{"product_id":"songbooks-9781478011941","title":"Songbooks","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eIn \u003ci\u003eSongbooks\u003c\/i\u003e, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings''s 1770 \u003ci\u003eNew-England Psalm-Singer\u003c\/i\u003e to Jay-Z''s 2010 memoir \u003ci\u003eDecoded\u003c\/i\u003e. Drawing on his background editing the \u003ci\u003eVillage Voice\u003c\/i\u003e music section, coediting the \u003ci\u003eJournal of Popular Music Studies\u003c\/i\u003e, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, th\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“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, \u003ci\u003eSongbooks\u003c\/i\u003e provides both.” -- David Ritz, co-composer, “Sexual Healing”\u003cbr\u003e“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 *\u003cbr\u003e“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. \u003ci\u003eSongbooks\u003c\/i\u003e 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 *\u003cbr\u003e\"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 *\u003cbr\u003e\"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 *\u003cbr\u003e\"Weisbard’s book will be required reading for all music critics and journalists.\" -- Henry Carrigan * No Depression *\u003cbr\u003e\"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? \u003ci\u003eSongbook\u003c\/i\u003es 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.\"\u003cbr\u003e   -- Robert Christgau\u003cbr\u003e\"\u003ci\u003eSongbooks\u003c\/i\u003e is the kind of book you keep picking up and dipping into for the rest of your life.\" -- Michaelangelo Matos * Rock and Roll Globe *\u003cbr\u003e\"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 *\u003cbr\u003e\"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. . . . \u003ci\u003eSongbooks\u003c\/i\u003e is a great reference book, but before and after that it’s a funhouse.\" -- Greil Marcus * Chronicle of Higher Education *\u003cbr\u003e\"\u003ci\u003eSongbooks\u003c\/i\u003e 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 *\u003cbr\u003e\"... 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 *\u003cbr\u003e\"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 *\u003cbr\u003e\"[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 *\u003cbr\u003e\"As a valuable resource for scholars of popular music, \u003ci\u003eSongbooks\u003c\/i\u003e 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 *\u003cbr\u003e\"\u003ci\u003eSongbooks\u003c\/i\u003e 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 *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction  1\u003cbr\u003e Part I: Setting the Scene\u003cbr\u003e First Writer, of Music and on Music: William Billings: \u003ci\u003eThe New-England Psalm-Singer\u003c\/i\u003e, 1770  20\u003cbr\u003e Blackface Minstrelsy Extends Its Twisted Roots: T.D. Rice, \"Jim Crow,\" c. 1832  22\u003cbr\u003e Shape-Note Singing and Early Country: B.F. White and E.J. King, \u003ci\u003eThe Sacred Harp\u003c\/i\u003e, 1944  25\u003cbr\u003e Music in Captivity: Solomon Northup, \u003ci\u003eTwelve Years a Slave\u003c\/i\u003e: 1853  26\u003cbr\u003e Champion of the White Male Vernacular: Walt Whitman, \u003ci\u003eLeaves of Grass\u003c\/i\u003e, 1855  28\u003cbr\u003e Notating Spirituals: William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, eds., \u003ci\u003eSlave Songs of the United States\u003c\/i\u003e, 