New Books in Music

Many people assume that music, especially classical music, is a universal language that transcends racial and class boundaries. At the same time, many musicians, fans, and scholars praise music’s ability to protest injustice, transform social relations and give voice to the marginalized. There is a tension between the ideas of music as a universal language and the voice of the oppressed. In her new book Soundtracks of Asian America: Navigating Race Through Musical Performance (Duke University Press, 2015), Grace Wang explores how the music and sound, not simply appearance, produces and reinforces racial and ethnic stereotypes and inequality about Asian Americans. Examining classical and pop music in the United States and in Asia, Wang reveals how music and attitudes toward music are essential in crafting identities and navigating racial and class boundaries. Wang uncovers that while music and the discourses around it can reify harmful and limiting stereotypes about Asian Americans, music also provides spaces for artistic and personal freedom and creativity. These creative spaces, however, are not completely unmarked by the race, ethnicity, or social class. Grace Wang is Associate Professor of American Studies at the University of California, Davis. She also serves as affiliate faculty with the Cultural Studies Graduate Group. Her areas of interest include Asian American studies, transnational American studies, immigration, race, and music. You can read the introduction to Soundtracks of Asian America here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

“Pop pop pop pop musik” -M Jonathyne Briggs‘ new book, Sounds French: Globalization, Cultural Communities, and Pop Music, 1958-1980(Oxford University Press, 2015) makes music the historical focus of the Fifth Republic’s first two decades. What made certain sounds “French,” and how did different cultural communities come together, expressing themselves in a variety of musical forms? From Francoise Hardy to Serge Gainsbourg, to the sounds of free jazz, Brittany folk, and punk, the book considers French musical production and consumption in global cultural context. Exploring the relationship between audio and national identities and communities, Briggs tracks both the influences from outside France on a range of scenes in and beyond Paris, and the reach of “French” sounds beyond the nation’s borders. Sounds French is a book that examines the contributions of artists and listeners, reading “the noise” of (and surrounding) the music treated in its pages. The book also includes links to some of the songs that Briggs writes about (see the companion website developed by OUP). Fans of yé-yé, Johnny Hallyday, chanson, Jean-Michel Jarre, Alain Stivell, Metal Urbain, and/or Daft Punk will all find much to learn and enjoy here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

