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Songbooks

The Literature of American Popular Music
Language: English
Published/Copyright: 2021

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

  • Publicly Available

    Frontmatter

    i
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  • Publicly Available

    CONTENTS

    ix
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    Introduction

    1
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  • Part I Setting the Scene
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    First Writer, of Music and on Music

    15
    William Billings
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    Blackface Minstrelsy Extends Its Twisted Roots

    22
    T. D. Rice
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    Shape-Note Singing and Early Country

    25
    B. F. White and E. J. King
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    Music in Captivity

    26
    Solomon Northup
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    Champion of the White Male Vernacular

    28
    Walt Whitman
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    Notating Spirituals

    30
    Charles Pickard Ware and Lucy McKim Garrison
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    First Black Music Historian

    32
    James Trotter
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    Child Ballads and Folklore

    33
    Francis James Child
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    Women Not Inventing Ethnomusicology

    35
    Alice C. Fletcher
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    First Hit Songwriter, from Pop to Folk and Back Again

    39
    Morrison Foster
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    Novelist of Urban Pop Longings

    42
    Theodore Dreiser
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    Americana Emerges

    44
    Emma Bell Miles
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    Documenting the Story

    45
    O. G. Sonneck
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    Tin Pan Alley’s Sheet Music Biz

    47
    Charles K. Harris
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    First Family of Folk Collecting

    50
    John A. Lomax
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    Proclaiming Black Modernity

    52
    James Weldon Johnson
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    Songcatching in the Mountains

    54
    Olive Dame Campbell and Cecil J. Sharp
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  • Part II The Jazz Age
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    Stories for the Slicks

    57
    F. Scott Fitzgerald
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    Remembering the First Black Star

    64
    Mabel Rowland and Bert Williams
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    Magazine Criticism across Popular Genres

    67
    Gilbert Seldes
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    Harlem Renaissance

    69
    Alain Locke
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    Tin Pan Alley’s Standards Setter

    71
    Alexander Woollcott
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    Broadway Musical as Supertext

    74
    Edna Ferber
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    Father of the Blues in Print

    76
    W. C. Handy
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    Poet of the Blare and Racial Mountain

    78
    Langston Hughes
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    Blessed Immortal, Forgotten Songwriter

    80
    Carrie Jacobs-Bond
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    Tune Detective and Expert Explainer

    82
    Sigmund Spaeth
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    Pop’s First History Lesson

    84
    Isaac Goldberg
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    Roots Intellectual

    85
    Constance Rourke
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    Jook Ethnography, Inventing Black Music Studies

    87
    Zora Neale Hurston
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    What He Played Came First

    90
    Louis Armstrong
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    Jazz’s Original Novel

    94
    Dorothy Baker
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    Introducing Jazz Critics

    95
    Frederic Ramsey Jr. and Charles Edward Smith
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  • Part III Midcentury Icons
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    Folk Embodiment

    99
    Woody Guthrie
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    A Hack Story Soldiers Took to War

    106
    David Ewen
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    From Immigrant Jew to Red Hot Mama

    108
    Sophie Tucker
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    White Negro Drug Dealer

    110
    Mezz Mezzrow and Bernard Wolfe
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    Composer of Tone Parallels

    111
    Duke Ellington
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    Jazz’s Precursor as Pop and Art

    114
    Rudi Blesh and Harriet Janis
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    Field Recording in the Library of Congress Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz,” 1950

    118
    Alan Lomax
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    Dramatizing Blackness from a Distance

    120
    Ethel Waters and Charles Samuels
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    Centering Vernacular Song

    122
    Gilbert Chase
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    Writing about Records

    124
    Roland Gelatt
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    Collective Oral History to Document Scenes

    127
    Nat Shapiro and Nat Hentoff
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    The Greatest Jazz Singer’s Star Text

    129
    Billie Holiday and William Dufty
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    Beat Generation

    133
    Jack Kerouac
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    Borderlands Folklore and Transnational Imaginaries

    136
    Américo Paredes
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    New Yorker Critic of a Genre Becoming Middlebrow

    141
    Whitney Balliett
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  • Part IV Vernacular Counterculture
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    Blues Revivalists

    143
    Samuel Charters
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    Britpop in Fiction

    151
    Colin MacInnes
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    Form-Exploding Indeterminacy

    153
    John Cage
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    Science Fiction Writer Pens First Rock and Roll Novel

    155
    Harlan Ellison
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    Pro–Jazz Scene Sociology

    157
    Howard S. Becker
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    Reclaiming Black Music

    159
    LeRoi Jones and Amiri Baraka
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    An Endless Lit, Limited Only in Scope

    162
    Michael Braun
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    Music as a Prose Master’s Jagged Grain

    167
    Ralph Ellison
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    How to Succeed in . . .

    169
    M. William Krasilovsky and Sidney Schemel
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    Schmaltz and Adversity

