of Kamala Harris in the 2024 U.S. Presidential Election. We situate Swift’s endorsement within the wider moment of popular culture, and consider her long journey from a self-imposed moratorium on political speech to her current position as the most sought-after endorsement in the election cycle. What does the endorsement mean? Why did she do it? And why did she sign her endorsement as from a “childless cat lady”? Our previous discussion of Taylor Swift and politics is here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Episode 21 presents a portrait of Iranian experimental composer Siavash Amini. His music, which moves seamlessly between contemplative ambience, menacing dissonance, and spacious melodicism, has been released on experimental imprints such as Umor Rex and Room40. His latest, A Mimesis of Nothingness, just came out on the Swiss label Hallow Ground. Siavash tells host Mack Hagood that his entire life is based on an experiment and he doesn’t yet know what its outcome will be. This episode traces the contours of that story, from his boyhood as a metalhead in a small Iranian port town to his role in the development of Tehran’s lauded experimental music scene. Along the way, we drill down on the international and internal politics that add danger and difficulty to the life of this outspoken leftest composer. Amini is forced to navigate not only the authoritarianism of Iranian government censorship, but also the authoritarianism of western tastemakers, who sometimes want him to make the “Middle Eastern music” they hear in their own heads. Steadfast in his individuality, Siavash makes sounds that resist these authorities–the defiant anthems of an imaginary land, population: one. Most of the music in this episode is by Siavash Amini–listen to it again in this Spotify playlist and check out this great introduction to his music on Bandcamp. This episode was edited by Mack Hagood.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Are you a musical theatre fan who loves TikTok? Or are you curious about how this social media app has changed musical theatre fandom - and even the concept of the musical itself? TikTok Broadway: Musical Theatre Fandom in the Digital Age (Oxford UP, 2024) takes readers inside the world of TikTok Broadway, where fans create, expand, and canonize musical theatre through viral videos. It argues that TikTok democratizes musical theatre fan cultures and spaces, creating a new canon of musical theatre that reflects the preferences and passions of the fans. Readers will also see how TikTok Broadway influences other aspects of U.S. popular culture, from Broadway shows to TV adaptations. From Six and Beetlejuice to Wicked and Ratatouille: The TikTok Musical, this book covers the most popular and innovative musical theatre content on TikTok. Author Trevor Boffone, a musical theatre scholar and a TikTok creator, shows how fans use the app to express their love for musical theatre, and how they collaborate to produce original works, such as Bridgerton: The Musical. TikTok Broadway: Musical Theatre Fandom in the Digital Age shows how the app puts power in the hands of the fans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It’s My Party: Tat Ming Pair and the Postcolonial Politics of Popular Music in Hong Kong (Palgrave Macmillan 2024) is unique in focusing on just one band from one city – but the story of Tat Ming Pair, in so many ways, is the story of Hong Kong's recent decades, from the Handover to the Umbrella Movement to 2019's standoff. A comprehensive, theoretically informed study of the sonic history and present of Hong Kong through the prism of Tat Ming Pair, this book will be of interest to cultural studies scholars, scholars of Hong Kong, and those who study the arts in East Asia. The is an open access book. You can download the book here   Yiu Fai Chow is Professor at the Department of Humanities and Creative Writing of Hong Kong Baptist University. Jeroen de Kloet is Professor of Globalisation Studies at the University of Amsterdam. Qing Shen is a PhD candidate in anthropology at Uppsala University, Sweden. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In the first book in the Modern Music Masters series, Tom Boniface-Webb examines the Manchester band Modern Music Masters-Oasis (MMM, 2020). Founded in 1994 and playing together until their spectacular and abrupt breakup in 2009, during their time together Oasis made an imprint on British music that will last for generations, impacting fans throughout the world. Modern Music Masters-Oasis looks at the ways in which the band's chart placings--including eight number 1 albums and eight number 1 singes- show the larger narrative of rock-n-roll and the way Oasis impacted the rock-n-roll landscape during their 15-year history. Modern Music Masters-Oasis is the first in this series of books that explores artists (most of which from the United Kingdom) by looking at the social and political environment surrounding their careers.  Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

An illuminating deep-dive into everything Fleetwood Mac--the songs, the rivalries, the successes, and the failures—Dreams: The Many Lives of Fleetwood Mac (Pegasus Books, 2024) evokes the band's entire musical catalog as well as the complex human drama at the heart of the Fleetwood Mac story. Fleetwood Mac has had a ground-breaking career spanning over fifty years and includes some of the best-selling albums and greatest hits of the twentieth and twenty-first centuries. But the band's unique story is one of enormous triumph and also deep tragedy. There has never been a band in the history of music riven with as much romantic drama, sexual tension, and incredible highs and lows as Fleetwood Mac. Dreams is a must-read for casual Fleetwood Mac fans and die-hard devotees alike. Presenting mini-biographies, observations, and essays, Mark Blake explores all eras of the Fleetwood Mac story to explore what it is that has made them one of the most successful bands in history. Blake draws on his own exclusive interviews with Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, and the late Peter Green and Christine McVie, and addresses the complex human drama at the heart of the Fleetwood Mac story, including the complicated relationships between the band's main members, but he also dives deep into the towering discography that the band has built over the past half-century. Among Mark Blake's previous books are Magnifico!: The A to Z of Queen; the bestselling Comfortably Numb: The Inside Story of Pink Floyd; and Bring It On Home: Peter Grant, Led Zeppelin and Beyond, which was listed as a "Music Book of the Year" by the London Times, the Sunday Times, the Daily Mail, and the Daily Telegraph. Mark lives in England. Mark on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What is radio art? It’s a rather unfamiliar term in the United States, but in other countries, it’s a something of an artistic tradition. Today’s guest, Dr. Colin Black  is an internationally acclaimed and award-winning radio artist and composer. He speaks to us about his practice as a radio artist and the influence the Australian radio program The Listening Room had on Australia’s sonic avant garde. We then listen to his piece Out Of Thin Air: Radio Art Essay #1, which both explores and exemplifies the possibilities of radio art. It’s both informative and a total treat for the ears! The piece was originally commissioned by the Dreamlands commissions for Radio Arts, funded by the Arts Council England and Kent County Council. Out Of Thin Air: Radio Art Essay #1 is a meta-referencing poetic reflection and meditation on radio art underpinned by an artistic treatment of dislocation, transmission, reception and place as a thematic underscore. The work is in the form of an abstract song cycle that chiefly oscillates between “songs” originating from High Frequency (HR) radio static/broadcasts between 3 and 30 MHz and those from interviewees replying to questions relating to radio art. Location recordings, sound effect and musical composition weave this originating material together to form a sonic confluence and juxtaposition of elements to stimulate the listener’s imagination while offering an insight into the work’s subject matter. Interviewees (in order of appearance): Armeno Alberts, Tom Roe, Jean-Philippe Renoult, Gregory Whitehead, Götz Naleppa, Andrew McLennan, Elisabeth Zimmermann, Heidi Grundmann, Andreas Hagelüken, Teri Rueb and Kaye Mortley Producer and Composer: Colin Black High Frequency (HR) radio receiver operator: Dimitri Papagianakis Music for this episode is by Blue the Fifth.  We also hear a brief excerpt of Things Change,Things Stay the Same by Rik Rue. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