1867  30\u003cbr\u003e First Black Music Historian: James Trotter, \u003ci\u003eMusic and Some Highly Musical People: The Lives of Remarkable Musicians of the Colored Race\u003c\/i\u003e, 1878  32\u003cbr\u003e Child Ballads and Folklore: James Child, \u003ci\u003eThe English and Scottish Popular Ballads\u003c\/i\u003e, 5 vols., 1882-1898  33\u003cbr\u003e Women Not Inventing Ethnomusicology: Alice Fletcher, \u003ci\u003eA Study of Omaha Indian Music\u003c\/i\u003e, 1893  35\u003cbr\u003e First Hit Songwriter, from Pop to Folk and Back Again: Morrison Foster, \u003ci\u003eBiography, Songs and Musical Compositions of Stephen C. Foster\u003c\/i\u003e, 1896  39\u003cbr\u003e Americana Emerges: Emma Bell Miles, \u003ci\u003eThe Spirit of the Mountains\u003c\/i\u003e, 1905  44\u003cbr\u003e Documenting the Story: O.G. Sonneck, \u003ci\u003eBibliography of Early Secular American Music\u003c\/i\u003e, 1905  45\u003cbr\u003e Tin Pan Alley's Sheet Music Biz: Charles K. Harris, \u003ci\u003eHow to Write a Popular Song\u003c\/i\u003e, 1906  47\u003cbr\u003e First Family of Folk Collecting: John A. Lomax, \u003ci\u003eCowboy Songs and Other Frontier Ballads\u003c\/i\u003e, 1910  50\u003cbr\u003e Proclaiming Black Modernity: James Weldon Johnson, \u003ci\u003eThe Autobiography of an Ex-Colored Man\u003c\/i\u003e, 1912  52\u003cbr\u003e Songcatching in the Mountains: Olive Dame Campbell and Cecil Sharp, \u003ci\u003eEnglish Folk Songs from the Southern Appalachians\u003c\/i\u003e, 1917  54\u003cbr\u003e Part II: The Jazz Age\u003cbr\u003e Stories for the Slicks: F. Scott Fitzgerald, \u003ci\u003eFlappers and Philosophers\u003c\/i\u003e, 1920  62\u003cbr\u003e Remembering the First Black Star: Mabel Rowland, ed., \u003ci\u003eBert Williams, Son of Laughter\u003c\/i\u003e, 1923  64\u003cbr\u003e Magazine Criticism across Popular Genres: Gilbert Seldes, \u003ci\u003eThe Seven Lively Arts\u003c\/i\u003e, 1924  67\u003cbr\u003e Harlem Renaissance: Alain Locke, ed., \u003ci\u003eThe New Negro: An Interpretation\u003c\/i\u003e, 1925  69\u003cbr\u003e Tin Pan Alley's Standards Setter: Alexander Woollcott, \u003ci\u003eThe Story of Irving Berlin\u003c\/i\u003e, 1925  71\u003cbr\u003e Broadway Musical as Supertext: Edna Ferber, \u003ci\u003eShow Boat\u003c\/i\u003e, 1926  74\u003cbr\u003e Father of the Blues in Print: W.C. Handy, ed., \u003ci\u003eBlues: An Anthology\u003c\/i\u003e, 1926  76\u003cbr\u003e Poet of the Blare and Racial Mountain: Langston Hughes, \u003ci\u003eThe Weary Blues\u003c\/i\u003e, 1926  78\u003cbr\u003e Blessed Immortal, Forgotten Songwriter: Carrie Jacobs-Bond, \u003ci\u003eThe Roads of Melody\u003c\/i\u003e, 1927  80\u003cbr\u003e Tune Detective and Expert Explainer: Sigmund Spaeth, \u003ci\u003eRead 'Em and Weep: The Songs Your Forgot to Remember\u003c\/i\u003e, 1927  82\u003cbr\u003e Pop's First History Lesson: Isaac Goldberg: \u003ci\u003eTin Pan Alley: A Chronicle of the American Popular Music Racket\u003c\/i\u003e, 1930  84\u003cbr\u003e Roots Intellectual: Constance Rourke, \u003ci\u003eAmerican Humor: A Study of the National Character\u003c\/i\u003e, 1931  85\u003cbr\u003e Jook Ethnography, Inventing Black Music Studies: Zora Neale Hurston, \u003ci\u003eMules and Men\u003c\/i\u003e, 1935  87\u003cbr\u003e What He Played Came First: Louis Armstrong, \u003ci\u003eSwing That Music\u003c\/i\u003e, 1936  90\u003cbr\u003e Jazz's Original Novel: Dorothy