Songbooks: The Literature of American Popular Music

Eric Weisbard

Book

Songbooks

The Literature of American Popular Music

Eric Weisbard

Language: English

Published/Copyright: 2021

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This book is in the series

Refiguring American Music

About this book

In Songbooks veteran music critic and popular music scholar Eric Weisbard offers a critical guide to American popular music writing, from William Billings's 1770 New-England-Psalm-Singer to Jay-Z's 2010 memoir Decoded.

Author / Editor information

Eric Weisbard is Associate Professor of American Studies at the University of Alabama and the author of Top 40 Democracy: The Rival Mainstreams of American Music.

Reviews

“Entertaining scholarship! Entertaining criticism! What a revelation! Eric Weisbard is one of those rare writers who understands that in mirroring the music it addresses, literary analysis should provide pleasure as well as insights. With great verve, Songbooks provides both.”

-- David Ritz, co-composer, “Sexual Healing”

“Embracing the fact that there's no hearing any music without mediations of crosstalk, mythography, humbug, gatekeeping, and taste war, Eric Weisbard's exuberant and encyclopedic history of music writing delivers two and a half centuries of vernacular bounce—sheets of sound, if you will. Heroic, acutely discerning, compulsively readable, and bound to be enduringly useful.”

-- Eric Lott, author of Black Mirror: The Cultural Contradictions of American Racism

“Eric Weisbard is the rare critic who can pair a deep, intersectional, and breathtakingly intelligent survey of music writing with the nuance and joy of someone who has actually done the strange, difficult work of parsing sound on paper. Songbooks is an extraordinary look at how we try to make sense of the music that buoys and destroys us. It made me rethink what criticism can do, what music can do, and how both can change our lives.”

-- Amanda Petrusich, author of Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78 rpm Records

"Weisbard reshuffles the canon, paying close attention to Black, gay and other voices that have often been pushed to the margins. . . . He doesn’t penetrate his subjects so much as hurl himself at them and bounce off, like a bird smacking into a window. Weisbard falls to the ground, dusts himself off, then counts the intellectual change that’s fallen from his pockets."

-- Dwight Garner New York Times

"Weisbard’s comprehensiveness means he may introduce many music fans to works they might not know otherwise. . . . A valuable literature review of American pop. . . ."

-- Kirkus Reviews

"Weisbard’s book will be required reading for all music critics and journalists."

-- Henry Carrigan No Depression

"Could you perchance use an overview of everything that’s been thought in the 50-plus years since rock critics turned popular music journalism into an intellectually and for a while economically viable enterprise? Songbooks is it, only it goes back a lot further—two and a half centuries. . . . An inspiring, provocative vision of the many ways popular music matters."

-- Robert Christgau

"Songbooks is the kind of book you keep picking up and dipping into for the rest of your life."

-- Michaelangelo Matos Rock and Roll Globe

"Weisbard's book is a valuable resource for those who are interested in researching and learning more about the history of American popular music."

-- Kristine Dizon European Journal of American Studies

"In 500-some pages that read like 200 — the writing is fluid, playful, funny, tough, fast on the eye — Weisbard lightly packs more critical judgment and original phrase-making into each of his two- or three-page chapters than most scholars can manage in 50. This is a literary history of American popular music, but it’s also a map of the country so many other writers have marked out. . . . Songbooks is a great reference book, but before and after that it’s a funhouse."

-- Greil Marcus Chronicle of Higher Education

"Songbooks is a Herculean achievement of both research and tribute, a book that excavates and illuminates the intellectual history that it promises and so much more."

-- Jack Hamilton Journal of Popular Music Studies

"... Serious students of American popular music will find the book a strong introduction to the literature and scholarship that have defined American popular music. Highly recommended. Upper-division undergraduates through faculty."

-- Choice

"On more than one occasion, I was reminded of late-night conversations I have enjoyed at popular music conferences – witty, erudite, entertaining debates, in which a variety of connections and comparisons, explanations and opinions compete for attention, often straying from the original topic. . . . [T]he essays here illuminate the diverse histories and circumstances of popular song. In that regard, the essays here are not unlike the musics of the past two centuries to which they refer: revelatory, confusing, dynamic, irritating, rewarding, ephemeral, unexpected, disruptive and always provocative."