I was immediately drawn to the book The Devil’s Music by Dr. Randall Stephens, Associate Professor of British and American Studies at the University of Oslo. Dr. Stephens and I came across one another online and the book, which combines part rock n’ roll history, part American Christianity history, was an absolute delight for me. The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock n’ Roll out now from Harvard University Press (2018), tells the story of how my experiences with rock music in the 1990’s came to be. From the inside cover of the book, “When rock n’roll emerged in the 1950’s, ministers denounced it from their pulpits and Sunday school teachers warned of the music’s demonic origins. The big beat, Billy Graham believed, was “ever working in the world for evil.” Yet by the early 2000s Christian rock had become a billion-dollar industry. The Devil’s Music tells the story of this transformation. Enjoy our conversation. Greg Soden is the host “Classical Ideas,” a podcast about religion and religious ideas. You can find it on iTunes here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Mia Zapata and the Gits: A True Story of Art, Rock and Revolution (Ferel House, 2024) by Steve Moriarty, shares the story of the Seattle based The Gits and their charismatic front person Mia Zapata. The Gits were on the verge of international rock stardom but on July 7, 1993, days before their third US tour, Mia Zapata, The Gits 27-year-old singer-songwriter, was brutally assaulted and murdered by a stranger. Zapata's death sent chilling ripples through progressive communities throughout the United States. She became a cause-celebre for women's rights activists outraged by the brutal killing and lack of law enforcement support.  This book reclaims Zapata's story to focus on the art she and The Gits created and not her tragic end. Much has been written and said about her murder, yet Zapata's life and work remain overshadowed by the circumstances of her death. Zapata's friend and bandmate, Steve Moriarty, tells her story--and the story of their band, The Gits--from their first meeting in 1985 to their last goodbye. Moriarity and Zapata met in 1985 as first-year students at Antioch College, where they discovered the power of punk rock and found an outlet for their progressive ideas through music. Zapata, Moriarity, and fellow students Matt Dresdner and Andy Kessler attended a show by San Francisco punk legends Dead Kennedys that inspired the friends to start a band fueled by Mia's provocative lyrics. They quickly gained critical praise and dedicated fans.  Moriarty details their struggles as newcomers to the then-pre-tech outpost of the Seattle music scene. Interspersed are the tales Zapata told of her legendary ancestor, Mexican revolutionary Emiliano Zapata, to entertain the band as they spent countless hours on the road crammed into a single un-air-conditioned van touring the US and Europe. They shared stages with Beck, Nirvana, Mudhoney, Joan Jett, Bikini Kill, L7, and more--all who expected Mia and The Gits to be the next "big thing." The Gits's story is more than a biography; it's a testament to the ability of artists and musicians to challenge the status quo and the power of friendship to change the world. Moriarty reframes the sensationalist story as he shares his personal narrative and presents, with intimacy, grit, and humor, the lived experience of The Gits and his dear friend, Mia Zapata. Included are never before seen paintings, letters, and pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today’s episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we’ll hear about are downright wacky.  Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character’s footsteps or inner thoughts or hear a rousing orchestral score that the character can’t hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies’ Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Why do certain musical sounds move us while others leave us cold? Are musical trends simply that—or do they contain insights into the culture at large? Our guest is a musicologist who studies pop and electronic dance music. She’s fascinated by the way EDM privileges timbral and rhythmic complexity over the chord changes and harmonic complexities of the blues-based rock and pop music of yore. However, Robin James is also a philosopher and she connects these musical structures to social and economic structures, not to mention structural racism and sexism.  In this episode, cris and Mack have a lengthy, freeform interview and listening session with Robin in which she breaks down the sounds of EDM, pop, hip hop, “chill” playlists, and industrial techno, conceiving them as varied responses to neoliberalism’s intensification of capitalism. Her analysis includes lyrical content, but her main focus is the soars, stutters, breaks, and drops that mimic the socio-economic environment of the 21st century. It’s an environment that demands resilience from all of us—and especially from women and people of color. Robin James’s books include: ·      Resilience & Melancholy: pop music, feminism, neoliberalism (Zer0 Books, 2015). ·      The Sonic Episteme: acoustic resonance & biopolitics (Duke, 2019). ·      The Conjectural Body: Gender, Race, & the Philosophy of Music (Lexington Books, 2010). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In an era where the financial stability of many arts organizations is increasingly precarious, arts philanthropy stands at a critical juncture. The recent COVID-19 pandemic of 2020-21 laid bare the vulnerabilities in existing funding structures, highlighting just how fragile these lifelines can be. Coupled with a surge in social initiatives that demand attention and resources, the way the arts are funded is undergoing scrutiny and transformation. A new wave of philanthropists—individuals with fresh motivations and evolving priorities—has emerged. These next-gen donors continue the legacy of their predecessors, while actively reshaping it, bringing forth new perspectives and expectations. Their influence is profound but necessitates a balance of caution and optimism as the arts sector navigates this changing landscape. This is where Philanthropy in the Arts: A Game of Give and Take (Lund Humphries, 2023) steps in, offering a sprawling yet incisive exploration of philanthropy in the arts. The book examines the interests and behaviors of donors and recipients, suggesting ways in which their practices can be better intertwined. Through open and wide-ranging discussions, it explores the intricacies of giving and receiving in the arts, shedding light on the unique challenges and opportunities that define this relationship. For collectors, philanthropists, and patrons, this book is more than just analysis—it’s a handy guide that equips them with the knowledge to navigate the peculiarities of arts philanthropy. For art market and museum professionals, it provides insights into the evolving dynamics of donor relationships, helping them adapt to the rapidly changing environment. Amidst the increasing financial instability of numerous arts organizations, arts philanthropy finds itself at a critical juncture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

An exploration of the much-derided English suburbs through rap music. There are many different Englands. From the much-romanticized rolling countryside, to the cosmopolitanism of the inner cities (embraced by some as progressive, multicultural enlightenment and derided by others as the playground of a self-righteous metropolitan elite), or the disparagingly named "left behind" communities which, post-Brexit, have so interested political parties and pundits, demographers and statisticians. But there is also an England no one cares about. The England of semi-detached houses and clean driveways for multiple cars devotedly washed on Sundays, of "twitching curtains" and Laura Ashley sofas; of cul-de-sacs to nowhere and exaggerated accents; of late night drives to petrol stations on A roads, fake IDs tested in Harvesters, and faded tracksuits and over-gelled hair in Toby Carverys; of questionable hash from a "mate of a mate" and two-litre bottles of White Lightning from Budgens consumed in a kids playground. Much derided. Unglamorous, ordinary; cultural vacuity and small "c" conservatism. A hodgepodge. An--apparently--middling, middle-of-the-road middle-England of middle-class middle-mindedness. Part poetry anthology, part academic study into placemaking, and part autoethnography, The England No One Cares About (Goldsmith Press, 2024) innovatively brings together academic discussions of the ethnographic potential of lyrics, scholastic representations of suburbia, and thematic analysis to explore how rap music can illuminate the experiences of young men growing up in suburbia. This takes place by exploring the author's own annotated lyrics from his career as a musician known as Context where he was referred to by the BBC as "Middle England's Poet Laureate." George Musgrave studies the psychological experiences and working conditions of creative careers. He collaboratively undertook a major research project entitled Can Music Make You Sick? and cowrote a bestselling book on the subject. He has worked on ethical decision-making by music managers and wellbeing in the gig economy, and his research has been featured on BBC News, Pitchfork, Mixmag, GQ, The Financial Times, BBC Introducing, The Grammys, and Billboard among others. He is also a musician, signed with EMI/Sony/ATV. George on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Interspecies Communication: Sound and Music Beyond Humanity (U Chicago Press, 2024), music scholar Gavin Steingo examines significant cases of attempted communication beyond the human--cases in which the dualistic relationship of human to non-human is dramatically challenged. From singing whales to Sun Ra to searching for alien life, Steingo charts the many ways we have attempted to think about, and indeed to reach, beings that are very unlike ourselves. Steingo focuses on the second half of the twentieth century, when scientists developed new ways of listening to oceans and cosmic space--two realms previously inaccessible to the senses and to empirical investigation. As quintessential frontiers of the postwar period, the outer space of the cosmos and the inner space of oceans were conceptualized as parallel realities, laid bare by newly technologized "ears." Deeply engaging, Interspecies Communication explores our attempts to cross the border between the human and non-human, to connect with non-humans in the depths of the oceans, the far reaches of the universe, or right under our own noses. Gavin Steingo is Professor in the Department of Music at Princeton University. He is also affiliated with the programs in Media and Modernity, African Studies, and Jazz Studies. Steingo’s research examines sound and music as fundamental features in the construction of global modernity, with research specializations in African music, sound studies, acoustic ecology, and music and philosophy. Methodologically, his work is united by a mode of inquiry where theory, history, and ethnography form part of a shared constellation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