Baker, \u003ci\u003eYoung Man with a Horn\u003c\/i\u003e, 1938  94\u003cbr\u003e Introducing Jazz Critics: Frederic Ramsey Jr. and Charles Edward Smith, eds., \u003ci\u003eJazzmen\u003c\/i\u003e, 1939  95\u003cbr\u003e Part III: Midcentury Icons\u003cbr\u003e Folk Embodiment: Woody Guthrie, \u003ci\u003eBound for Glory\u003c\/i\u003e, 1943  104\u003cbr\u003e A Hack Story Soldiers Took to War: David Ewen, \u003ci\u003eMen of Popular Music\u003c\/i\u003e, 1944  106\u003cbr\u003e From Immigrant Jew to Red Hot Mama: Sophie Tucker, \u003ci\u003eSome of These Days\u003c\/i\u003e, 1945  108\u003cbr\u003e White Negro Drug Dealer: Mezz Mezzrow and Bernard Wolfe, \u003ci\u003eReally the Blues\u003c\/i\u003e, 1946  110\u003cbr\u003e Composer of Tone Parallels: Barry Ulanov, \u003ci\u003eDuke Ellington\u003c\/i\u003e, 1946  111\u003cbr\u003e Jazz's Precursor as Pop and Art: Rudi Blesh and Harriet Janis, \u003ci\u003eThey All Played Ragtime: The True Story of an American Music\u003c\/i\u003e, 1950  114\u003cbr\u003e Field Recording in the Library of Congress: Alan Lomax, \u003ci\u003eMister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and \"Inventor of Jazz\u003c\/i\u003e,\" 1950  118\u003cbr\u003e Dramatizing Blackness from a Distance: Ethel Waters with Charles Samuels, \u003ci\u003eHis Eye Is on the Sparrow\u003c\/i\u003e, 1951  120\u003cbr\u003e Centering Vernacular Song: Gilbert Chase, \u003ci\u003eAmerica's Music\u003c\/i\u003e, 1955  122\u003cbr\u003e Writing about Records: Roland Gelatt, \u003ci\u003eThe Fabulous Phonograph: From Tin Foil to High Fidelity\u003c\/i\u003e, 1955  124\u003cbr\u003e Collective Oral History of Document Scenes: Nat Shapiro and Nat Hentoff, eds., \u003ci\u003eHear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It\u003c\/i\u003e, 1955  127\u003cbr\u003e The Greatest Jazz Singer's Star Text: Billie Holiday with William Dufty, \u003ci\u003eLady Sings the Blues\u003c\/i\u003e, 1956  129\u003cbr\u003e Beat Generation: Jack Kerouac, \u003ci\u003eOn the Road\u003c\/i\u003e, 1957  133\u003cbr\u003e Borderlands Folklore and Transnational Imaginaries: Américo Paredes, \u003ci\u003e\"With His Pistol in His Hands\": A Border Ballad and Its Hero\u003c\/i\u003e, 1958  136\u003cbr\u003e\u003ci\u003eNew Yorker\u003c\/i\u003e Critic of a Genre Becoming Middlebrow: Whitney Balliett, \u003ci\u003eThe Sound of Surprise: 46 Pieces on Jazz\u003c\/i\u003e, 1959  141\u003cbr\u003e Part IV. Vernacular Counterculture\u003cbr\u003e Blues Revivalists: Samuel Charters, \u003ci\u003eThe Country Blues\u003c\/i\u003e, 1959; Paul Oliver, \u003ci\u003eBlues Fell This Morning: The Meaning of the Blues\u003c\/i\u003e, 1960  148\u003cbr\u003e Britpop in Fiction: Colin MacInnes, \u003ci\u003eAbsolute Beginners\u003c\/i\u003e, 1959  151\u003cbr\u003e Form-Exploding Indeterminacy: John Cage, \u003ci\u003eSilence\u003c\/i\u003e, 1961  153\u003cbr\u003e Science Fiction Writer Pens First Rock and Roll Novel: Harlan Ellison, \u003ci\u003eRockabilly [Spider Kiss]\u003c\/i\u003e, 1961  155\u003cbr\u003e Pro-Jazz Scene Sociology: Howard Becker, Outsiders: \u003ci\u003eStudies in the Sociology of Deviance\u003c\/i\u003e, 1963  159\u003cbr\u003e Reclaiming Black Music: LeRoi Jones (Amiri Baraka), \u003ci\u003eBlues People: Negro Music in White America\u003c\/i\u003e, 1963  159\u003cbr\u003e An Endless Lit, Limited Only in Scope: Michael Braun, \u003ci\u003e\"Love Me Do!