-- Ian Inglis Popular Music

"[Weisbard's] task, distilling the American music experience into under 600 pages, is ambitious, and his efforts to incorporate a broad range of titles are noteworthy and commendable. . . . Weisbard’s expertise, passion, and knowledge are undeniable."

-- Gregory Stall Library Journal

"As a valuable resource for scholars of popular music, Songbooks should encourage more writers to enter the discussion. Eric Weisbard has now provided a guidebook to the sometimes chaotic but always vital conversation in popular music studies."

-- Leigh H. Edwards American Literary History

"Songbooks takes us on a fascinating journey through an alternative American popular music history, written not just by experts, but by people usually at the fringes – women, people of color, practitioners, and non-academics. Reading this book from start to finish will give one the best overview of this journey, but the book is perhaps better enjoyed by just dipping in and skipping around as time or interest permits. This book is recommended for all readers interested in popular music and for library collections of popular music."

-- Mary Huisman Music Reference Services Quarterly

Topics

Cultural Studies Genres and Media in Cultural Studies Music

Frontmatter Publicly Available Download PDF	i
CONTENTS Publicly Available Download PDF	ix
Introduction Requires Authentication Unlicensed Licensed	1
Part I Setting the Scene
First Writer, of Music and on Music The New-England Psalm-Singer, 1770 William Billings Requires Authentication Unlicensed Licensed	15
Blackface Minstrelsy Extends Its Twisted Roots “Jim Crow”, c.1832 T. D. Rice Requires Authentication Unlicensed Licensed	22
Shape-Note Singing and Early Country The Sacred Harp, 1844 B. F. White and E. J. King Requires Authentication Unlicensed Licensed	25
Music in Captivity Twelve Years a Slave, 1853 Solomon Northup Requires Authentication Unlicensed Licensed	26
Champion of the White Male Vernacular Leaves of Grass, 1855 Walt Whitman Requires Authentication Unlicensed Licensed	28
Notating Spirituals Slave Songs of the United States, 1867 Charles Pickard Ware and Lucy McKim Garrison Requires Authentication Unlicensed Licensed	30
First Black Music Historian Musical People: The Lives of Remarkable Musicians of the Colored Race, 1878 James Trotter Requires Authentication Unlicensed Licensed	32
Child Ballads and Folklore The English and Scottish Popular Ballads, 5 vols., 1882–1898 Francis James Child Requires Authentication Unlicensed Licensed	33
Women Not Inventing Ethnomusicology A Study of Omaha Indian Music, 1893 Alice C. Fletcher Requires Authentication Unlicensed Licensed	35
First Hit Songwriter, from Pop to Folk and Back Again Biography, Songs and Musical Compositions of Stephen C. Foster, 1896 Morrison Foster Requires Authentication Unlicensed Licensed	39
Novelist of Urban Pop Longings Sister Carrie, 1900 Theodore Dreiser Requires Authentication Unlicensed Licensed	42
Americana Emerges The Spirit of the Mountains Emma Bell Miles Requires Authentication Unlicensed Licensed	44
Documenting the Story Bibliography of Early Secular American Music, 1905 O. G. Sonneck Requires Authentication Unlicensed Licensed	45
Tin Pan Alley’s Sheet Music Biz How to Write a Popular Song, 1906 Charles K. Harris Requires Authentication Unlicensed Licensed	47
First Family of Folk Collecting Cowboy Songs and Other Frontier Ballads, 1910 John A. Lomax Requires Authentication Unlicensed Licensed	50
Proclaiming Black Modernity The Autobiography of an Ex-Colored Man, 1912 James Weldon Johnson Requires Authentication Unlicensed Licensed	52