A close look at the lives of working musicians who aren't the center of their stage. Secret (and not-so-secret) weapons, side-of-the-stagers, rhythm and horn sections, backup singers, accompanists—these and other “band people" are the anonymous but irreplaceable character actors of popular music. Through interviews and incisive cultural critique, writer and musician Franz Nicolay provides a portrait of the musical middle class. Artists talk frankly about their careers and attitudes toward their craft, work environment, and group dynamics, and shed light on how support musicians make sense of the weird combination of friend group, gang, small business consortium, long-term creative collaboration, and chosen family that constitutes a band. Is it more important to be a good hang or a virtuoso player? Do bands work best as democracies or autocracies? How do musicians with children balance their personal and professional lives? How much money is too little? And how does it feel to play on hundreds of records, with none released under your name? In exploring these and other questions, Band People: Life and Work in Popular Music (U Texas Press, 2024) gives voice to those who collaborate to create and dissects what it means to be a laborer in the culture industry. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This enlightening book reframes the history of hip-hop—and this time, women are given credit for all their trailblazing achievements that have left an undeniable impact on music. First Things First: Hip-Hop Ladies Who Changed the Game (Twelve, 2024), hip-hop is not just the music, and women have played a big role in shaping the way it looks today. First Things First takes readers on a journey through some notable firsts by women in hip-hop history and their importance. Factual firsts like Queen Latifah becoming the first rapper to get a star on the Hollywood Walk of Fame, Lauryn Hill making history as the first rapper to win the coveted Album of the Year Award at the GRAMMYs, April Walker being the first woman to dominate in the hip-hop fashion game, and Da Brat being the first solo woman rapper to have an album go platinum, and metaphorical firsts like Missy Elliott being the first woman rapper to go to the future. (Trust me, she really did.) There are chapters on music legends like Nicki Minaj, Lil’ Kim and Mary J. Blige, tv and radio hosts like Big Lez and Angie Martinez, and so many more ladies I would name but I don’t want to spoil the book! There are games, charts and some fire images, too. Altogether, First Things First is a celebration of the achievements of women in hip-hop who broke down barriers and broke the mold. So the next time someone doesn’t have their facts straight on the ladies in hip-hop, you can hit them with “first things first”… Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From the time he began recording with the Velvet Underground in the 1960s until his death in 2013, Lou Reed released nearly 50 original albums. In Sweet, Wild and Vicious: Listening to Lou Reed and the Velvet Underground (Trouser Press Books, 2024), Jim Higgins delves into each one, with descriptions, details, analysis and appraisals that will amplify and expand fans' understanding and appreciation of them. This listener's guide is personal as well as definitive, a thoughtful consideration of Reed's entire career from the perspective of a devoted follower able to separate the highs from the lows. Jim Higgins is arts and books editor for the Milwaukee Journal Sentinel and a former pop music and jazz critic for the Milwaukee Sentinel. He is a two-time winner of Wisconsin Area Music Industry award for music journalist of the year and twice won the Sentinel staff-voted award for humor writing. Like Andy Warhol, he is a native of Pittsburgh. Jim on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In the 1950s, a schoolteacher named Carleen Hutchins attempted a revolution in how concert violins are made. In this episode, Craig Eley of the Field Noise podcast tells us how this amateur outsider used 18th century science to disrupt the all-male guild tradition of violin luthiers. Would the myth of the never-equaled Stradivarius violin prove to be true or could a science teacher with a woodshop use an old idea to make new violins better than ever? We also learn about the mysterious beauty of Chladni patterns, the 18th century technique of using tiny particles to reveal how sound moves through resonant objects–the key to Hutchins’ merger of art and science. In this episode, we hear the voices of: Quincy Whitney, Carleen Hutchins biographer and a former arts reporter for the Boston Globe. Myles Jackson, a professor of the history of science at Princeton. Joseph Curtin, a MacArthur-award winning violin maker. Sam Zygmuntowicz, an extremely renowned violin maker and creator of Strad3D. Carleen Hutchins herself.   You can subscribe to Craig Eley’s Field Noise podcast to hear the original version of this story. This episode was edited by Craig Eley and Mack Hagood. Music is by Blue Dot Sessions and Marc Bianchi. The archival interview clips of Carleen Hutchins were provided by filmmaker James Schneider. The interview with Quincy Whitney was recorded by Andrew Parrella at New Hampshire Public Radio. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons.  But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

1967: How I Got There and Why I Never Left (Akashic Books, 2024) explores how that pivotal slice of time tastes to a bright, obsessive-compulsive boy who is shipped off to a hothouse academic boarding school as he reaches the age of thirteen--just as Bob Dylan's Highway 61 Revisited starts to bite, and the Beatles's Sgt. Pepper's Lonely Hearts Club Band explodes. When he arrives in January 1966, Robyn Hitchcock is still a boy pining for the comforts of home and his family's loving au pair, Teresa. By December 1967, he's mutated into a 6'2? tall rabid Bob Dylan fan, whose two ambitions in life are to get really high and fly to Nashville. In between--as the hippie revolution blossoms in the world outside--Hitchcock adjusts to the hierarchical, homoerotic world of Winchester, threading a path through teachers with arrested development, some oafish peers, and a sullen old maid--a very English freak show. On the way he befriends a cadre of bat-winged teenage prodigies and meets their local guru, the young Brian Eno. At the end of 1967, all the ingredients are in place that will make Robyn Hitchcock a songwriter for life. But then again, does 1967 ever really end? Robyn Hitchcock is a rock 'n' roll surrealist. Born in London in 1953, he describes his songs as "pictures you can listen to." Hitchcock has floated at a tangent to the mainstream for nearly five decades, and his songs have been performed by R.E.M., the Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant-Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead, among others. Hitchcock lives in London with his wife Emma Swift and two cats, Ringo and Tubby. Robyn on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It’s the UConn Popcast, and Purple Rain, Prince’s semi-autobiographical, semi-concert film, hit cinemas 40 years ago this week. The movie followed the album of the same name by a few short weeks. While the album is considered a defining musical achievement, the movie met a mixed reception at the time, and later critics have been both troubled by its misogyny and perplexed by its surreal qualities and uneven acting. We consider the movie and the music at the four-decade mark, centering our discussion on the figure of Prince (who plays a character called “The Kid” in the movie) as a set of shifting signifiers allowing, and perhaps demanding, an active reading by audiences interested in gender, race, musical genre, performance, and more. Mentioned in this episode: Jack Hamilton, “Baby I’m a Star”: Prince, Purple Rain, and the Audiovisual Remaking of the Black Rock Star” in Black Camera (2022) Vol. 14, No. 1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

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 choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Grounded in new archival research documenting a significant presence of foreign and racially-marked individuals in Medici Florence, Voice, Slavery, and Race in Seventeenth-Century Florence (Oxford University Press, 2024) by Dr. Emily Wilbourne argues for the relevance of such individuals to the history of Western music and for the importance of sound-particularly musical and vocal sounds-to systems of racial and ethnic difference. Many of the individuals discussed in these pages were subject to enslavement or conditions of unfree labour; some laboured at tasks that were explicitly musical or theatrical, while all intersected with sound and with practices of listening that afforded full personhood only to particular categories of people. Integrating historical detail alongside contemporary performances and musical conventions, this book makes the forceful claim that operatic musical techniques were-from their very inception-imbricated with racialized differences. Dr. Wilbourne offers both a macro and micro approach to the content of this book. The first half of the volume draws upon a wide range of archival, theatrical and historical sources to articulate the theoretical interdependence of razza (lit. "race"), voice, and music in early modern Italy; the second half focuses on the life and work of a specific, racially-marked individual: the enslaved, Black, male soprano singer, Giovannino Buonaccorsi (fl.1651-1674). Voice, Slavery, and Race in Seventeenth-Century Florence reframes the place of racial difference in Western art music and provides a compelling pre-history to later racial formulations of the sonic. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Soul is one of those concepts that is often evoked, but rarely satisfactorily defined. In The Meaning of Soul: Black Music and Resilience Since the 1960s (Duke University Press 2020), Emily J. Lordi takes on the challenge of explaining “soul,” through a book that zooms in and out between sweeping ideas about suffering and resilience in Black culture and fine-grained, close readings of individual performances by soul musicians. Rather than centering big musical gestures and major popular hits, Lordi pays close attention to musical practices like falsetto, ad-libs, and false endings to ground her analysis. She focuses on artists that are some of the most recognizable Black singers in the United States such as Aretha Franklin, Nina Simone, and James Brown, but she also spends a lot of time with more obscure figures including Donny Hathaway and Minnie Riperton. She ends the book with a powerful contemplation of how the logic of soul, born in the political and social tumult of the late 1960s, still resonates with some of today’s most popular women singers. Emily J. Lordi is an Associate Professor of English at Vanderbilt University. The Meaning of Soul is her third book. In addition to her scholarly work, she is an active cultural critic and music journalist published in venues such as Billboard, The Atlantic, and NPR. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It’s the UConn Popcast, and recently UConn’s Center for the Study of Popular Music hosted a panel discussion on Artificial Intelligence and the Future of Music. The panel featured Dr. Mitchell Green, Professor of Philosophy, University of Connecticut; Dustin Ballard, a musician and creator of the social media channel “There I Ruined It”; and Dr. Aaron Dial, a postdoctoral research fellow at the Humanities and Technoscience Lab at Purdue University. The conversation addressed AI music creation, production, composition, aesthetics, trends, copyright issues, and algorithms. The panel was moderated by Professor Jeffrey Ogbar, Director of the Center for the Study of Popular Music and Professor of History at the University of Connecticut. Timestamps: Mitchell Green: 7:00-23:40 Aaron Dial: 23:45-43:55 Dustin Ballard: 44:02-54:32 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Dance Music Spaces: Clubs, Clubbers, and DJs Navigating Authenticity, Branding, and Commercialism (Lexington Books, 2022), Danielle Antoinette Hidalgo examines the production of physical and digital spaces in dance music, and how the players—clubs, clubbers, and DJs—use authenticity, branding, and commercialism to navigate them. An in-depth study into three women DJs—The Blessed Madonna, Honey Dijon, and Peggy Gou—reveals a new concept, “authenticity maneuvering.” In it Danielle Hidalgo exposes how the strategic use of a rave ethos both bolsters acceptance in dance music spaces and hides often problematic commercial practices. This timely, thoughtful, and deeply personal book presents a compelling analysis of the complicated interplay between dancing bodies, digital practices, and spatial offerings in contemporary dance music. Michael O. Johnston, Ph.D. is a Assistant Professor of Sociology at William Penn University. He is the author of The Social Construction of a Cultural Spectacle: Floatzilla (Lexington Books, 2023) and Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington Books, 2022). His general area of study is in the areas of social construction of experience, identity, and place. He is currently conducting research for his next project that looks at nightlife and the emotional labor that is performed by employees of bars and nightclubs. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too.  In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall— Take This Hammer: Work, Song, Crisis (Goldsmiths Press, 2024) shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself. Paul Rekret is Lecturer in Media Industries in the School of Media and Communications at the University of Westminster, UK.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Las Vegas is a place the American dream made; a city built in the middle of desert visited by millions of people every year hoping to make their dreams (big or small) come true. The essays in The Possibility Machine: Music and Myth in Las Vegas (University of Illinois Press, 2023) examines Las Vegas not as a kitschy, vaguely embarrassing American tourist destination, but rather takes seriously the performers and audiences who have made Las Vegas the embodiment of American mythology. In this interview, the volume's editor, Jake Johnson, is joined by two contributors: Brian F. Wright, author of “Elvis in Vegas: The King of Rock ‘n’ Roll and the City of Second Chances” and Joanna Dee Dass co-author with Maddie House-Tuck of “The Real Deal: Impersonation and the American Dream in Branson and Vegas.” The Possibility Machine is a large collection of essays that examines music and performance in Las Vegas from multiple perspectives and considers the city’s history from mob-dominated playground to a family-friendly tourist destination. The essays explore music as an important facet of the lives of the city's residents, its promise of second chances to performers, the allure of its spectacle to audiences, and the circulation of its reputation around the U.S. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In September 2006, Margo Jefferson spoke to the Institute about her book, On Michael Jackson (Vintage, 2007). Jefferson received the 1995 Pulitzer Prize for criticism when she was at the New York Times. Her 2015 book, Negroland: A Memoir, won the National Book Critics Circle Award. And in 2022, she published, Constructing a Nervous System, a memoir in fragments. She has taught at NYU, The New School, and Columbia University’s School of the Arts, where she is a professor of professional practice. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

For decades, Joni Mitchell's life and music have enraptured listeners. One of the most celebrated artists of her generation, Mitchell has inspired countless musicians--from peers like James Taylor, to inheritors like Prince and Brandi Carlile--and authors, who have dissected her music and her life in their writing. At the same time, Mitchell has always been a force beckoning us still closer, as--with the other arm--she pushes us away. Given this, music critic Ann Powers wondered if there was another way to draw insights from the life of this singular musician who never stops moving, never stops experimenting. In Traveling: On the Path of Joni Mitchell (Dey Street Books, 2024), Powers seeks to understand Mitchell through her myriad journeys. Through extensive interviews with Mitchell's peers and deep archival research, she takes readers to rural Canada, mapping the singer's childhood battle with polio. She charts the course of Mitchell's musical evolution, ranging from early folk to jazz fusion to experimentation with pop synthetics. She follows the winding road of Mitchell's collaborations with other greats, and the loves that emerged along the way, all the way through to the remarkable return of Mitchell to music-making after the 2015 aneurysm that nearly took her life. Along this journey, Powers' wide-ranging musings on the artist's life and career reconsider the biographer's role and the way it twines against the reality of a fan. In doing so, Traveling illustrates the shifting nature of biography, and the ultimate contradiction of celebrity: that an icon cannot truly, completely be known to a fan. Kaleidoscopic in scope, and intimate in its detail, Traveling is a fresh and fascinating addition to the Joni Mitchell canon, written by a biographer in full command of her gifts who asks as much of herself as of her subject. Ann Powers has been a music critic for more than thirty years, working for NPR, the Los Angeles Times, the New York Times, and other publications. In the decade she has worked with NPR, she has written extensively on music and culture and appeared regularly on the All Songs Considered podcast and on news shows including All Things Considered and Morning Edition. Her books include a memoir, Weird Like Us: My Bohemian America; Good Booty: Love and Sex, Black and White, Body and Soul in American Music; and Piece by Piece with Tori Amos. Powers lives in Nashville. Ann Powers on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Charles Hayward is one of the most propulsive, resourceful and generative rock-plus drummers of the past half-century. An influential percussionist, keyboardist, songwriter, singer of songs, and forward thinker through sound, Charles spoke with Phantom Power about a 40thanniversary touring with a partly reformed and enlarged This Heat as This Is Not This Heat, and then opened into generous reflections on his solo works The Bell Agency  and 30 Minute Snare Drum Roll.  Charles is founding member of the experimental rock groups This Heat and Camberwell Now. Since the late 1980s he has concentrated on solo projects and collaborations, including Massacre with Bill Laswell and Fred Frith. Most recently he released an album of improvised duets with Thurston Moore of Sonic Youth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Electronic Dance Music: From Deviant Subculture to Culture Industry (Rowman & Littlefield, 2023) explores the subculture’s emergence as a deviant subculture. This text analyzes how industry professionals, fans, and public officials helped usher in a new age of EDM, arguing that while the defining features of the subculture made it attractive, they also laid the foundations for outsiders to commodify the movement as a culture industry. Chris Conner and David Dickens explore the concept of “commodified resistance” as the mechanism by which the movement's politically dissident features were removed and its place as a multi-billion-dollar industry made possible. Ultimately, this text advocates the continued utility of the culture industry thesis through an empirical analysis of the EDM subculture. Michael O. Johnston, Ph.D. is a Assistant Professor of Sociology at William Penn University. He is the author of The Social Construction of a Cultural Spectacle: Floatzilla (Lexington Books, 2023) and Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington Books, 2022). His general area of study is in the areas of social construction of experience, identity, and place. He is currently conducting research for his next project that looks at nightlife and the emotional labor that is performed by employees of bars and nightclubs. To learn more about Michael O. Johnston you can go to his website, Google Scholar, Twitter @ProfessorJohnst, or by email at johnstonmo@wmpenn.