\": The Beatles Progress\u003c\/i\u003e, 1964  162\u003cbr\u003e Music as a Prose Master's Jagged Grain: Ralph Ellison, \u003ci\u003eShadow and Act\u003c\/i\u003e, 1964  167\u003cbr\u003e How to Succeed in . . .: M. William Krasilovsky and Sidney Schemel, \u003ci\u003eThis Business of Music\u003c\/i\u003e, 1964  169\u003cbr\u003e Schmaltz and Adversity: Sammy Davis Jr. and Burt Boyar, \u003ci\u003eYes I Can\u003c\/i\u003e, 1965  171\u003cbr\u003e New Journalism and Electrified Syntax: Tom Wolfe, \u003ci\u003eKandy-Kolored Tangerine-Flake Streamline Baby\u003c\/i\u003e, 1965  173\u003cbr\u003e Defining a Genre: Bill C. Malone, \u003ci\u003eCountry Music, U.S.A.: A Fifty-Year History\u003c\/i\u003e, 1968  175\u003cbr\u003e Swing's Movers as an Alternate History of American Pop: Marshall and Jean Stearns, \u003ci\u003eJazz Dance: The Story of American Vernacular Dance\u003c\/i\u003e, 1968  177\u003cbr\u003e Rock and Roll's Greatest Hyper: Nik Cohn, \u003ci\u003eAwopbopaloobop Alopbamboom\u003c\/i\u003e, 1969\/1970  182\u003cbr\u003e\u003ci\u003eEbony\u003c\/i\u003e's Pioneering Critic of Black Pop as Black Power: Phyl Garland, \u003ci\u003eThe Sound of Soul: The Story of Black Music\u003c\/i\u003e, 1969  184\u003cbr\u003e Entertainment Journalism and the Power of Knowing: Lillian Roxon, \u003ci\u003eRock Encyclopedia\u003c\/i\u003e, 1969  185\u003cbr\u003e An Over-the-Top Genre's First Reliable History: Charlie Gillett, \u003ci\u003eThe Sound of the City: The Rise of Rock and Roll\u003c\/i\u003e, 1970  187\u003cbr\u003e Rock Critic of the Trivially Awesome: Richard Meltzer, \u003ci\u003eThe Aesthetics of Rock\u003c\/i\u003e, 1970  188\u003cbr\u003e Black Religious Fervor as the Core of Rock and Soul: Anthony Heilbut, \u003ci\u003eThe Gospel Sound: Good News and Bad Times\u003c\/i\u003e, 1971  190\u003cbr\u003e Jazz Memoir of \"Rotary Perception\" Multiplicity: Charles Mingus, \u003ci\u003eBeneath the Underdog\u003c\/i\u003e, 1971  193\u003cbr\u003e Composing a Formal History: Eileen Southern, \u003ci\u003eThe Music of Black Americans\u003c\/i\u003e, 1971  194\u003cbr\u003e Krazy Kat Fiction of Viral Vernaculars: Ishmael Reed, \u003ci\u003eMumbo Jumbo\u003c\/i\u003e, 1972  196\u003cbr\u003e Derrière Garde Prose and Residual Pop Styles: Alec Wilder, \u003ci\u003eAmerican Popular Song: The Great Innovators, 1900–1950\u003c\/i\u003e, 1972  198\u003cbr\u003e Charts as a New Literature: Joel Whitburn, \u003ci\u003eTop Pop Records, 1955–1972\u003c\/i\u003e, 1973  201\u003cbr\u003e Selling Platinum across Formats: Clive Davis with James Willwerth, \u003ci\u003eClive, Inside the Record Business\u003c\/i\u003e, 1975  203\u003cbr\u003e Blues Relationships and Black Women's Deep Songs: Gayl Jones, \u003ci\u003eCorregidora\u003c\/i\u003e, 1975  205\u003cbr\u003e \"Look a the World in a Rock 'n' Roll Sense . . . What Does That Even Mean?\": Greil Marcus, \u003ci\u003eMystery Train: Images of America in Rock 'n' Roll Music\u003c\/i\u003e, 1975  207\u003cbr\u003e Cultural Studies Brings Pop from the Hallway to the Classroom: Hall and Tony Jefferson, eds., \u003ci\u003eResistance Through Rituals: Youth Subcultures in Post-War Britain\u003c\/i\u003e, 1976  211\u003cbr\u003e Life in Country for an Era of Feminism and Counterculture: Loretta Lynn with George Vecsey, \u003ci\u003eCoal Miner's Daughter\u003c\/i\u003e, 1976  214\u003cbr\u003e Introducing Rock Critics: Jim Miller, ed., \u003ci\u003eThe Rolling Stone Illustrated