Songcatching in the Mountains English Folk Songs from the Southern Appalachians: Comprising 122 Songs and Ballads, and 323 Tunes, 1917 Olive Dame Campbell and Cecil J. Sharp Requires Authentication Unlicensed Licensed	54
Part II The Jazz Age
Stories for the Slicks Flappers and Philosophers, 1920 F. Scott Fitzgerald Requires Authentication Unlicensed Licensed	57
Remembering the First Black Star Son of Laughter, 1923 Mabel Rowland and Bert Williams Requires Authentication Unlicensed Licensed	64
Magazine Criticism across Popular Genres The Seven Lively Arts, 1924 Gilbert Seldes Requires Authentication Unlicensed Licensed	67
Harlem Renaissance The New Negro: An Interpretation, 1925 Alain Locke Requires Authentication Unlicensed Licensed	69
Tin Pan Alley’s Standards Setter The Story of Irving Berlin, 1925 Alexander Woollcott Requires Authentication Unlicensed Licensed	71
Broadway Musical as Supertext Show Boat, 1926 Edna Ferber Requires Authentication Unlicensed Licensed	74
Father of the Blues in Print Blues: An Anthology, 1926 W. C. Handy Requires Authentication Unlicensed Licensed	76
Poet of the Blare and Racial Mountain The Weary Blues, 1926 Langston Hughes Requires Authentication Unlicensed Licensed	78
Blessed Immortal, Forgotten Songwriter The Roads of Melody, 1927 Carrie Jacobs-Bond Requires Authentication Unlicensed Licensed	80
Tune Detective and Expert Explainer Read ’Em and Weep: The Songs You Forgot to Remember, 1927 Sigmund Spaeth Requires Authentication Unlicensed Licensed	82
Pop’s First History Lesson Tin Pan Alley: A Chronicle of the American Popular Music Racket, 1930 Isaac Goldberg Requires Authentication Unlicensed Licensed	84
Roots Intellectual American Humor: A Study of the National Character, 1931 Constance Rourke Requires Authentication Unlicensed Licensed	85
Jook Ethnography, Inventing Black Music Studies Mules and Men, 1935 Zora Neale Hurston Requires Authentication Unlicensed Licensed	87
What He Played Came First Swing That Music, 1936 Louis Armstrong Requires Authentication Unlicensed Licensed	90
Jazz’s Original Novel Young Man with a Horn, 1938 Dorothy Baker Requires Authentication Unlicensed Licensed	94
Introducing Jazz Critics Jazzmen, 1939 Frederic Ramsey Jr. and Charles Edward Smith Requires Authentication Unlicensed Licensed	95
Part III Midcentury Icons
Folk Embodiment Bound for Glory, 1943 Woody Guthrie Requires Authentication Unlicensed Licensed	99
A Hack Story Soldiers Took to War Men of Popular Music, 1944 David Ewen Requires Authentication Unlicensed Licensed	106
From Immigrant Jew to Red Hot Mama Some of These Days: The Autobiography of Sophie Tucker, 1945 Sophie Tucker Requires Authentication Unlicensed Licensed	108
White Negro Drug Dealer Really the Blues, 1946 Mezz Mezzrow and Bernard Wolfe Requires Authentication Unlicensed Licensed	110
Composer of Tone Parallels Duke Ellington, 1946 Duke Ellington Requires Authentication Unlicensed Licensed	111
Jazz’s Precursor as Pop and Art They All Played Ragtime: The True Story of an American Music, 1950 Rudi Blesh and Harriet Janis Requires Authentication Unlicensed Licensed	114
Field Recording in the Library of Congress Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz,” 1950 Alan Lomax Requires Authentication Unlicensed Licensed	118
Dramatizing Blackness from a Distance His Eye Is on the Sparrow, 1951 Ethel Waters and Charles Samuels Requires Authentication Unlicensed Licensed	120
Centering Vernacular Song America’s Music: From the Pilgrims to the Present, 1955 Gilbert Chase Requires Authentication Unlicensed Licensed	122
Writing about Records The Fabulous Phonograph: From Tin Foil to High Fidelity, 1955 Roland Gelatt Requires Authentication Unlicensed Licensed	124
Collective Oral History to Document Scenes Hear Me Talkin’ to Ya: The Story of Jazz as Told by the Men Who Made It, 1955 Nat Shapiro and Nat Hentoff Requires Authentication Unlicensed Licensed	127