    171
    Sammy Davis Jr., Jane Boyar and Burt Boyar
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    New Journalism and Electrified Syntax

    173
    Tom Wolfe
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    Defining a Genre

    175
    Bill C. Malone
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    Swing’s Movers as an Alternate History of American Pop

    177
    Marshall Stearns and Jean Stearns
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    Rock and Roll’s Greatest Hyper

    182
    Nik Cohn
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    Ebony’s Pioneering Critic of Black Pop as Black Power

    184
    Phyl Garland
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    Entertainment Journalism and the Power of Knowing

    185
    Lillian Roxon
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    An Over-the- Top Genre’s First Reliable History

    187
    Charlie Gillett
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    Rock Critic of the Trivially Awesome

    188
    Richard Meltzer
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    Black Religious Fervor as the Core of Rock and Soul

    190
    Anthony Heilbut
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    Jazz Memoir of “Rotary Perception” Multiplicity

    193
    Charles Mingus
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    Composing a Formal History

    194
    Eileen Southern
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    Krazy Kat Fiction of Viral Vernaculars

    196
    Ishmael Reed
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    Derrière Garde Prose and Residual Pop Styles American Popular Song: The Great Innovators, 1900–1950, 1972

    198
    Alec Wilder
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    Charts as a New Literature

    201
    Joel Whitburn
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    Selling Platinum across Formats

    203
    Clive Davis and James Willwerth
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    Blues Relationships and Black Women’s Deep Songs

    205
    Gayl Jones
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    “Look at the World in a Rock ’n’ Roll Sense . . . What Does That Even Mean?”

    207
    Greil Marcus
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    Cultural Studies Brings Pop from the Hallway to the Classroom

    211
    Stuart Hall and Tony Jefferson
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    A Life in Country for an Era of Feminism and Counterculture

    214
    Loretta Lynn and George Vecsey
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    Introducing Rock Critics

    216
    Jim Miller
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    Patriarchal Exegete of Black Vernacular as “Equipment for Living”

    219
    Albert Murray
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    Reading Pop Culture as Intellectual Obligation

    221
    Roland Barthes
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    Paging through Books to Make History

    223
    Dena Epstein
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    Historians Begin to Study Popular Music

    224
    Lawrence Levine
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    Musicking to Overturn Hierarchy

    226
    Christopher Small
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    Drool Data and Stained Panties from a Critical Noise Boy

    229
    Nick Tosches
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  • Part V After the Revolution
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    Punk Negates Rock

    231
    Julie Burchill and Tony Parsons
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    The Ghostwriter behind the Music Books

    240
    Ray Charles and David Ritz
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    Disco Negates Rock

    242
    Andrew Holleran
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    Industry Schmoozer and Black Music Advocate Fills Public Libraries with Okay Overviews

    245
    Arnold Shaw
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    Musicology’s Greatest Tune Chronicler

    247
    Charles Hamm
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    Criticism’s Greatest Album Chronicler

    248
    Robert Christgau
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    Rock’s Frank Capra

    251
    Cameron Crowe
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    Culture Studies/Rock Critic Twofer

    252
    Simon Frith
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    A Magical Explainer of Impure Sounds

    255
    Robert Palmer
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    Feminist Rock Critic, Pop-Savvy Social Critic

    257
    Ellen Willis
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    New Deal Swing Believer Revived

    259
    Otis Ferguson
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    Ethnomusicology and Pop, Forever Fraught

    260
    Bruno Nettl
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    Autodidact Deviance, Modeling the Rock Generation to Come

    263
    V. Vale and Andrea Juno
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    The Rolling Stones of Rolling Stones Books

    265
    Stanley Booth
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    Finding the Blackface in Bluegrass

    267
    Robert Cantwell
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    Cyberpunk Novels and Cultural Studies Futurism

    269
    William Gibson
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    Glossy Magazine Features Writer Gets History’s Second Draft

    272
    Gerri Hirshey
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    Theorizing Sound as Dress Rehearsal for the Future

    274
    Jacques Attali
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    Classic Rock, Mass Market Paperback Style

    275
    Stephen Davis
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    Love and Rockets, Signature Comic of Punk Los Angeles as Borderland Imaginary

    277
    Los Bros Hernandez
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    Plays about Black American Culture Surviving the Loss of Political Will

    280
    August Wilson
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    Putting Pop in the Big Books of Music

    282
    H. Wiley Hitchcock and Stanley Sadie
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    Popular Music’s Defining Singer and Swinger

    284
    Kitty Kelley
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    Anti-Epic Lyricizing of Black Music after Black Power

    288
    Nathaniel Mackey
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    Lost Icon of Rock Criticism

    290
    Lester Bangs
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    Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature

    292
    Chuck Berry
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    Making “Wild-Eyed Girls” a More Complex Narrative

    294
    Pamela Des Barres
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    Reporting Black Music as Art Mixed with Business