History of Rock \u0026amp; Roll\u003c\/i\u003e, 1976  216\u003cbr\u003e Patriarchal Exegete of Black Vernacular as \"Equipment for Living\": Albert Murray, \u003ci\u003eStomping the Blues\u003c\/i\u003e, 1976  219\u003cbr\u003e Reading Pop Culture as Intellectual Obligation: Roland Barthes,\u003ci\u003e Image—Music—Text\u003c\/i\u003e, 1977  221\u003cbr\u003e Paging through Books to Make History: Dean Epstein, \u003ci\u003eSinful Tunes and Spirituals: Black Folk Music to the Civil War\u003c\/i\u003e, 1977  223\u003cbr\u003e Historians Begin to Study Popular Music: Lawrence Levine, \u003ci\u003eBlack Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom\u003c\/i\u003e, 1977  225\u003cbr\u003e Musicking to Overturn Hierarchy: Christopher Small, \u003ci\u003eMusic, Society, Education\u003c\/i\u003e, 1977  226\u003cbr\u003e Drool Data and Stained Panties from a Critical Noise Boy: Nick Tosches, \u003ci\u003eCountry: The Biggest Music in America\u003c\/i\u003e, 1977  229\u003cbr\u003e Part V: After the Revolution\u003cbr\u003e Punk Negates Rock: Julie Burchill and Tony Parsons, \u003ci\u003eThe Boy Looked at Johnny: The Obituary of Rock and Roll\u003c\/i\u003e, 1978  236\u003cbr\u003e The Ghostwriter behind the Music Books: Ray Charles and David Ritz, \u003ci\u003eBrother Ray: Ray Charles' Own Story\u003c\/i\u003e, 1978  240\u003cbr\u003e Disco Negates Rock: Andrew Holleran, \u003ci\u003eDancer from the Dance\u003c\/i\u003e, 1978  242\u003cbr\u003e Industry Schmoozer and Black Music Advocated Fills Public Libraries with Okay Overviews: Arnold Shaw, \u003ci\u003eHonkers and Shouters: The Golden Years of Rhythm and Blues\u003c\/i\u003e, 1978  245\u003cbr\u003e Musicology's Greatest Tune Chronicler: Charles Hamm, \u003ci\u003eYesterdays: Popular Song in America\u003c\/i\u003e, 1979  247\u003cbr\u003e Criticism's Greatest Album Chronicler: Robert Christgau, \u003ci\u003eChristgau's Record Guide: Rock Albums of the '70s\u003c\/i\u003e, 1981  248\u003cbr\u003e Rock's Frank Capra: Cameron Crowe: \u003ci\u003eFast Times at Ridgemont High: A True Story\u003c\/i\u003e, 1981  251\u003cbr\u003e Culture Studies\/Rock Critic Twofer!: Simon Frith, \u003ci\u003eSound Effects: Youth, Leisure, and the Politics of Rock'n'Roll\u003c\/i\u003e, 1981  252\u003cbr\u003e A Magical Explainer of Impure Sounds: Robert Palmer, \u003ci\u003eDeep Blues\u003c\/i\u003e, 1981  255\u003cbr\u003e Feminist Rock Critic, Pop-Savvy Social Critic: Ellen Willis,\u003ci\u003e Beginning to See the Light: Pieces of a Decade\u003c\/i\u003e, 1981  257\u003cbr\u003e New Deal Swing Believer Revived: Otis Ferguson, \u003ci\u003eIn the Spirit of Jazz: The Otis Ferguson Reader\u003c\/i\u003e, 1982  259\u003cbr\u003e Ethnomusicology and Pop, Forever Fraught: Bruno Nettl, \u003ci\u003eThe Study of Ethnomusicology: Twenty-Nine Issues and Concepts\u003c\/i\u003e, 1983  260\u003cbr\u003e Autodidact Deviance, Modeling the Rock Generation to Come: V. Vale and Andrea Juno, eds., \u003ci\u003eRE\/Search #6\/7: Industrial Culture Handbook\u003c\/i\u003e, 1983  263\u003cbr\u003e The Rolling Stones of Rolling Stones Books: Stanley Booth, \u003ci\u003eThe True Adventures of the Rolling Stones\u003c\/i\u003e, 1984  266\u003cbr\u003e Finding the Blackface in Bluegrass: Robert Cantwell, \u003ci\u003eBluegrass Breakdown: The Making of the Old Southern Sound\u003c\/i\u003e, 1984  268\u003cbr\u003e Cyberpunk Novels and Cultural Studies Futurism: William Gibson, \u003ci\u003eNeuromancer\u003c\/i\u003e, 1984  269\u003cbr\u003e Glossary Magazine Features Writer Gets History's Second Draft: Gerri Hirshey, \u003ci\u003eNowhere to Run: The Story of Soul Music\u003c\/i\u003e, 1984  272\u003cbr\u003e Theorizing Sound as Dress Rehearsal for the Future: Jacques Attali, \u003ci\u003eNoise: The Political Economy of Music\u003c\/i\u003e, 1977; Translation 1985  274\u003cbr\u003e Classic Rock, Mass Market Paperback Style: Stephen Davis, \u003ci\u003eHammer of the Gods: The Led Zepplin Saga\u003c\/i\u003e, 1985  275\u003cbr\u003e\u003ci\u003eLove and Rockets\u003c\/i\u003e, Signature Comic of Punk Los Angeles as Borderland Imaginary: Los Bros Hernandez, \u003ci\u003eMusic for Mechanics\u003c\/i\u003e, 1985  277\u003cbr\u003e Plays about Black American Culture Surviving the Loss of Political Will: August Wilson, \u003ci\u003eMa Rainey's Black Bottom\u003c\/i\u003e, 1985  280\u003cbr\u003e Putting Pop in the Big Books of Music: H. Wiley Hitchcock and Stanley Sadie, eds., \u003ci\u003eThe New Grove Dictionary of American Music\u003c\/i\u003e, 1986  282\u003cbr\u003e Popular Music's Defining Singer and Swinger: Kitty Kelley, \u003ci\u003eHis Way, The Unauthorized Biography of Frank Sinatra\u003c\/i\u003e, 1986  284\u003cbr\u003e Anti-Epic Lyricizing of Black Music after Black Power: Nathaniel Mackey, \u003ci\u003eBedouin Hornbook\u003c\/i\u003e, 1986  288\u003cbr\u003e Lost Icon of Rock Criticism: Lester Bangs, \u003ci\u003ePsychotic Reactions and Carburetor Dung\u003c\/i\u003e, 1987  290\u003cbr\u003e Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature: Chuck Berry, \u003ci\u003eChuck Berry: The Autobiography\u003c\/i\u003e, 1987  292\u003cbr\u003e Making \"Wild-Eyed Girls\" a More Complex Narrative: Pamela Des Barres, \u003ci\u003eI'm with the Band: Confessions of a Groupie\u003c\/i\u003e, 1987  294\u003cbr\u003e Reporting Black Music as Art Mixed with Business, Nelson George, \u003ci\u003eThe Death of Rhythm \u0026amp; Blues\u003c\/i\u003e, 1988  295\u003cbr\u003e Sessions with the Evil Genius of Jazz: Miles Davis with Quincy Troupe, \u003ci\u003eMiles: The Autobiography\u003c\/i\u003e, 1989  298\u003cbr\u003e Part VI: New Voices, New Method\u003cbr\u003e Literature of New World Order Americanization: Jessica Hagedorn, \u003ci\u003eDogeaters\u003c\/i\u003e, 1990  308\u003cbr\u003e Ethnic Studies of Blended Musical Identities: George Lipsitz, \u003ci\u003eTime Passages: Collective Memory and American Popular Culture\u003c\/i\u003e, 1990  310\u003cbr\u003e Ballad Novels for a Baby Boomer Appalachia: Sharyn McCrumb, \u003ci\u003eIf Ever I Return, Pretty Peggy-O\u003c\/i\u003e, 1990  312\u003cbr\u003e Pimply, Prole, and Putrid, but with a Surprisingly Diverse Genre Literature: Chuck Eddy, \u003ci\u003eStairway to Hell: The 500 Best Heavy Metal Albums in the Universe\u003c\/i\u003e, 1991  314\u003cbr\u003e How Musicology Met Cultural Studies: Susan McClary, \u003ci\u003eFeminine Endings: Music, Gender, and Sexuality\u003c\/i\u003e, 1991  318\u003cbr\u003e Idol for Academic Analysis and a Changing Public Sphere: Madonna, \u003ci\u003eSex\u003c\/i\u003e, 1992  320\u003cbr\u003e Black Bohemian Cultural Nationalism: Greg Tate, \u003ci\u003eFlyboy in the Buttermilk: Essays on Contemporary America\u003c\/i\u003e, 1992  324\u003cbr\u003e From Indie to Alternative Rock: Gina Arnold, \u003ci\u003eRoute 666: On the Road to