New Books in Music

Jeff Hayton's book Culture from the Slums: Punk Rock in East and West Germany (Oxford UP, 2022) is a cultural history of punk in Germany. The manuscript tracks “the advent and growth of punk in divided Germany during the 1970s and 1980s, and the social and political responses to the subculture” (23). These decades witnessed an explosion of alternative culture across divided Germany, and punk was a critical constituent of this movement. For young Germans at the time, punk appealed to those gravitating toward individual and cultural experimentation rooted in notions of authenticity—endeavors considered to be more “real” and “genuine.” Punk, however, was a foreign import and the way Germans in both East and West adapted it to their own local needs, and the divergent, yet surprisingly connected history of punk in both Germanies tell us much about German history and society in the 1980s. Culture from the Slums makes two broad claims. First, Hayton argues “punk was a medium for alternative living and a motor for social change.” (8) Much more than simply a waypoint on the narrative of progress that supposedly led from 1968 towards unification and beyond, it was an important social and musical movement. Second, through a comparative analysis of the subculture, Hayton argues that punk helps explain why West Germany flourished and why East Germany collapsed.Punk by the 1980s ceased to function as an instrument of difference in the west as it entered the mainstream, but the DDR never was able to control punk. Hayton examines the roles which punk played in German politics, society, and culture, and how German contexts transformed punk. Put differently: this study is about punk in Germany, and Germany in punk” (9) Culture from the Slums suggests that the ideas, practices, and communities which came out of Punk transformed both German societies along more diverse and ultimately democratic lines. The book is an important contribution to the growing scholarship of punk, which so far has been overwhelmingly focused on Anglo-American developments. Using a wealth of previously untapped archival documentation, the book integrates punk culture and music subculture into broader narratives of postwar inquiry and explains how punk rock shaped a divided Germany in the 1970s and 1980s.Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Layla Murad (1918-1995) was once the highest-paid star in Egypt, and her movies were among the top-grossing in the box office. She starred in 28 films, nearly all now classics in Arab musical cinema. In 1955 she was forced to stop acting—and struggled for decades for a comeback. Today, even decades after her death, public interest in her life continues, and new generations of Egyptians still love her work. Unknown Past: Layla Murad, the Jewish-Muslim Star of Egypt (Stanford UP, 2022) recounts Murad's extraordinary life—and the rapid political and sociocultural changes she witnessed.Hanan Hammad writes a story centered on Layla Murad's persona and legacy, and broadly framed around a gendered history of twentieth-century Egypt. Murad was a Jew who converted to Islam in the shadow of the first Arab-Israeli war. Her career blossomed under the Egyptian monarchy and later gave a singing voice to the Free Officers and the 1952 Revolution. The definitive end of her cinematic career came under Nasser on the eve of the 1956 Suez War.Egyptians have long told their national story through interpretations of Murad's life, intertwining the individual and Egyptian state and society to better understand Egyptian identity. As Unknown Past recounts, there's no life better than Murad's to reflect the tumultuous changes experienced over the dramatic decades of the mid-twentieth century.Roberto Mazza is visiting professor at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Twitter: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Patti Smith arrived in New York City at the end of the Age of Aquarius in search of work and purpose. What she found—what she fostered—was a cultural revolution. Through her poetry, her songs, her unapologetic vocal power, and her very presence as a woman fronting a rock band, she kicked open a door that countless others walked through. No other musician has better embodied the “nothing-to-hide” rawness of punk, nor has any other done more to nurture a place in society for misfits of every stripe.Why Patti Smith Matters (University of Texas Press, 2022) is the first book about the iconic artist written by a woman. The veteran music journalist Caryn Rose contextualizes Smith’s creative work, her influence, and her wide-ranging and still-evolving impact on rock and roll, visual art, and the written word. Rose goes deep into Smith’s oeuvre, from her first album, Horses, to acclaimed memoirs operating at a surprising remove from her music. The portrait of a ceaseless inventor, Why Patti Smith Matters rescues punk’s poet laureate from “strong woman” clichés. Of course Smith is strong. She is also a nuanced thinker. A maker of beautiful and challenging things. A transformative artist who has not simply entertained but also empowered millions.Caryn Rose can be found on Twitter and you can read her work in her newsletter. Rebekah Buchanan is a 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/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In 2005, Tony Perman attended a ceremony alongside the living and the dead. His visit to a Zimbabwe farm brought him into contact with the