The Greatest Jazz Singer’s Star Text Lady Sings the Blues, 1956 Billie Holiday and William Dufty Requires Authentication Unlicensed Licensed	129
Beat Generation On the Road, 1957 Jack Kerouac Requires Authentication Unlicensed Licensed	133
Borderlands Folklore and Transnational Imaginaries “With His Pistol in His Hands”: A Border Ballad and Its Hero, 1958 Américo Paredes Requires Authentication Unlicensed Licensed	136
New Yorker Critic of a Genre Becoming Middlebrow The Sound of Surprise: 46 Pieces on Jazz, 1959 Whitney Balliett Requires Authentication Unlicensed Licensed	141
Part IV Vernacular Counterculture
Blues Revivalists The Country Blues, 1959; Paul Oliver, Blues Fell This Morning: The Meaning of the Blues, 1960 Samuel Charters Requires Authentication Unlicensed Licensed	143
Britpop in Fiction Absolute Beginners, 1959 Colin MacInnes Requires Authentication Unlicensed Licensed	151
Form-Exploding Indeterminacy Silence, 1961 John Cage Requires Authentication Unlicensed Licensed	153
Science Fiction Writer Pens First Rock and Roll Novel Rockabilly [Spider Kiss], 1961 Harlan Ellison Requires Authentication Unlicensed Licensed	155
Pro–Jazz Scene Sociology Outsiders: Studies in the Sociology of Deviance, 1963 Howard S. Becker Requires Authentication Unlicensed Licensed	157
Reclaiming Black Music Blues People: Negro Music in White America, 1963 LeRoi Jones and Amiri Baraka Requires Authentication Unlicensed Licensed	159
An Endless Lit, Limited Only in Scope “Love Me Do!”: The Beatles’ Progress, 1964 Michael Braun Requires Authentication Unlicensed Licensed	162
Music as a Prose Master’s Jagged Grain Shadow and Act, 1964 Ralph Ellison Requires Authentication Unlicensed Licensed	167
How to Succeed in . . . This Business of Music, 1964 M. William Krasilovsky and Sidney Schemel Requires Authentication Unlicensed Licensed	169
Schmaltz and Adversity Yes I Can, 1965 Sammy Davis Jr., Jane Boyar and Burt Boyar Requires Authentication Unlicensed Licensed	171
New Journalism and Electrified Syntax The Kandy-Kolored Tangerine-Flake Streamline Baby, 1965 Tom Wolfe Requires Authentication Unlicensed Licensed	173
Defining a Genre Country Music, U.S.A.: A Fifty-Year History, 1968 Bill C. Malone Requires Authentication Unlicensed Licensed	175
Swing’s Movers as an Alternate History of American Pop Jazz Dance: The Story of American Vernacular Dance, 1968 Marshall Stearns and Jean Stearns Requires Authentication Unlicensed Licensed	177
Rock and Roll’s Greatest Hyper Awopbopaloobop Alopbamboom, 1969/1970 Nik Cohn Requires Authentication Unlicensed Licensed	182
Ebony’s Pioneering Critic of Black Pop as Black Power The Sound of Soul: The Story of Black Music, 1969 Phyl Garland Requires Authentication Unlicensed Licensed	184
Entertainment Journalism and the Power of Knowing Rock Encyclopedia, 1969 Lillian Roxon Requires Authentication Unlicensed Licensed	185
An Over-the- Top Genre’s First Reliable History The Sound of the City: The Rise of Rock and Roll, 1970 Charlie Gillett Requires Authentication Unlicensed Licensed	187
Rock Critic of the Trivially Awesome The Aesthetics of Rock, 1970 Richard Meltzer Requires Authentication Unlicensed Licensed	188
Black Religious Fervor as the Core of Rock and Soul The Gospel Sound: Good News and Bad Times, 1971 Anthony Heilbut Requires Authentication Unlicensed Licensed	190
Jazz Memoir of “Rotary Perception” Multiplicity Beneath the Underdog, 1971 Charles Mingus Requires Authentication Unlicensed Licensed	193
Composing a Formal History The Music of Black Americans, 1971 Eileen Southern Requires Authentication Unlicensed Licensed	194
Krazy Kat Fiction of Viral Vernaculars Mumbo Jumbo, 1972 Ishmael Reed Requires Authentication Unlicensed Licensed	196