John McMillian‘s Beatles vs. Stones (Simon and Schuster, 2013) presents a compelling composite biography of the two seminal bands of the 1960s, examining both the myth-making and reality behind the great pop rivalry. More than just a history of the bands, Beatles vs. Stones explores the complex role both groups played in popular culture during the tumultuous decade of the 1960s. Although the “feud” was initially fodder for fan magazines and publicity stunts, as the bands and their audiences matured musically and politically, the divide came to reflect many of the key cultural divisions of the age. McMillian charts the makeover of the leather-clad Beatles from their early days in Germany to the “four loveable lads” who became an international sensation, and then that of the Rolling Stones, initially styled similarly to the Beatles, but quickly rebranded as their bad-boy antithesis. Beatles vs. Stones takes a critical look at both the actual artists and the image they portrayed, delving lucidly into the Beatles and the Rolling Stones as business concerns, as cultural phenomena, and as artists often bewildered and at times disturbed by the cultural impact they themselves could not control. A noted scholar of the New Left and the underground papers of the 1960s, McMillian currently serves as Associate Professor of History at Georgia State University. He is also the author of 2011’s Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media America, co-editor of two volumes, The Radical Reader and The New Left Revisited, and is the editor of the journal The Sixties: A Journal of History, Politics, and Culture. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In her transformative text Borderlands/La Frontera: The New Mestiza, Gloria Anzaldua referred to the U.S.-Mexico border region as “una herida abierta (an open wound) where the Third World grates against the first and bleeds. And before a scab forms it hemorrhages again, the lifeblood of two worlds merging to form a third country–a border culture.” To Anzaldua the “open wound” or new culture of the U.S.-Mexico borderlands resulted from “the emotional residue of an unnatural boundary” (i.e., the imposition of the U.S.-Mexico border in the mid-19th century). Since the establishment of the U.S.-Mexico border, politicians, local officials, businessmen, and residents have competed over the definition, control, and memory of the region. In Dissonant Divas in Chicana Music: The Limits of La Onda (University of Minnesota Press, 2012) Associate Professor of Ethnic Studies at the University of California, Riverside, Deborah R. Vargas deconstructs the dominant narrative tropes that have defined the U.S.-Mexico borderlands as a hetero-normative and masculinist frontier space of Anglo American conquest juxtaposed against Tejano/Chicano efforts to resist Anglo dominance through the preservation of “authentic” Mexican culture. dIn her fascinating analysis of Tejana/Chicana singers and musicians, Dr. Vargas argues that the lives of these “dissonant divas” resist simple classification as either purveyors of Mexican culture or as accommodating and assimilating Anglo American cultural norms and values. Indeed, through her investigation of the intersection of race, place, gender, music, and memory in the Texas-Mexico borderlands, Professor Vargas provides a new lens into the identities and histories that emerge from the new cultural space Anzaldua referred to as the borderlands. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What do Aretha Franklin, Rodney Dangerfield, and desegregation in New Orleans have in common? Perhaps, surprisingly, the answer is Playboy. Playboy magazine served as a guidebook for young people in the post-war era and taught this upwardly mobile generation how to live a modern, sophisticated, and cool lifestyle. It also supported the Civil Rights movement and the careers of many musicians and comedians. In her new book, Playboy Swings: How Hugh Hefner and Playboy Changed the Face of Music (Beaufort Books, 2015),Patty Farmer explores how Playboy Enterprises, through its magazine, clubs, festivals, and record label, promoted and continues to promote jazz. The podcast discusses how Playboy gave many musicians, including Aretha Franklin and Al Jarreau, some of their earliest stage experience. Farmer also talks about how Heffner’s passion for jazz and racial justice caused him to be a strong advocate for integrating the stage at the Playboy Jazz Festival and in his many clubs. Farmer also shares quite a few good stories. Patty Farmer is acknowledged as the leading expert on all things pertaining to music, entertainment–and the entertainers–of Playboy. She’s also a businesswoman and former model, and has followed the entertainment industry as an insider, as well as an avid fan and archivist all her life. Her first book, The Persian Room Presents, transported readers back to the halcyon days of New York City nightlife. More information about Patty Farmer can be found on her websiteand blog. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Following the Civil War, Memphis emerged a center of black progress, optimism, and cultural ferment, after a period of turmoil. Preston Lauterbach joins host Jonathan Judaken for an in-depth discussion in advance of the launch of Lauterbach’s latest book, Beale Street Dynasty: Sex, Song, and the Struggle for the Soul of Memphis (Norton, 2015). Robert Church, Sr., who would become “the South’s first black millionaire,” was a slave owned by his white father. Having survived a deadly race riot in 1866, Church constructed an empire of vice in the booming river town of post-Civil War Memphis. He made a fortune with saloons, gambling, and–shockingly–white prostitution. But he also nurtured the militant journalism of Ida B. Wells and helped revolutionize American music through the work of composer W.C. Handy, the man called “the inventor of the blues.” In the face of Jim Crow, the Church fortune helped fashion the most powerful black political organization of the early twentieth century. Robert and his son, Robert, Jr., bought and sold property, founded a bank, and created a park and auditorium for their people finer than the places whites had forbidden them to attend. However, the Church family operated through a tense arrangement with the Democrat machine run by the notorious E. H. “Boss” Crump, who stole elections and controlled city hall. The battle between this black dynasty and the white political machine would define the future of Memphis. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Much of the scholarship on heavy metal has assumed that the primary audience is straight white males, who are likely sexist and homophobic. In her new book, Queerness in Heavy Metal Music: Metal Bent (Routledge, 2015), Amber Clifford-Napoleone challenges these assumptions through her ethnographic study of self-identified queer performers and fans of heavy metal. She also reveals some surprising links between queer and heavy metal communities. In this podcast, we discuss the history of heavy metal, its connection to the post-World War II leather scene, and how heavy metal’s embrace of non-normative lifestyles and cultures has allowed queer fans and performers an accepted space within heavy metal. In the interview, Clifford Napoleone explores why heavy metal has been a welcoming space for queer fans. We also talk about the role of particular musicians and acts, such as Judas Priest and Joan Jett. Amber R. Clifford-Napoleone is Associate Professor of Anthropology and Curator of Nance Collections at the University of Central Missouri. In addition to her research on heavy metal, she studies gender in jazz in Kansas City and blogs   on heavy metal. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Who is David Bowie? Fans and critics have debated this question throughout his lengthy and storied career. Chris O’Leary, in his new book Rebel Rebel (Zero Books, 2015) meticulously examines Bowie’s earliest recordings and provides crucial insight into how Bowie wrote and recorded these songs. O’Leary considers Bowie’s influences and how his desire for commercial success caused him to experiment with a wide range of styles. These early years provide crucial clues of understanding who Bowie is. The podcast explores these questions and more. O’Leary also recommends a number of “lost” Bowie songs that are worth a listen. Chris O’Leary is a writer and editor. He also writes a blog dedicated to David Bowie. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Felicia McCarren‘s latest book, French Moves: The Cultural Politics of le hip hop (Oxford University Press, 2013) explores the fascinating evolution of this urban dance form in the French context. Following the choreography and performances of key figures from the hip hop world in France, McCarren’s is a history that pays close attention to dancers and their moves, and especially to the ways in which contemporary dance is informed by-and responsive to-social and political concerns and change. Tracing the history of le hip hop as a form that arrived in France from the United States in the 1980s, French Moves examines the ways this cultural import came to “speak French”. Dance has occupied a privileged place in French national culture historically.French hip hop benefited from the outset from the support of a Socialist government interested in encouraging this meeting of street and stage in performances that embody youth, cultural diversity, and a mouvement social on a number of levels. Considering politics, poetics, techniques and technologies, the book has exciting and important implications for how we think about bodies and borders. It will be of great interest to anyone thinking through issues of citizenship and difference, from the end of the twentieth century up through the complexities of identity and nation in present-day France. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How are contemporary pop culture ideas about resilience used by Neoliberal capitalism? Robin James addresses this question using philosophy of music (and by doing philosophy through music) in her new book Resistance and Melancholy: Pop Music, Feminism, and Neoliberalism (Zero Books, 2015). The book opens with a discussion of Calvin Harris (& Florence Welch’s) Sweet Nothing as a way into theargument that ‘resilience discourse is what ties contemporary pop music aesthetics to neoliberal capitalism and racism/sexism’. James combines musicological analysis of specific techniques, such as soars, stutters and stops, with an exploration of the aesthetics of pop videos and a critical theoretical framework. In particular the book connects theories of biopower and biopolitics, along a critical take on gender and ethnicity, to the work of Beyonce, Lady Gaga and Rihanna. The text also offers a consideration of alternatives, whether those that have already been incorporatedinto contemporary pop, such the techniques and sounds of Atari Teenage Riot, or new strategies and new forms that might be beyond profit, beyond capital, and represent ‘bad investments’ to suck the life fromMulti-Racial White Supremacist Patriarchy. The book will interest a range of humanities and social science scholars, as well as anyone keen to know more about popular music and critical theory. To learn more about Dr James work read her blog here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music