    295
    Nelson George
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    Sessions with the Evil Genius of Jazz

    298
    Miles Davis and Quincy Troupe
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  • Part VI New Voices, New Methods
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    Literature of New World Order Americanization

    303
    Jessica Hagedorn
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    Ethnic Studies of Blended Musical Identities

    310
    George Lipsitz
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    Ballad Novels for a Baby Boomer Appalachia

    312
    Sharyn McCrumb
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    Pimply, Prole, and Putrid, but with a Surprisingly Diverse Genre Literature

    314
    Chuck Eddy
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    How Musicology Met Cultural Studies

    318
    Susan McClary
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    Idol for Academic Analysis and a Changing Public Sphere

    320
    Madonna
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    Black Bohemian Cultural Nationalism

    324
    Greg Tate
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    From Indie to Alternative Rock

    326
    Gina Arnold
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    Musicology on Popular Music— In Pragmatic Context

    330
    Richard Crawford
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    Listening, Queerly

    332
    Wayne Koestenbaum
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    Blackface as Stolen Vernacular

    334
    Eric Lott
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    Media Studies of Girls Listening to Top 40

    338
    Susan Douglas
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    Ironies of a Contested Identity

    339
    Peter Guralnick
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    Two Generations of Leading Ethnomusicologists Debate the Popular

    344
    Charles Keil and Steven Feld
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    Defining Hip-Hop as Flow, Layering, Rupture, and Postindustrial Resistance

    346
    Tricia Rose
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    Regendering Music Writing, with the Deadly Art of Attitude

    348
    Evelyn McDonnell and Ann Powers
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    Soundscaping References, Immersing Trauma

    352
    David Toop
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    Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk

    354
    Richard Peterson
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    All That Not-Quite Jazz

    355
    Gary Giddins
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    Jazz Studies Conquers the Academy

    357
    Robert G. O’Meally
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  • Part VII Topics in Progress
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    Paradigms of Club Culture, House and Techno to Rave and EDM

    363
    Simon Reynolds
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    Performance Studies, Minoritarian Identity, and Academic Wildness

    372
    José Esteban Muñoz
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    Left of Black: Networking a New Discourse

    375
    Mark Anthony Neal
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    Aerobics as Genre, Managing Emotions

    377
    Tia DeNora
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    Confronting Globalization

    378
    Thomas Turino
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    Evocations of Cultural Migration Centered on Race, Rhythm, and Eventually Sexuality

    382
    Alejo Carpentier
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    Digging Up the Pre-Recordings Creation of a Black Pop Paradigm

    386
    Lynn Abbott and Doug Seroff
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    When Faith in Popular Sound Wavers, He’s Waiting

    388
    Theodor Adorno
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    Codifying a Precarious but Global Academic Field

    391
    David Hesmondhalgh and Keith Negus
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    Salsa and the Mixings of Global Culture

    393
    Lise Waxer
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    Musicals as Pop, Nationalism, and Changing Identity

    396
    Stacy Wolf
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    Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time

    399
    Jonathan Lethem
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    Poetic Ontologies of Black Musical Style

    401
    Fred Moten
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    Rescuing the Afromodern Vernacular

    402
    Guthrie Ramsey Jr.
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    Sound Studies and the Songs Question The Audible Past: Cultural Origins of Sound Reproduction, 2003

    404
    Jonathan Sterne
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    Dylanologist Conventions

    406
    Bob Dylan
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    Two Editions of a Field Evolving Faster Than a Collection Could Contain

    410
    Murray Forman and Mark Anthony Neal
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    Revisionist Bluesology and Tangled Intellectual History

    412
    Elijah Wald
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    Trying to Tell the Story of a Dominant Genre

    416
    Jeff Chang
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    Refiguring American Music— And Its Institutionalization

    420
    Josh Kun
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    Country Music Scholars Pioneer Gender and Industry Analysis

    423
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    Where Does Classical Music Fit In

    426
    Alex Ross
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    Poptimism, 33⅓ Books, and the Struggles of Music Critics

    429
    Carl Wilson
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    Novelists Collegial with Indie Music

    432
    Jennifer Egan
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    YouTube, Streaming, and the Popular Music Performance Archive

    437
    Will Friedwald
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    Idiosyncratic Musician Memoirs—Performer as Writer in the Era of the Artist as Brand

    438
    Jay-Z
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    Acknowledgments

    443
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    Works Cited

    446
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    Index

    513
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Publishing information
Pages and Images/Illustrations in book
eBook published on:
April 23, 2021
eBook ISBN:
9781478021391
Pages and Images/Illustrations in book
Main content:
552
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This book is in the series
Refiguring American Music
This book is in the series
Refiguring American Music
https://doi.org/10.1515/9781478021391
eBook ISBN: 9781478021391
Audience(s) for this book
General/trade;
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