Derrière Garde Prose and Residual Pop Styles American Popular Song: The Great Innovators, 1900–1950, 1972 Alec Wilder Requires Authentication Unlicensed Licensed	198
Charts as a New Literature Top Pop Records, 1955–1972, 1973 Joel Whitburn Requires Authentication Unlicensed Licensed	201
Selling Platinum across Formats Clive: Inside the Record Business, 1975 Clive Davis and James Willwerth Requires Authentication Unlicensed Licensed	203
Blues Relationships and Black Women’s Deep Songs Corregidora, 1975 Gayl Jones Requires Authentication Unlicensed Licensed	205
“Look at the World in a Rock ’n’ Roll Sense . . . What Does That Even Mean?” Mystery Train: Images of America in Rock ’n’ Roll Music, 1975 Greil Marcus Requires Authentication Unlicensed Licensed	207
Cultural Studies Brings Pop from the Hallway to the Classroom Resistance through Rituals: Youth Subcultures in Post-War Britain, 1976 Stuart Hall and Tony Jefferson Requires Authentication Unlicensed Licensed	211
A Life in Country for an Era of Feminism and Counterculture Coal Miner’s Daughter, 1976 Loretta Lynn and George Vecsey Requires Authentication Unlicensed Licensed	214
Introducing Rock Critics The Rolling Stone Illustrated History of Rock & Roll, 1976 Jim Miller Requires Authentication Unlicensed Licensed	216
Patriarchal Exegete of Black Vernacular as “Equipment for Living” Stomping the Blues, 1976 Albert Murray Requires Authentication Unlicensed Licensed	219
Reading Pop Culture as Intellectual Obligation Image—Music— Text, 1977 Roland Barthes Requires Authentication Unlicensed Licensed	221
Paging through Books to Make History Sinful Tunes and Spirituals: Black Folk Music to the Civil War, 1977 Dena Epstein Requires Authentication Unlicensed Licensed	223
Historians Begin to Study Popular Music Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, 1977 Lawrence Levine Requires Authentication Unlicensed Licensed	224
Musicking to Overturn Hierarchy Music, Society, Education, 1977 Christopher Small Requires Authentication Unlicensed Licensed	226
Drool Data and Stained Panties from a Critical Noise Boy Country: The Biggest Music in America, 1977 Nick Tosches Requires Authentication Unlicensed Licensed	229
Part V After the Revolution
Punk Negates Rock The Boy Looked at Johnny: The Obituary of Rock and Roll, 1978 Julie Burchill and Tony Parsons Requires Authentication Unlicensed Licensed	231
The Ghostwriter behind the Music Books Brother Ray: Ray Charles’ Own Story, 1978 Ray Charles and David Ritz Requires Authentication Unlicensed Licensed	240
Disco Negates Rock Dancer from the Dance, 1978 Andrew Holleran Requires Authentication Unlicensed Licensed	242
Industry Schmoozer and Black Music Advocate Fills Public Libraries with Okay Overviews Honkers and Shouters: The Golden Years of Rhythm and Blues, 1978 Arnold Shaw Requires Authentication Unlicensed Licensed	245
Musicology’s Greatest Tune Chronicler Yesterdays: Popular Song in America, 1979 Charles Hamm Requires Authentication Unlicensed Licensed	247
Criticism’s Greatest Album Chronicler Christgau’s Record Guide: Rock Albums of the ’70s, 1981 Robert Christgau Requires Authentication Unlicensed Licensed	248
Rock’s Frank Capra Fast Times at Ridgemont High: A True Story, 1981 Cameron Crowe Requires Authentication Unlicensed Licensed	251
Culture Studies/Rock Critic Twofer Sound Effects: Youth, Leisure, and the Politics of Rock’n’Roll, 1981 Simon Frith Requires Authentication Unlicensed Licensed	252
A Magical Explainer of Impure Sounds Deep Blues, 1981 Robert Palmer Requires Authentication Unlicensed Licensed	255
Feminist Rock Critic, Pop-Savvy Social Critic Beginning to See the Light: Pieces of a Decade, 1981 Ellen Willis Requires Authentication Unlicensed Licensed	257