madhlozi, outsider spirits that Ndau people rely upon for guidance, protection, and their collective prosperity.Perman's encounters with the spirits, the mediums who bring them back, and the accompanying rituals form the heart of his ethnographic account of how the Ndau experience ceremonial musicking. As Perman witnessed other ceremonies, he discovered that music and dancing shape the emotional lives of Ndau individuals by inviting them to experience life's milestones or cope with its misfortunes as a group. Signs of the Spirit: Music and the Experience of Meaning in Ndau Ceremonial Life (U Illinois Press, 2020) explores the historical, spiritual, and social roots of ceremonial action and details how that action influences the Ndau's collective approach to their future. The result is a vivid ethnomusicological journey that delves into the immediacy of musical experience and the forces that transform ceremonial performance into emotions and community.Tony Perman is an associate professor music at Grinnell College. Marshall Poe is the founder and editor of the New Books Network. He can be reached at marshallpoe@newbooksnetwork.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In 1973, the Philadelphia Orchestra boarded a Pan Am 707 plane in Philadelphia for a once-in-a-lifetime journey: a multi-city tour of Maoist China, months after Nixon’s history-making visit. There was drama immediately after they landed in Shanghai. Chinese officials asked for a last-minute change to the program: Beethoven’s Sixth. After protests that the Orchestra didn’t bring scores with them, officials returned with copies haphazardly sourced from across the country, with different notations and different notes, forcing the orchestra to make do. That’s just one of the stories recounted in Jennifer Lin’s book, Beethoven in Beijing: Stories from the Philadelphia Orchestra's Historic Journey to China (Temple University Press: 2022). The book stems from the work Lin did in putting together a documentary film on the Philadelphia Orchestra’s trip; with so much left on the cutting room floor, she decided to turn it into an oral history. Jennifer Lin is an award-winning journalist, author, and documentary filmmaker. She produced and codirected the feature-length documentary, Beethoven in Beijing, which premiered on PBS’s Great Performances in 2021. For 31 years, she worked at the Philadelphia Inquirer as a reporter, including posts as a foreign correspondent in China, a financial correspondent on Wall Street, and a national correspondent in Washington, DC. She is the author of Shanghai Faithful: Betrayal and Forgiveness in a Chinese Christian Family (Rowman & Littlefield Publishers: 2017), and coauthor of Sole Sisters: Stories of Women and Running (Andrews McMeel Publishing: 2006). Her current documentary project is Beyond Yellowface about two New York City dancers trying to rid ballet of offensive Asian stereotypes.In this interview, Jennifer and I talk about the opening of China, the Philadelphia Orchestra, and how that 1973 visit still resonates today.  You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Beethoven in Beijing. Follow on Facebook or on Twitter at @BookReviewsAsia.Nicholas Gordon is an associate 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/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Freedom Girls: Voicing Femininity in 1960s British Pop (Oxford University Press, 2021) by Alexandra M. Apolloni is about how the vocal performances of girl singers in 1960s Britain defined—and sometimes defied—ideas about what it meant to be a young woman. Apolloni takes a case study approach to tease out many different strands of the nature of femininity in 1960s Britain, but she tackles much more than gender in this book. She also considers larger public conversations about authenticity, race, sexuality, and class which dictated and shaped the careers and the reception of the group of singers she writes about. In what is almost a group biography, Apolloni writes about Sandie Shaw, Cilla Black, Lulu, Dusty Springfield, Millie Small, Marianne Faithfull and P.P. Arnold. They are Black and white, many come from working-class backgrounds, most were born in Britain, and all were very young when they first gained national attention. While most of them have an international following, their careers were rooted in the U.K., but the music they sang was fundamentally influenced by the music of Black Americans. Apolloni carefully separates and interrogates the maelstrom of identity, music, political agendas, and cultural meanings that surround these women. The performances she analyzes reveal the historical and contemporary connections between voice, social mobility, and musical authority, and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Race and Gender in the Western Music History Classroom: A Teacher’s Guide, which she wrote with Horace Maxile, was published by Routledge Press in 2022. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Black Masculinity and Hip-Hop Music: Black Gay Men Who Rap (Palgrave Macmillan, 2019), XinLing Li offers an interdisciplinary study of hip-hop music written and performed by rappers who are black gay men. This study examines the storytelling mechanisms of gay themed lyrics, and how these form protests and become enabling tools for (black) gay men to discuss issues such as living on the down-low and HIV/AIDS. It considers how the biased promotion of feminized gay male artists/characters in the mainstream entertainment industry have rendered masculinity an exclusively male heterosexual property, providing a representational framework for men to identify with a form of “homosexual masculinity” – one that is constructed without having to either victimize anything feminine or necessarily convert to femininity. The book makes a strong case that it is possible for individuals (like gay rappers) to perform masculinity against masculinity, and open up a new way of striving for gender equality.XinLing Li received his PhD in sociology from the University of Cambridge, United Kingdom.Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