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Infinite Dreams: The Life of Alan Vega (Backbeat, 2024) by Laura Davis-Chanin and Liz Lamere is the first biography on the life of Alan Vega, best known as the co-founder of the punk duo Suicide. In their exhaustive biography Davis-Chanin and Vega's wife of 30 years, Liz Lamere, start with Vega's early life and attempts at astrophysics in college, to his encounter with Iggy Pop that changed his path and encouraged him to become an artist and performer. Infinite Dreams describes Vega’s many experiments across a variety of media, including the partnership with Marty Rev that became Suicide, which challenged audiences to look deep inside themselves and to not settle for distractions. Delving into his artistic life as well as his personal trials, Infinite Dreams combines candid photos, drawing, images of art pieces, and reminiscence of a wide array of musicians and artists, creating an intimate glimpse into the life of Vega and those he influenced.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Since the 1990s, many of Houston’s African American residents have customized cars and customized the sound of hip hop. Cars called “slabs” swerve a slow path through the city streets, banging out a distinctive local music that paid tribute to those very same streets and neighborhoods. Folklorist and Houston native Langston Collin Wilkins studies slab culture and the “screwed and chopped” hip hop that rattles the slabs and serves as the culture’s soundtrack. Wilkins shows us how sonic creativity turns a space—a collection of buildings and streets—into a place that is known, respected, and loved. In this show we hear the slow, muddy, psychedelic sounds of DJ Screw and The Screwed Up Click, including rappers such as Lil Keke, Fat Pat, Big Hawk, and UGK–as well as songs by Geto Boys, Willie Dee, Swishahouse, Point Blank, Biggie Smalls, and MC T Tucker & DJ Irv.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Tara López's Chuco Punk: Sonic Insurgency in El Paso (University of Texas Press, 2024), is an immersive study of the influential and predominantly Chicanx punk rock scene in El Paso, Texas. Punk rock is known for its daring subversion, and so is the West Texas city of El Paso. In Chuco Punk, Tara López dives into the rebellious sonic history of the city, drawing on more than seventy interviews with punks, as well as unarchived flyers, photos, and other punk memorabilia.  Connecting the scene to El Paso's own history as a borderland, a site of segregation, and a city with a long lineage of cultural and musical resistance, López throws readers into the heat of backyard punx shows, the chaos of riots in derelict mechanic shops, and the thrill of skateboarding on the roofs of local middle schools. She reveals how, in this predominantly Chicanx punk rock scene, women forged their own space, sound, and community. Covering the first roots of Chuco punk in the late 1970s through the early 2000s, López moves beyond the breakout bands to shed light on how the scene influenced not only the contours of sound and El Paso but the entire topography of punk rock. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Daniel Rachel's new book Too Much Too Young, the 2 Tone Records Story: Rude Boys, Racism, and the Soundtrack of a Generation (Akashic, 2024) presents the definitive history of 2 Tone Records. In 1979, 2 Tone Records exploded into the consciousness of music lovers in Britain, the US, and beyond, as albums by the Specials, the Selecter, Madness, the English Beat, and the Bodysnatchers burst onto the charts and a youth movement was born. 2 Tone was Black and white: a multiracial force of British and Caribbean musicians singing about social issues, racism, class, and gender struggles. It spoke of injustices in society and fought against rightwing extremism. It was exuberant and eclectic: white youths learning to dance to the infectious rhythm of ska and reggae, crossed with a punk attitude, to create an original hybrid. The idea of 2 Tone was born in Coventry, England, and masterminded by a middle-class art student, Jerry Dammers, who envisioned an English Motown. Dammers signed a slew of successful artists, and a number of successive hits propelled 2 Tone onto Top of the Pops and into the hearts and minds of a generation. However, infighting among the bands and the pressures of running a label caused 2 Tone to bow to the inevitable weight of expectation and recrimination. Over the following years, Dammers built the label back up again, entering a new phase full of fresh signings and a beautiful end-piece finale in the activist hit song “(Free) Nelson Mandela.” Told in three parts, Too Much Too Young is the definitive story of a label that for a brief, bright burning moment shaped British, American, and world culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen’s 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In The Pet Shop Boys and the Political: Queerness, Culture, Identity, and Society (Bloomsbury, 2024), editor Bodie Ashton compiles twelve essays exploring the impact of Pet Shop Boys across the past four decades. The Pet Shop Boys came of age at a time of deep socio-political tension. From the rise of sexual politics and awareness to Thatcherite neoliberalism and the Cold War, this book explores the cultural and political impact of the band and offers a fascinating window into the late 20th and early 21st centuries. An archetypal 'gay band', it shows how their overt queerness influenced generations of LGBTQIA+ music lovers and artists alike.  Covering the full oeuvre of The Pet Shop boys; their albums, films, stage productions and collaborations, chapters in this collection show how their work is suffused with political commentary on the past and present covering themes as broad as queer identity, the HIV/AIDs epidemic, globalization and Brexit. It also places them within the context of their times and considers them as activists, authors, social commentators, political actors and personalities to better understand what influenced them. Bringing together a range of perspectives and disciplines, The Pet Shop Boys and the Political provides a unique and untapped insight into a formative pop band of the modern era that has mirrored and shaped society over the past forty years. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright’s Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, “Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats.” If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We’ll listen to three pieces of Brian’s: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the “burrows” in New York’s five boroughs. Links to works discussed: Quotidian Record (2012), Urban Intonation (2017). Mack notes that it was incredible to edit this episode using Daniel Fishkin’s daxophone arrangement of John Cage’s “Ryoanji” (1983). The other music on today’s episode is by Brian House and Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Well into the new millennium, the analog cassette tape continues to claw its way back from obsolescence. New cassette labels emerge from hipster enclaves while the cassette’s likeness pops up on T-shirts, coffee mugs, belt buckles, and cell phone cases. In Unspooled: How the Cassette Made Music Shareable (Duke University Press, 2024), Dr. Rob Drew traces how a lowly, hissy format that began life in office dictation machines and cheap portable players came to be regarded as a token of intimate expression through music and a source of cultural capital. Drawing on sources ranging from obscure music zines to transcripts of Congressional hearings, Dr. Drew examines a moment in the early 1980s when music industry representatives argued that the cassette encouraged piracy. At the same time, 1980s indie rock culture used the cassette as a symbol to define itself as an outsider community. Indie’s love affair with the cassette culminated in the mixtape, which advanced indie’s image as a gift economy. By telling the cassette’s long and winding history, Dr. Drew demonstrates that sharing cassettes became an acceptable and meaningful mode of communication that initiated rituals of independent music recording, re-recording, and gifting. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The history of rock and roll music can be seen in a long arc of Western civilization's struggle for both greater individual expression and societal stability. In the 1960s, the West's relationship with authority ruptured, in part due to the rock revolution. The lessons and implications of this era have yet to be fully grasped.  James A. Cosby's book Rock Music, Authority and Western Culture, 1964-1980 (McFarland, 2024) examines the key artists, music, and events of the classic rock era--defined here as 1964 to 1980--through a virtual psychoanalysis of the West. Over these years, important truths unfold in the stories of British Invaders, hippies, proto-punks, and more, as well as topics to include drugs, primal scream therapy, the occult, spirituality, and disco and its detractors, to name just a few. Through a narrative that is equal parts entertaining, scholarly, and even spiritual, readers will gain a greater appreciation for rock music, better understand the confusing world we live in today, and see how greater individuality and social stability may be better reconciled moving forward. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Thousands of shows have opened on Broadway. Why do we remember some and not others? The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. For example, author Doug Reside shows that it is no accident that the serious book musical with a fixed score developed in the 1940s - when commercially pressed and marketed record albums made it possible to record most of the score of a new musical in a fixed medium. And Hamilton, a musical with dense lyrics and revolutionary musical style, would not have been as easily accessible to world audiences if most hadn't already had the opportunity to learn the score by listening to free digital streams of the original cast recording. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. Reside uncovers how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined by the texts used in these performances. Fixing the Musical: How Technologies Shaped the Broadway Repertory (Oxford UP, 2023) argues that the musicals we most remember are those which most effectively used their era's best recording and distribution technologies to document and share the work with those who would never see the original production on Broadway. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Founded in 1925, the John Simon Guggenheim Memorial Foundation provides support to what their current website says are "exceptional individuals in pursuit of scholarship in any field of knowledge and creation in any art form, under the freest possible conditions." In Circle of Winners: How the Guggenheim Foundation composition Awards Shaped American Music Culture (University of Illinois Press, 2023), Denise Von Glahn studies the institution between its founding and the late 1930s, with special emphasis on the music composition award. Funded by the Guggenheim mining fortune, the Foundation took early shape from the efforts of Carroll Wilson, Frank Aydelotte, and Henry Allen Moe--three Rhodes Scholars who initially struggled to envision and implement the organization's ambitious goals. One of the few groups providing support to composers before WWII, Von Glahn explains how the Foundation’s selection practices and the network that helped to shape and sustain its work impacted American classical music and picked winners in the American musical marketplace. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Despite the hypervisibility of a constellation of female pop stars, the music business is structured around gender inequality. As a result, women in the music industry often seize on self-branding opportunities in fashion, cosmetics, food, and technology for the purposes of professional longevity. Extending Play: The Feminization of Collaborative Music Merchandise in the Early Twenty-First Century (Oxford UP, 2023) examines the ubiquity of brand partnerships in the contemporary music industry through the lens of feminized labor, to demonstrate how female artists use them as a resource for artistic expression and to articulate forms of popular feminism through self-commodification. In this book, author Alyxandra Vesey examines this type of promotional work and examines its proliferation in the early 21st century. Though brand partnerships exist across all media industries, they are a distinct phenomenon for the music business because of their associations with fan club merchandise, concert merchandise, and lifestyle branding, often foregrounding women's participation in shaping these economies through fan labor and image management. Through textual and discourse analysis of artists' songs, music videos, interviews, social media usage, promotional campaigns, marketing strategies, and business decisions, Extending Play investigates how female musicians co-create branded feminine-coded products like perfume, clothes, makeup, and cookbooks and masculine-coded products like music equipment as resources to work through their own ideas about gender and femininity as workers in industries that often use sexism and ageism to diminish women's creative authority and diminish the value of the recording in order to incentivize musicians to internalize the demands of industrial convergence. By merging star studies, popular music studies, and media industry studies, Extending Play proposes an integrated methodology for approaching contemporary cultural history that demonstrates how female-identified musicians have operated as both a hub for industrial convergence and as music industry professionals who use their extramusical skills to reassert their creative acumen. Alyxandra Vesey is Assistant Professor in Journalism and Creative Media at the University of Alabama. Her research focuses on the gendered dynamics of creative labor in the music industries. Her work has appeared in Journal of Cinema and Media Studies, Feminist Media Studies, Television and New Media, Journal of Popular Music Studies, Camera Obscura, Velvet Light Trap, and Emergent Feminisms: Complicating a Postfeminist Media Culture. Alyxandra on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Imagining Musical Pasts: the Queer Literary Musicology of Vernon Lee, Rosa Newmarch, and Edward Prime-Stevenson (Clemson University Press, 2023) by Kristin M. Franseen explores the complicated archive of sources, interpretations, and people present in queer writings on opera and symphonic music from ca. 1880 to 1935. It focuses primarily on the work of three turn-of-the-twentieth-century music scholars--philosopher and horror writer Vernon Lee (pseud. Violet Paget), biographer and program note annotator Rosa Newmarch, and critic and amateur sexologist Edward Prime-Stevenson. All three were queer, all discussed music both as part of fiction and nonfiction writing, and all worked outside of the academy. Rather than finding a grand unifying theory of early queer musicology, Franseen has closely examined three idiosyncratic writers who struggled to stay true to their ideas of intellectual honesty while also writing about music, musical figures, and musical listening in quite different ways. By studying each scholar's individual approach to constructing and interpreting musical and sexual knowledge, the book draws attention to aspects of their work previously neglected or considered only in isolation. Franseen meditates on questions of what constitutes historical evidence, what role should gossip and rumor have in nonfiction writing, and what should count as musicology, as she discusses each person's work. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What did historical evolutionists such as Charles Darwin and Herbert Spencer have to say about music? What role did music play in their evolutionary theories? What were the values and limits of these evolutionist turns of thought, and in what ways have they endured in present-day music research?  Theorizing Music Evolution: Darwin, Spencer, and the Limits of the Human (Oxford UP, 2024) is a critical examination of ideas about musical origins, emphasizing nineteenth-century theories of music in the evolutionist writings of Darwin and Spencer. Author Miriam Piilonen argues for the significance of this Victorian music-evolutionism in light of its ties to a recently revitalized subfield of evolutionary musicology. Taking an interdisciplinary approach to music theorizing, Piilonen explores how historical thinkers constructed music in evolutionist terms and argues for an updated understanding of music as an especially fraught area of evolutionary thought. In this book, Piilonen delves into how historical evolutionists, in particular Darwin and Spencer, developed and applied a concept of music that served as a boundary-drawing device, used to trace or obscure the conceptual borders between human and animal. She takes as primary texts the early evolutionary treatises that double as theoretical accounts of music's origins. For Darwin, music served as a kind of proto-language common to humans and animals alike; he heard the songs of birds and the chirps of mice as musical, as articulated in texts such as The Descent of Man (1871) and The Expression of the Emotions in Man and Animals (1872). Spencer, on the other hand, viewed music as a specifically human stage of evolutionary advance, beyond language acquisition, as outlined in his essay, "The Origin and Function of Music" (1857). These competing views established radically different perspectives on the origin and function of music in human cultural expression, while at the same time being mutually constitutive of one another. A ground-breaking contribution to music theory and histories of science, Theorizing Music Evolution turns to music evolution with an eye toward disrupting and intervening in these questions as they recur in the present.” Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Deeping It: Colonialism, Culture & Criminalisation of UK Drill (404 Ink, 2023) by Adèle Oliver shines a critical light on UK drill and its fraught relationship with the British legal system. Intervening on current discourse steeped in anti-Blackness and moral panic, this Inkling ‘deeps’ how the criminalisation of UK drill cannot be disentangled from histories, technologies, and realities of colonialism, consumerism and more. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Country music maintains a special, decades-long relationship to American military life, but these ties didn't just happen. This readable history reveals how country music's Nashville-based business leaders on Music Row created partnerships with the Pentagon to sell their audiences on military service while selling the music to service members. Beginning in the 1950s, the military flooded armed forces airwaves with the music, hosted tour dates at bases around the world, and drew on artists from Johnny Cash to Lee Greenwood to support recruitment programs.  Over the last half of the twentieth century, the close connections between the Defense Department and Music Row gave an economic boost to the white-dominated sounds of country while marginalizing Black artists and fueling divisions over the meaning of patriotism. This story is filled with familiar stars like Roy Acuff, Elvis Presley, and George Strait, as well as lesser-known figures: industry executives who worked the halls of Congress, country artists who dissented from the stereotypically patriotic trappings of the genre, and more.  