New Deal Swing Believer Revived In the Spirit of Jazz: The Otis Ferguson Reader, 1982 Otis Ferguson Requires Authentication Unlicensed Licensed	259
Ethnomusicology and Pop, Forever Fraught The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 1983 Bruno Nettl Requires Authentication Unlicensed Licensed	260
Autodidact Deviance, Modeling the Rock Generation to Come RE/Search #6/7: Industrial Culture Handbook, 1983 V. Vale and Andrea Juno Requires Authentication Unlicensed Licensed	263
The Rolling Stones of Rolling Stones Books The True Adventures of the Rolling Stones, 1984 Stanley Booth Requires Authentication Unlicensed Licensed	265
Finding the Blackface in Bluegrass Bluegrass Breakdown: The Making of the Old Southern Sound, 1984 Robert Cantwell Requires Authentication Unlicensed Licensed	267
Cyberpunk Novels and Cultural Studies Futurism Neuromancer, 1984 William Gibson Requires Authentication Unlicensed Licensed	269
Glossy Magazine Features Writer Gets History’s Second Draft Nowhere to Run: The Story of Soul Music, 1984 Gerri Hirshey Requires Authentication Unlicensed Licensed	272
Theorizing Sound as Dress Rehearsal for the Future Noise: The Political Economy of Music, 1977; Translation, 1985 Jacques Attali Requires Authentication Unlicensed Licensed	274
Classic Rock, Mass Market Paperback Style Hammer of the Gods: The Led Zeppelin Saga, 1985 Stephen Davis Requires Authentication Unlicensed Licensed	275
Love and Rockets, Signature Comic of Punk Los Angeles as Borderland Imaginary Music for Mechanics, 1985 Los Bros Hernandez Requires Authentication Unlicensed Licensed	277
Plays about Black American Culture Surviving the Loss of Political Will Plays about Black American Culture Surviving the Loss of Political Will August Wilson Requires Authentication Unlicensed Licensed	280
Putting Pop in the Big Books of Music The New Grove Dictionary of American Music, 1986 H. Wiley Hitchcock and Stanley Sadie Requires Authentication Unlicensed Licensed	282
Popular Music’s Defining Singer and Swinger His Way: The Unauthorized Biography of Frank Sinatra, 1986 Kitty Kelley Requires Authentication Unlicensed Licensed	284
Anti-Epic Lyricizing of Black Music after Black Power Bedouin Hornbook, 1986 Nathaniel Mackey Requires Authentication Unlicensed Licensed	288
Lost Icon of Rock Criticism Psychotic Reactions and Carburetor Dung, 1987 Lester Bangs Requires Authentication Unlicensed Licensed	290
Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature Chuck Berry: The Autobiography, 1987 Chuck Berry Requires Authentication Unlicensed Licensed	292
Making “Wild-Eyed Girls” a More Complex Narrative I’m with the Band: Confessions of a Groupie, 1987 Pamela Des Barres Requires Authentication Unlicensed Licensed	294
Reporting Black Music as Art Mixed with Business The Death of Rhythm & Blues, 1988 Nelson George Requires Authentication Unlicensed Licensed	295
Sessions with the Evil Genius of Jazz Miles: The Autobiography, 1989 Miles Davis and Quincy Troupe Requires Authentication Unlicensed Licensed	298
Part VI New Voices, New Methods
Literature of New World Order Americanization Dogeaters, 1990 Jessica Hagedorn Requires Authentication Unlicensed Licensed	303
Ethnic Studies of Blended Musical Identities Time Passages: Collective Memory and American Popular Culture, 1990 George Lipsitz Requires Authentication Unlicensed Licensed	310
Ballad Novels for a Baby Boomer Appalachia If Ever I Return, Pretty Peggy-O, 1990 Sharyn McCrumb Requires Authentication Unlicensed Licensed	312
Pimply, Prole, and Putrid, but with a Surprisingly Diverse Genre Literature Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe, 1991 Chuck Eddy Requires Authentication Unlicensed Licensed	314