We are not what we think we are. Our self-image as natural individuated subjects is determined behind our backs: historically by political forces, cognitively by the language we use, and neurologically by sub-personal mechanisms, as revealed by scientific and philosophical analyses.Under contemporary capitalism, as the gap between this self-image and reality becomes an ever greater source of social and mental distress, these theoretical insights are potential dynamite. Shifting his explorations from the sonic to the social, amplifying alienation and playing with psychic noise, artist and performer Mattin finally lights the fuse.The noise is here to stay. Alienation is a constitutive part of subjectivity and an enabling condition for exploring social dissonance—the territory upon which we already find ourselves, the condition we inhabit today.Mattin speaks (and sings) to Pierre d’Alancaisez about his performance score Social Dissonance, in which the audience is the instrument and the legacy of the Marxist theory of alienation.Mattin is an artist, musician and theorist working conceptually with noise and improvisation. Through his practice and writing, he explores performative forms of estrangement as a way to deal with structural alienation. Mattin has exhibited and toured worldwide.He has performed in festivals such as Performa and Club Transmediale and lectured in institutions such as Dutch Art Institute, Cal Arts, Bard, and Goldsmiths. Mattin is part of the bands Billy Bao and Regler and has over 100 releases on different labels worldwide. He co-hosts the podcast Social Discipline. Mattin took part in 2017 in documenta14 in Athens and Kassel. Information on the Social Dissonance concert at Documenta 14 A video recording of one of the performances Social Discipline podcast Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Soul is the most powerful expression of American music--a distinct combination of roots, migration, race, culture, and politics packaged together for your dancing pleasure. But if you thought the sounds of Motown or Stax Records died along with 8-tracks and macramé, you'd be wrong. For two decades, Daptone Records has churned out hard funk and such beautiful soul that these records sparked a musical revolution.Run by a collective of soul-obsessed producers and musicians, the Brooklyn-based independent label launched the careers of artists such as Amy Winehouse, Sharon Jones & The Dap-Kings, Charles Bradley, and Bruno Mars. Daptone's records--and those of the larger soul revival scene--pay homage but never lip service to the original artists, proving that soul is still culturally relevant, and just as exciting as ever.It Ain't Retro: Daptone Records and the 21st-Century Soul Revolution (Jawbone, 2021) charts this revival's players, sounds, and tectonic shifts over the past twenty years, taking you from dingy clubs where soul crazed DJs packed the dancefloor, to just uptown where some of the genre's heaviest musicians jumpstarted the renaissance in a basement studio, and all the way to the White House. This definitive tale of Daptone Records' soulful revolution chronicles the label's history, players, and sounds while dissecting the scene's cultural underpinnings, which continue to reverberate in pop music. The book also contains rare and unseen images of Daptone artists past and present, including Sharon Jones, Charles Bradley, Lee Fields, Antibalas, The Sugarman 3, The Budos Band, and more.Jessica Lipsky is a journalist and DJ from Brooklyn by way of the San Francisco Bay. She first encountered sweet soul music as a child by obsessively tuning her radio dial and has since extensively covered soul, funk, reggae, and alternative Latin music. Her work on the intersection of culture, music, and politics has appeared in NPR, Billboard, Grammy.com, Columbia Journalism Review, Vice, and LA Weekly.Jessica Lipsky 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/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Recording History: Jews, Muslims, and Music Across Twentieth-Century North Africa (Stanford UP, 2022) offers a new history of twentieth-century North Africa, one that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization.If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities.With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.You can listen to the full versions of the songs mentioned in this interview here: Louisa Tounsia’s "Ma fiche flous" Habiba Messika’s “Anti Souria Biladi” Samy Elmaghribi’s “Allah watani oua-sultani”  Avery Weinman is a PhD student in History at the University of California, Los Angeles. She researches Jewish history in the modern Middle East and North Africa, with emphasis on Sephardi and Mizrahi radicals in British Mandatory Palestine. She can be reached at averyweinman@ucla.edu. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music