New Books in Music

It would be hard to overstate the importance of culture. It teaches us, heals us, rips us apart and puts us back together in new and surprising ways. Given its fundamental importance to the human experience, it would make sense that looking at the sort of people who produce it for us, thinking about who they are, what their experiences are, and what that may say about the cultural products they then make. There is no product without a producer, and cultural products are no different, so understanding cultural products means thinking more critically about who produces them.This is the goal of the recently published ​Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020). Written by Orian Brook, Mark Taylor and, my guest today, Dave O’Brien, the book combines quantitative data analysis with personal interviews to weave together the complicated picture of who the people behind some of our most cherished experiences are.Dave O’Brien is Chancellor’s Fellow in Cultural and Creative Industries, based in the School of History of Art at Edinburgh University. He is also the author of ​Cultural Policy: Management, Value and Modernity in the Creative Industries​ (Routledge). Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Everyone Loves Live Music: A Theory of Performance Institutions (University of Chicago Press), Fabian In Everyone Loves Live Music: A Theory of Performance Institutions (University of Chicago Press), Fabian Holt shows how festivals and other institutions of musical performance have evolved in recent decades.Adopting a critical approach, Holt upends commonly-held ideas of live music and introduces a theory of performance institutions. The two central institutions of popular music—the club and the festival—are analyzed within the broader history of music and cultural life in modernity, shedding new light on organized cultural life in capitalism, urban media cultures, and the role of festive events in society. Everyone Loves Live Music argues that while live music provides exciting experiences for many people, it also promotes a new ideology of music in neoliberal capitalism.Dr. Fabian Holt is associate professor in the Department of Communication and Arts at Roskilde University. He is also the author of the book Genre in Popular Music, also published by the University of Chicago Press.Emily Ruth Allen (@emmyru91) is a Ph.D. candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations.Adopting a critical approach, Holt upends commonly-held ideas of live music and introduces a theory of performance institutions. The two central institutions of popular music—the club and the festival—are analyzed within the broader history of music and cultural life in modernity, shedding new light on organized cultural life in capitalism, urban media cultures, and the role of festive events in society. Everyone Loves Live Music argues that while live music provides exciting experiences for many people, it also promotes a new ideology of music in neoliberal capitalism.Dr. Fabian Holt is associate professor in the Department of Communication and Arts at Roskilde University. He is also the author of the book Genre in Popular Music, also published by the University of Chicago Press.Emily Ruth Allen (@emmyru91) is a Ph.D. candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

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

The Beatles’ sojourn in the St. Pauli district of Hamburg during the early 1960s is part of music legend. As Julia Sneeringer reveals in A Social History of Early Rock ‘n’ Roll in Germany: Hamburg from Burlesque to The Beatles, 1956-69 (Bloomsbury, 2018), though, this was just the most famous episode in the neighborhood’s momentous engagement with rock ‘n’ roll during that period, one of importance not just to music history but to the history of modern Germany. Located as it was outside the walls of the medieval city, St. Pauli was known for centuries as the entertainment quarter of Hamburg. The neighborhood had only recently recovered from the hardships of the postwar era when German club owners began booking English bands to play the new style of music that had just been introduced in Europe. The performances quickly proved a hit among teenage Germans, who flocked to out-of-the-way venues to watch the acts perform. As Sneeringer details, the encounters changed everyone involved, giving the musicians the chance to hone their skills and develop their style while through their participation the young men and women in the audience pushed against the conservative social boundaries imposed on them by their families and their society. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

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

Can’t Be Faded: Twenty Years in the New Orleans Brass Band Game (University of Mississippi Press, 2020) is a collaboration between musician and ethnomusicologist Kyle DeCoste and more than a dozen members of the Stooges Brass Band, past and present. It is the culmination of five years of interviews, research, and writing. Told with humor and candor, it’s as much a personal account of the Stooges’ careers as it is a story of the city’s musicians and, even more generally, a coming-of-age tale about Black men in the United States at the turn of the twenty-first century.DeCoste and the band members take readers into the barrooms, practice rooms, studios, tour vans, and streets where the music is made and brotherhoods are shaped and strengthened. Comprised of lively firsthand accounts and honest dialogue, Can’t Be Faded is a dynamic approach to collaborative research that offers a sensitive portrait of the humans behind the horns.The Stooges Brass Band is based in New Orleans, Louisiana. They are known for incorporating elements of hip-hop, funk, and R&B into a more traditional brass band framework. In April 2011, the Stooges Brass Band won the Best Contemporary Brass Band award from the Big Easy Music Awards.This episode features four members of the Stooges Brass Band: Walter Ramsey, tuba player, trombonist, and leader of the group; Al Growe, trombonist; Garfield Bogan, trombonist, drummer, and vocalist; and Andrew Baham, trumpet player and producer.Alongside the Stooges Brass Band is co-author Kyle DeCoste, a PhD candidate in ethnomusicology at Columbia University. His dissertation explores the cultural politics of childhood in Black popular music in the United States.Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

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

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

During a seven-decade career that spanned from 19th century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to introduce and establish the language of film music. In Music by Max Steiner: The Epic Life of Hollywood’s Most Influential Composer (Oxford University Press, 2020), the first full biography of Steiner, author and filmmaker Steven C. Smith interweaves the dramatic incidents of Steiner's personal life with an accessible exploration of his composing methods and experiences, bringing to life the previously untold story of a musical pioneer and master dramatist who helped create a vital new art with some of the greatest film scores in cinema history.Stephen C. Smith is a film documentarian, with four Emmy nominations and 16 Telly Awards.Joel Tscherne is an adjunct history professor at Southern New Hampshire University and tweets @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice.Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music