How Musicology Met Cultural Studies Feminine Endings: Music, Gender, and Sexuality, 1991 Susan McClary Requires Authentication Unlicensed Licensed	318
Idol for Academic Analysis and a Changing Public Sphere Sex, 1992 Madonna Requires Authentication Unlicensed Licensed	320
Black Bohemian Cultural Nationalism Flyboy in the Buttermilk: Essays on Contemporary America, 1992 Greg Tate Requires Authentication Unlicensed Licensed	324
From Indie to Alternative Rock Route 666: On the Road to Nirvana, 1993 Gina Arnold Requires Authentication Unlicensed Licensed	326
Musicology on Popular Music— In Pragmatic Context The American Musical Landscape, 1993 Richard Crawford Requires Authentication Unlicensed Licensed	330
Listening, Queerly The Queen’s Throat: Opera, Homosexuality and the Mystery of Desire, 1993 Wayne Koestenbaum Requires Authentication Unlicensed Licensed	332
Blackface as Stolen Vernacular Love and Theft: Blackface Minstrelsy and the American Working Class, 1993 Eric Lott Requires Authentication Unlicensed Licensed	334
Media Studies of Girls Listening to Top 40 Where the Girls Are: Growing Up with the Mass Media, 1994 Susan Douglas Requires Authentication Unlicensed Licensed	338
Ironies of a Contested Identity Last Train to Memphis: The Rise of Elvis Presley, 1994 Peter Guralnick Requires Authentication Unlicensed Licensed	339
Two Generations of Leading Ethnomusicologists Debate the Popular Music Grooves: Essays and Dialogues, 1994 Charles Keil and Steven Feld Requires Authentication Unlicensed Licensed	344
Defining Hip-Hop as Flow, Layering, Rupture, and Postindustrial Resistance Black Noise: Rap Music and Black Culture in Contemporary America, 1994 Tricia Rose Requires Authentication Unlicensed Licensed	346
Regendering Music Writing, with the Deadly Art of Attitude Rock She Wrote: Women Write about Rock, Pop, and Rap, 1995 Evelyn McDonnell and Ann Powers Requires Authentication Unlicensed Licensed	348
Soundscaping References, Immersing Trauma Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, 1995 David Toop Requires Authentication Unlicensed Licensed	352
Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk Creating Country Music: Fabricating Authenticity, 1997 Richard Peterson Requires Authentication Unlicensed Licensed	354
All That Not-Quite Jazz Visions of Jazz: The First Century, 1998 Gary Giddins Requires Authentication Unlicensed Licensed	355
Jazz Studies Conquers the Academy The Jazz Cadence of American Culture, 1998 Robert G. O’Meally Requires Authentication Unlicensed Licensed	357
Part VII Topics in Progress
Paradigms of Club Culture, House and Techno to Rave and EDM Energy Flash: A Journey through Rave Music and Dance Culture, 1998 Simon Reynolds Requires Authentication Unlicensed Licensed	363
Performance Studies, Minoritarian Identity, and Academic Wildness Disidentifications: Queers of Color and the Performance of Politics, 1999 José Esteban Muñoz Requires Authentication Unlicensed Licensed	372
Left of Black: Networking a New Discourse What the Music Said: Black Popular Music and Black Public Culture, 1999 Mark Anthony Neal Requires Authentication Unlicensed Licensed	375
Aerobics as Genre, Managing Emotions Music in Everyday Life, 2000 Tia DeNora Requires Authentication Unlicensed Licensed	377
Confronting Globalization Nationalists, Cosmopolitans, and Popular Music in Zimbabwe, 2000 Thomas Turino Requires Authentication Unlicensed Licensed	378
Evocations of Cultural Migration Centered on Race, Rhythm, and Eventually Sexuality Music in Cuba, 2001 (1946) Alejo Carpentier Requires Authentication Unlicensed Licensed	382