In Cold War Country: How Nashville's Music Row and the Pentagon Created the Sound of American Patriotism (UNC Press, 2024), Joseph M. Thompson argues convincingly that the relationship between Music Row and the Pentagon helped shape not only the evolution of popular music but also race relations, partisanship, and images of the United States abroad. Joseph M. Thompson is assistant professor of history at Mississippi State University. Katie Coldiron is the Outreach Program Manager for the Digital Library of the Caribbean (dLOC) and PhD student in History at Florida International University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad’s 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain’s most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad’s biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad’s narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen’s death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60’s American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre’s Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre’s English upbringing and current life in Colorado, alongside Dvořák’s tenure as director of the National Conservatory of Music of America and Bartók’s bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970’s Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In a recording, what sounds count as music? Sounds made by a musician's body--including inhales, finger taps, and grunts--have for decades been dismissed as extraneous noises. In Sounds As They Are: The unwritten music in classical recordings (Oxford UP, 2024), author Richard Beaudoin pioneers a field of inquiry into non-notated sounds in recordings of classical music, recognizing often-overlooked sounds made by the bodies of performers and their recording equipment as music. Beaudoin classifies such sounds via inclusive track analysis (ITA), a bold new theory based on a comprehensive census of audible events on a given recording, and then codifies their musical function. He builds a typology across four large categories: sounds of breath (inhaling and exhaling), sounds of touch (guitar squeaks, piano pedals), sounds of effort (grunting and moaning), and surface noise (on early recording formats). Breaths are shown to be as complex and diverse as chords. Touch sounds create empathy with listeners. Effortful vocalizations reveal connections between music-making and sex. The measurement of surface noise reveals moments of synchronization with the meter of the recorded piece. He draws analogies between unwritten music and painting, photography, poetry, psychology, and government. The book's methodology is intertwined with the aesthetics and ethics of non-notated sounds: who is allowed to make them, and how they are received by listeners, critics, and scholars. Beaudoin uncovers insidious inequalities across music studies and the recording industry, including the silencing of body and breath sounds along lines of gender and race. Sounds as They Are demonstrates the expressive, interpretive, and embodied possibilities that emerge when all sounds are valued coequally and asks music theory to face a simple truth: that all sounds deserve recognition. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How can so many people pledge allegiance to punk, something with no fixed identity? Depending on who and where you are, punk can be an outlet, excuse, lifestyle, escapism, conversation, community, ideology, sales category, social movement, punishable offense, badge of authenticity, reason to drink beer forever, or an aesthetic of belligerent incompetence. And if someone has a strong belief about what punk is, odds are they have even stronger feelings about what punk is not. Sam McPheeters championed many different versions. Over the course of two decades, he fronted Born Against, released dozens of records and fanzines, and toured seventeen times across the northern hemisphere. In Mutations: Twenty Years Embedded in Hardcore Punk (Barnacle Book, 2020), he examines the diverse realms he intersected—New York hardcore, Riot Grrrl, Gilman street, the hidden enclaves of Olympia, and New England, and downtown Los Angeles—and the forces of mental illness and creative inspiration that drove him, and others, in the first place. Sam McPheeters was born in Ohio and raised in upstate New York. In 1981, at age twelve, he co-authored Travelers Tales: Rumors and Legends of the Albany-Saratoga Region. Starting in 1989, he sang for Born Against, Men's Recovery Project, and Wrangler Brutes, touring seventeen times across North America, Europe, and Japan. Since 2009, he has written for Criterion, Vice, and The Village Voice, among others. He currently lives in Pomona, CA, with his wife. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In this episode, Pat speaks with Dr Supriya Subramani. Dr Subramani's interest in morality and ethics has led her to explore morality, behaviour, and ethics in healthcare contexts. She has worked on the concepts of belonging, micro-inequities, moral habitus, the idea of the passive patient, the social construction of incompetency, and reflexivity. They discuss caste and contemporary music, resistance and poetry, and autonomy and participatory theatre. Background notes and a transcript of this episode are also available on the Concept : Art website (http://www.conceptartpodcast.com). Concept : Art is produced on muwinina Country, lutruwita Tasmania. Always was, always will be Aboriginal land. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Music in Colonial Punjab (Oxford UP, 2023) offers the first social history of music in undivided Punjab (1800-1947), beginning at the Lahore court of Maharaja Ranjit Singh and concluding at the Patiala royal darbar. It unearths new evidence for the centrality of female performers and classical music in a region primarily viewed as a folk music centre, featuring a range of musicians and dancers -from 'mirasis' (bards) and 'kalawants' (elite musicians), to 'kanjris' (subaltern female performers) and 'tawaifs' (courtesans). A central theme is the rise of new musical publics shaped by the anglicized Punjabi middle classes, and British colonialists' response to Punjab's performing communities. The book reveals a diverse connoisseurship for music with insights from history, ethnomusicology, and geography on an activity that still unites a region now divided between India and Pakistan. Dr Radha Kapuria is an Assistant Professor of South Asian History at Durham University, United Kingdom. She is a historian of gender and culture in South Asia. Her current research is on the impact of the 1947 Partition on musicians’ lives in India and Pakistan. This ongoing research will feed into her second monograph on musical memories of the Partition, focused on the history of musical exchange across the Indo-Pak border in both South Asia and the British diaspora since 1947. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Music and Sound in the Films of Dennis Hopper (Routledge,2024), Stephen Lee Naish explores how as a director Dennis Hopper used music and sound to propel the narrative of his work and to signpost the era in which the films were made and the characters' place within American culture. Naish examines five of Hopper's films to show how this deep engagement with music to build character and setting continued throughout his career, as Hopper used folk, punk, hip-hop, and jazz to shape the worlds of his films in ways that influenced other filmmakers and foreshadowed the advent of the music video format. As Naish demonstrates, throughout his career Hopper relied on music to propel his films and tell his stories.  In Easy Rider, Hopper was one of the first filmmakers to include popular rock, pop, and folk music on a soundtrack. In his sophomore film The Last Movie, Hopper blended diegetic performances of folk and traditional Peruvian indigenous music to create a textured piece of sound art. In Out of the Blue, Hopper used punk rock as a vibrant shock, but also as a reaction to the failed ethos of the past. In 1988's Colors he incorporated hip-hop and rap music to soundtrack the lives of the gang members who rule the streets of Los Angeles. Finally, in his 1990 film The Hot Spot, Hopper commissioned a hybrid soundtrack of jazz/blues by Miles Davis and John Lee Hooker to accompany his steamy neo-noir. Using case studies of five of Hopper's directorial films, Naish aims to uncover the film soundtrack as a vital piece of the narrative, not only in Dennis Hopper's films but in film as a whole.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Literacy in a Long Blues Note: Black Women’s Literature and Music in the Late Nineteenth and Early Twentieth Centuries by Coretta M. Pittman (University Press of Mississippi, 2022) traces the evolution of Black women’s literacy practices from 1892 to 1934.  Pittman explores two distinct but related eras of Black women’s writing—the Women’s Era of the 1890s and early 1900s, and the New Negro Movement of the 1920s and 1930s. Casting a wide net, Pittman analyzes fiction, nonfiction, and dramatic writing by Black women along with songs performed and written by classic blues singers like Bessie Smith, Ma Rainey, and Victoria Spivey. This innovative approach allows Pittman to show how women from these two generations approached issues of class, respectability, uplift, and empowerment. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Following the success of their instantly iconic double LP, London Calling, The Clash set out to do something "triply outrageous." Named after the Nicaraguan rebels who successfully overthrew an authoritarian dictator, Sandinista! consists of 36 songs across six sides of vinyl. Produced by the band, it showcases their politics as well as their ability to adopt a multitude of genres ranging from punk, reggae, jazz, gospel, calypso, and hip hop. Free from the influence of their Machiavellian manager, Bernie Rhodes, The Clash still battled their record label to release the triple LP on their terms: three for the price of one. Despite its polarizing reception from critics at the time of its release, Sandinista! is often considered one of the greatest albums of all time. Nevertheless, critics and fans have spent over 40 years debating whether the album would be better as a 12-track LP. In The Clash’s Sandinista! (Bloomsbury, 2024), Henley entertains that idea and considers what is lost or gained in the process. To do so, the book delves into the politics of The Clash, the spliff bunkers constructed for the production of the album, and the sacrifices made upon its release. It examines the album's 36 tracks and considers the significance of the record's dissection on behalf of fans who curate their own versions of the album in the mixtape, CD, and playlist eras. Micajah Henely is an adjunct professor at Bluegrass Community and Technical College in Lexington, Kentucky, USA. He is the creator of the music podcast You Forgot One. Micajah Henely on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How do art schools influence music? In No Machos or Pop Stars: When the Leeds Art Experiment Went Punk (Duke UP, 2022), Gavin Butt, a Professor of Fine Art at Northumbria University, Newcastle, tells the story of art, music and higher education in Leeds in the mid-1970s. Using archives and interviews, as well as analysis of the music and art of the era, the book shows the importance of art and art theory to a huge range of bands, including Gang of Four, Scritti Politti and Soft Cell. The analysis also takes a critical perspective on art, music and the era, thinking through the importance of class, gender, and racial inequalities to punk and post-punk. A rich and detailed defence of the importance of arts education, the book will be of interest across the arts and humanities, as well as for anyone wanting to know more about why Leeds matters! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Ella Fitzgerald (1917–1996) was one of America’s greatest musicians. In this major biography, Becoming Ella Fitzgerald: The Jazz Singer who Transformed American Song (Norton 2023), Judith Tick documents Ella’s importance as a music maker, the ups and downs of her career, and her place in the music industry. Singers are often sidelined in histories of jazz, and jazz critics often celebrated instrumentalists over vocalists in their commentary. Consequently, many authors have not taken Ella seriously as a musical innovator, composer, arranger, or creative performer. Judith Tick shows that Ella was all these things and more. She provides new information about Ella’s family and early career, and analyzes how Ella negotiated the ever-shifting lines between jazz and pop. Tick shows that Ella was an ambitious risk-taker whose musical curiosity and skill led her to make some of the twentieth-century’s most important recordings, and helped establish the great American songbook. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It’s the UConn Popcast, and Taylor Swift is by some measures the most popular person on the planet. Her periodic reinventions set the mass cultural terms of debate, and her political interventions – through exhorting her fans on social media – lead to huge spikes in voter registration. It is hoped by Democrats, and feared by Republicans, that a Taylor endorsement of Joe Biden in 2024 might meaningfully tip the scales in favor of reelection. In this episode, we consider Taylor Swift as a popular and political text, over which she exercises substantial, but not total, authorial control. What role in the culture does she play? How should we interpret her recent association with the NFL? How do the parasocial relationships of her fans – “Swifties” – to the artist herself contribute to authorship of the Taylor text. And how should we read the counter-subversive conspiratorial responses to her halting forays into electoral politics? Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Tell It to the World: The Broadway Musical Abroad (Oxford UP, 2024) offers a look at how the Broadway musical travels the world, influencing and even transforming local practices and traditions. It traces especially how the musical has been indigenized in South Korea and Germany, the commercial centers for Broadway musicals in East Asia and continental Europe. Both countries were occupied after World War II by the United States, which disseminated U.S. American popular music, jazz, movies, and musical theatre in the belief that these nations needed to rebuild their cultures in accordance with U.S. guidelines. By the 1990s, Broadway imports had become phenomenally popular in Seoul and Hamburg while home-grown musicals proliferated that adapted and transformed the prototypes that had been disseminated by the U.S. Although this book focuses on recent musicals, it also looks back through the twentieth century to plot the evolution of musical theatre in South Korea and Germany. Part One considers the key questions: What is a musical? Why is it the great success story of U.S. theatre? How has it been assimilated to musical theatre traditions around the world? Part Two focuses on musical theatre in South Korea, studying the import/export business in large-scale musicals about Korean history and innovative hybrid experiments that mix local performance traditions with the Broadway vernacular. Part Three moves to Europe to analyze the conflicted attitudes toward musicals in the German-speaking world. Its three chapters survey the history of musicals in Germany from 1945 until the fall of the Berlin Wall, the reconfiguration of musical theatre conventions by experimental directors, and finally the ground-breaking German-language productions of Broadway classics by Barrie Kosky and other innovative directors. In the twenty-first century, Broadway-style musical theatre has succeeded in becoming a lingua franca, the template for musical theatre around the world. This book shows how some of the most innovative, beautiful, and exciting musical theatre is being made outside the United States. Peter C. Kunze is a visiting assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How can culture be authentic in the modern world? In The Poet's Song: Folk and its Cultural Politics in South Asia (Rouitledge, 2023), Dr Priyanka Basu, a Lecturer in Performing Arts at Kings College London, explores the history and practice of the folk performance Kobigaan. The book draws on rich archival and historical analysis, as well as fieldwork in West Bengal and Bangladesh, to tell the story of how Kobigaan has evolved over time, how it has been preserved, how it has changed media and changed practice, and how the struggles over to whom Kobigaan belongs play out today. A fascinating and engaging text, the book will be of interest to scholars across the humanities, as well as for anyone interested in arts and culture! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How Hip Hop Became Hit Pop: Radio, Rap, and Race (U California Press, 2023) examines the programming practices at commercial radio stations in the 1980s and early 1990s to uncover how the radio industry facilitated hip hop's introduction into the musical mainstream. Constructed primarily by the Top 40 radio format, the musical mainstream featured mostly white artists for mostly white audiences. With the introduction of hip hop to these programs, the radio industry was fundamentally altered, as stations struggled to incorporate the genre's diverse audience. At the same time, as artists negotiated expanding audiences and industry pressure to make songs fit within the confines of radio formats, the sound of hip hop changed. Drawing from archival research, Amy Coddington shows how the racial structuring of the radio industry influenced the way hip hop was sold to the American public, and how the genre's growing popularity transformed ideas about who constitutes the mainstream. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women’s and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What people ultimately want from music-drama, audience research suggests, is to be absorbed in a story that engages their feelings, even moves them deeply, and that may lead them to insights about life and, perhaps, themselves. Joseph Cone's Seeing Opera Anew: A Cultural and Biological Perspective (Routledge, 2023) shows how both human biology and culture cause these effects. Cone, a lifelong opera fan, ardent amateur singer and professional science writer, goes beyond the traditional approaches of musicology, criticism, history and biography. He adopts a "stereo" approach to assimilate cultural perspectives and contemporary evolutionary theories based in human biology. In doing so, he offers fresh insights on why music-dramas can offer such rich, immersive experiences, powerfully affecting our feelings and our understanding of life. Written to stimulate the student and opera-goer as much as the professional, "Seeing Opera Anew" examines and interprets more than 15 operas in an informal and lively way based on a range of recent scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The basement of a veteran shopping mall located in the central business district of Singapore affords opportunities to a group of amateur and semi-professional musicians, of different ethnicities, ages, and generations to make a sonic way of life. Based on five years of deep participatory experience, this multi-modal (text, musical composition, social media, performance) sonic ethnography is centered around a community of noisy people who make rock music within the constraints of urban life in Singapore. The heart and soul of this community is English Language rock and roll music pioneered in Singapore by several members of the 1960s legendary "beats and blues" band, The Straydogs, who continue to engage this community in a sonic way of life. In Sonic City: Making Rock Music and Urban Life in Singapore (NUS Press, 2021), Ferzacca draws on Bruno Latour's ideas of the social--continually emergent, constantly in-the-making, "associations of heterogeneous elements" of human and non-human "mediators and intermediaries"--to portray a community entangled in the confounding relations between vernacular and national heritage projects. Music shops, music gear, music genres, sound, urban space, neighborhoods, State presence, performance venues, practice spaces, regional travel, local, national, regional, and sonic histories afford expected and unexpected opportunities for work, play, and meaning, in the contemporary music scene in this Southeast Asian city-state. The emergent quality of this deep sound is fiercely cosmopolitan, yet entirely Singaporean. What emerges is a vernacular heritage drawing upon Singapore's unique place in Southeast Asian and world history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Race and Gender in the Western Music History Survey: A Teacher’s Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama’s Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music