Nirvana\u003c\/i\u003e, 1993  326\u003cbr\u003e Musicology on Popular Music—In Pragmatic Context: Richard Crawford, \u003ci\u003eThe American Musical Landscape\u003c\/i\u003e, 1993  330\u003cbr\u003e Listenign, Queerly, Wayne Koestenbaum, \u003ci\u003eThe Queen's Throat: Opera, Homosexuality, and the Mystery of Desire\u003c\/i\u003e, 1993  332\u003cbr\u003e Blackface as Stolen Vernacular: Eric Lott, \u003ci\u003eLove and Theft: Blackface Minstrelsy and the American Working Class\u003c\/i\u003e, 1993  334\u003cbr\u003e Media Studies of Girls Listening to Top 40: Susan Douglas, \u003ci\u003eWhere the Girls Are: Growing Up Female with the Mass Media\u003c\/i\u003e, 1994  338\u003cbr\u003e Ironies of a Contested Identity: Peter Guralnick, \u003ci\u003eLast Train to Memphis: The Rise of Elvis Presley\u003c\/i\u003e, 1994  339\u003cbr\u003e Two Generations of Leading Ethnomusicologists Debate the Popular: Charles Keil and Steven Feld: \u003ci\u003eMusic Grooves: Essays and Dialogues\u003c\/i\u003e, 1944  344\u003cbr\u003e Defining Hip-Hop as Flow, Layering, Rupture, and Postindustrial Resistance: Tricia Rose, \u003ci\u003eBlack Noise: Rap Music and Black Culture in Contemporary America\u003c\/i\u003e, 1994  346\u003cbr\u003e Regendering Music Writing, with the Deadly Art of Attitude: Evelyn McDonnell and Ann Powers, eds., \u003ci\u003eRock She Wrote: Women Write about Rock, Pop, and Rap\u003c\/i\u003e, 1995  348\u003cbr\u003e Soundscaping References, Immersing Trauma: David Toop, \u003ci\u003eOcean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds\u003c\/i\u003e, 1995  348\u003cbr\u003e Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk: Richard Peterson, \u003ci\u003eCreating Country Music: Fabricating Authenticity\u003c\/i\u003e, 1997  354\u003cbr\u003e All That Not-Quite Jazz: Gary Giddins, \u003ci\u003eVisions of Jazz: The First Century\u003c\/i\u003e, 1998  355\u003cbr\u003e Jazz Studies Conquers the Academy: Robert G. O'Meally, ed., \u003ci\u003eThe Jazz Cadence of American Culture\u003c\/i\u003e, 1998  357\u003cbr\u003e Part VII: Topics in Progress\u003cbr\u003e Paradigms of Club Culture, House and Techno to Rave and EDM: Simon Reynolds, \u003ci\u003eEnergy Flash: A Journey through Rave Music and Dance Culture\u003c\/i\u003e, 1998  368\u003cbr\u003e Performance Studies, Minoritarian Identity, and Academic Wildness: José Esteban Muñoz, Disidentification: Queers of Color and the Performance of Politics, 1999  372\u003cbr\u003e Left of Black: Networking a New Discourse: Mark Anthony Neal, \u003ci\u003eWhat the Music Said: Black Popular Music and Black Public Culture\u003c\/i\u003e, 1999  375\u003cbr\u003e Aerobics as Genre, Managing Emotions: Tia DeNora, \u003ci\u003eMusic in Everyday Life\u003c\/i\u003e, 2000  377\u003cbr\u003e Confronting Globalization: Thomas Turino, \u003ci\u003eNationalists, Cosmopolitans, and Popular Music in Zimbabwe\u003c\/i\u003e, 2000  378\u003cbr\u003e Evocations of Cultural Migration Centered on Race, Rhythm, and Eventually Sexuality: Alejo Carpentier, \u003ci\u003eMusic in Cuba\u003c\/i\u003e, 2001 (1946)  382\u003cbr\u003e Digging Up the Pre-Recordings Creation of a Black Pop Paradigm: Lynn Abbott and Doug Seroff, \u003ci\u003eOut of Sight: The Rise of African American Popular Music, 1889–1895\u003c\/i\u003e, 2002  386\u003cbr\u003e When Faith in Popular Sound Wavers, He's Waiting: Theodor Adorno, \u003ci\u003eEssays on Music\u003c\/i\u003e, ed. Richard