New Books in Music

In his new book, Memoir of a Roadie: Axl said I made a great Cup of Tea…Scott Weiland liked The Carpenters…and Ozzy Drinks Rosé (2020) Joel Miller recounts his time in the early 2000s as a road for Stone Temple Pilots, Guns N’ Roses, Poison, and The Cranberries. Using his journal entries from being on the road, Miller shares what it was like for a young man in his early 20s to be on the road, learning about what it meant to be a roadie. Often humorous and also thoughtful, Miller brings readers into the backstage world of the hardworking crews that make sure performances and tours go on without a hitch (or at least without a hitch for the fans). Although the book does share insight into some of the biggest names in rock-n-roll during the time Miller was a roadie, the focus on the day to day life and Miller’s attempt at trying to navigate the world during this time is what readers will find most interesting.Rebekah Buchanan is an Assistant Professor of English at Western Illinois University. Her work examines the role of narrative–both analog and digital–in people’s lives. She is interested in how personal narratives produced in alternative spaces create sites that challenge traditionally accepted public narratives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

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

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