Digging Up the Pre-Recordings Creation of a Black Pop Paradigm Out of Sight: The Rise of African American Popular Music, 1889–1895, 2002 Lynn Abbott and Doug Seroff Requires Authentication Unlicensed Licensed	386
When Faith in Popular Sound Wavers, He’s Waiting Essays on Music, ed. Richard Leppert, 2002 Theodor Adorno Requires Authentication Unlicensed Licensed	388
Codifying a Precarious but Global Academic Field Popular Music Studies, 2002 David Hesmondhalgh and Keith Negus Requires Authentication Unlicensed Licensed	391
Salsa and the Mixings of Global Culture City of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia, 2002 Lise Waxer Requires Authentication Unlicensed Licensed	393
Musicals as Pop, Nationalism, and Changing Identity A Problem Like Maria: Gender and Sexuality in the American Musical, 2002 Stacy Wolf Requires Authentication Unlicensed Licensed	396
Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time Fortress of Solitude, 2003 Jonathan Lethem Requires Authentication Unlicensed Licensed	399
Poetic Ontologies of Black Musical Style In the Break: The Aesthetics of the Black Radical Tradition, 2003 Fred Moten Requires Authentication Unlicensed Licensed	401
Rescuing the Afromodern Vernacular Race Music: Black Cultures from Bebop to Hip-Hop, 2003 Guthrie Ramsey Jr. Requires Authentication Unlicensed Licensed	402
Sound Studies and the Songs Question The Audible Past: Cultural Origins of Sound Reproduction, 2003 Jonathan Sterne Requires Authentication Unlicensed Licensed	404
Dylanologist Conventions Chronicles: Volume One, 2004 Bob Dylan Requires Authentication Unlicensed Licensed	406
Two Editions of a Field Evolving Faster Than a Collection Could Contain That’s the Joint! The Hip-Hop Studies Reader, 2004, 2012 Murray Forman and Mark Anthony Neal Requires Authentication Unlicensed Licensed	410
Revisionist Bluesology and Tangled Intellectual History Escaping the Delta: Robert Johnson and the Invention of the Blues, 2004 Elijah Wald Requires Authentication Unlicensed Licensed	412
Trying to Tell the Story of a Dominant Genre Can’t Stop Won’t Stop: A History of the Hip-Hop Generation, 2005 Jeff Chang Requires Authentication Unlicensed Licensed	416
Refiguring American Music— And Its Institutionalization Audiotopia: Music, Race, and America, 2005 Josh Kun Requires Authentication Unlicensed Licensed	420
Country Music Scholars Pioneer Gender and Industry Analysis The Selling Sound: The Rise of the Country Music Industry, 2007 Requires Authentication Unlicensed Licensed	423
Where Does Classical Music Fit In The Rest Is Noise: Listening to the Twentieth Century, 2007 Alex Ross Requires Authentication Unlicensed Licensed	426
Poptimism, 33⅓ Books, and the Struggles of Music Critics Let’s Talk about Love: A Journey to the End of Taste, 2007 Carl Wilson Requires Authentication Unlicensed Licensed	429
Novelists Collegial with Indie Music A Visit from the Goon Squad, 2010 Jennifer Egan Requires Authentication Unlicensed Licensed	432
YouTube, Streaming, and the Popular Music Performance Archive A Biographical Guide to the Great Jazz and Pop Singers, 2010 Will Friedwald Requires Authentication Unlicensed Licensed	437
Idiosyncratic Musician Memoirs—Performer as Writer in the Era of the Artist as Brand Decoded, 2010 Jay-Z Requires Authentication Unlicensed Licensed	438
Acknowledgments Requires Authentication Unlicensed Licensed	443
Works Cited Requires Authentication Unlicensed Licensed	446
Index Requires Authentication Unlicensed Licensed	513

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Pages and Images/Illustrations in book

eBook published on:

April 23, 2021

eBook ISBN:

9781478021391

Pages and Images/Illustrations in book

Main content:

552

https://doi.org/10.1515/9781478021391

eBook ISBN: 9781478021391

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