Leppert, 2002  388\u003cbr\u003e Codifying a Precarious but Global Academic Field: David Hesmondhalgh and Keith Negus, eds., \u003ci\u003ePopular Music Studies\u003c\/i\u003e, 2002  391\u003cbr\u003e Salsa and the Mixings of Global Culture: Lise Waxer, \u003ci\u003eCity of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia\u003c\/i\u003e, 2002  393\u003cbr\u003e Musicals as Pop, Nationalism, and Changing Identity: Stacy Wolf, \u003ci\u003eA Problem Like Maria: Gender and Sexuality in the American Musical\u003c\/i\u003e, 2002  396\u003cbr\u003e Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time: Jonathan Lethem, \u003ci\u003eFortress of Solitude\u003c\/i\u003e, 2003  399\u003cbr\u003e Poetic Ontologies of Black Musical Style: Fred Moten, \u003ci\u003eIn the Break: The Aesthetics of the Black Radical Tradition\u003c\/i\u003e, 2003  401\u003cbr\u003e Rescuing the Afromodern Vernacular: Guthrie Ramsey Jr., \u003ci\u003eRace Music: Black Cultures from Bebop to Hip-Hop\u003c\/i\u003e, 2003  402\u003cbr\u003e Sound Studies and the Songs Question: Jonathan Sterne: \u003ci\u003eThe Audible Past: Cultural Origins of Sound Reproduction\u003c\/i\u003e, 2003  404\u003cbr\u003e Dylanologist Conventions: Bob Dylan, \u003ci\u003eChronicles: Volume One\u003c\/i\u003e, 2004  405\u003cbr\u003e Two Editions of a Field Evolving Faster Than a Collection Could Contain: Murray Forman and Mark Anthony Neal, eds., \u003ci\u003eThat's the Joint! The Hip-Hop Studies Reader\u003c\/i\u003e, 2004, 2012  410\u003cbr\u003e Revisionist Bluesology and Tangled Intellectual History: Elijah Wald, \u003ci\u003eEscaping the Delta: Robert Johnson and the Invention of the Blues\u003c\/i\u003e, 2004  412\u003cbr\u003e Trying to Tell the Story of a Dominant Genre: Jeff Chang, \u003ci\u003eCan't Stop, Won't Stop: A History of the Hip-Hop Generation\u003c\/i\u003e, 2005  415\u003cbr\u003e Refiguring American Music—And Its Institutionalizations: Josh Kun, \u003ci\u003eAudiotopia: Music, Race, and America\u003c\/i\u003e, 2005  419\u003cbr\u003e Country Music Scholars Pioneer Gender and Industry Analysis: Diane Pecknold, \u003ci\u003eThe Selling Sound: The Rise of the Country Music Industry\u003c\/i\u003e, 2007  423\u003cbr\u003e Where Does Classical Music Fit In?: Alex Ross, \u003ci\u003eThe Rest Is Noise: Listening to the Twentieth Century\u003c\/i\u003e, 2007  426\u003cbr\u003e Poptimism, 33 1\/3 Books, and the Struggles of Music Critics: Carl Wilson, \u003ci\u003eLet's Talk about Love: A Journey to the End of Taste\u003c\/i\u003e, 2007  429\u003cbr\u003e Novelists Collegial with Indie Music: Jennifer Egan, \u003ci\u003eA Visit from the Goon Squad\u003c\/i\u003e, 2010  432\u003cbr\u003e YouTube, Streaming, and the Popular Music Performance Archive: Will Friedwald, \u003ci\u003eA Biographical Guide to the Great Jazz and Pop Singers\u003c\/i\u003e, 2010  437\u003cbr\u003e Idiosyncratic Musician Memoirs—Performer as Writer in the Era of the Artist as Brand: Jay-Z, \u003ci\u003eDecoded\u003c\/i\u003e, 2010  438\u003cbr\u003e Acknowledgments  443\u003cbr\u003e Works Cited  447\u003cbr\u003e Index  513","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49408992280919,"sku":"9781478011941","price":90.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781478011941.jpg?v=1730505001","url":"https:\/\/bookcurl.com\/products\/songbooks-9781478011941","provider":"Book Curl","version":"1.0","type":"link"}