Subversive Sounds


Book Description

Subversive Sounds probes New Orleans’s history, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital American art form—jazz. Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Charles Hersch brings to vivid life the neighborhoods and nightspots where jazz was born. This volume shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans’s complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and races subverted their own racial identities and changed the way they played—a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture. “More than timely . . . Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class.”—New Orleans Times-Picayune




Music


Book Description

"A dauntingly ambitious, obsessively researched" (Los Angeles Times) global history of music that reveals how songs have shifted societies and sparked revolutions. Histories of music overwhelmingly suppress stories of the outsiders and rebels who created musical revolutions and instead celebrate the mainstream assimilators who borrowed innovations, diluted their impact, and disguised their sources. In Music: A Subversive History, Ted Gioia reclaims the story of music for the riffraff, insurgents, and provocateurs. Gioia tells a four-thousand-year history of music as a global source of power, change, and upheaval. He shows how outcasts, immigrants, slaves, and others at the margins of society have repeatedly served as trailblazers of musical expression, reinventing our most cherished songs from ancient times all the way to the jazz, reggae, and hip-hop sounds of the current day. Music: A Subversive History is essential reading for anyone interested in the meaning of music, from Sappho to the Sex Pistols to Spotify.




Bounce


Book Description

Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called "bounce." Hip-hop has been the latest conduit for a "New Orleans sound" that lies at the heart of many of the city's best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city's rich musical and cultural traditions. In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans's hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalized economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city's poor and working-class African Americans.




Global Community?


Book Description

In the wake of globalization, the humanities and social sciences have explored the existence and the possibilities of human community on a global scale. But these investigations have been developed within separate academic disciplines, with little exchange of ideas across disciplinary boundaries. This book draws together a variety of perspectives to offer an interdisciplinary, and critical, examination of global community past and present. The volume opens with a contribution by Gayatri Chakravorty Spivak, one of the world's most renowned scholars in the humanities, then follows up with original contributions by established and promising young researchers from across the humanities and the social sciences. The chapters provide conceptual, normative and empirical investigations of global community, examining it through the lenses of postcolonialism, cosmopolitanism, world literature, transnational networks, and global ethics. The book contributes to a renewed debate about the past, present and future of global community, allowing for a broader and deeper understanding of these timely phenomena across disciplinary boundaries.




Cuttin' Up


Book Description

The emergence of jazz out of New Orleans is part of the American story, but the creation of this music was more than a regional phenomenon: it also crossed geographical, cultural, and technological lines. Court Carney takes a new look at the spread and acceptance of jazz in America, going beyond the familiar accounts of music historians and documentarians to show how jazz paralleled and propelled the broader changes taking place in America's economy, society, politics, and culture. Cuttin' Up takes readers back to the 1920s and early 1930s to describe how jazz musicians navigated the rocky racial terrain of the music business-and how new media like the phonograph, radio, and film accelerated its diffusion and contributed to variations in its styles. The first history of jazz to emphasize the connections between these disseminating technologies and specific locales, it describes the distinctive styles that developed in four cities and tells how the opportunities of each influenced both musicians' choices and the marketing of their music. Carney begins his journey in New Orleans, where pioneers like Jelly Roll Morton and Buddy Bolden set the tone for the new music, then takes readers up the river to Chicago, where Joe Oliver's Creole Jazz Band, featuring a young Louis Armstrong, first put jazz on record. The genre received a major boost in New York through radio's live broadcasts from venues like the Cotton Club, then came to a national audience when Los Angeles put it in the movies, starting with the appearance of Duke Ellington's orchestra in Check and Double Check. As Carney shows, the journey of jazz had its racial component as well, ranging from New Orleans' melting pot to Chicago's segregated music culture, from Harlem clubs catering to white clienteles to Hollywood's reinforcement of stereotypes. And by pinpointing specific cultural turns in the process of bringing jazz to a national audience, he shows how jazz opens a window on the creation of a modernist spirit in America. A 1930 tune called "Cuttin' Up" captured the freewheeling spirit of this new music-an expression that also reflects the impact jazz and its diffusion had on the nation as it crossed geographic and social boundaries and integrated an array of styles into an exciting new hybrid. Deftly blending music history, urban history, and race studies, Cuttin' Up recaptures the essence of jazz in its earliest days.




Sound States


Book Description

By investigating the relationship between acoustical technologies and twentieth-century experimental poetics, this collection, with an accompanying compact disc, aims to 'turn up the volume' on printed works and rethink the way we read, hear, and talk about literary texts composed after telephones, phonographs, radios, loudspeakers, microphones, and tape recorders became facts of everyday life. The collection's twelve essays focus on earplay in texts by James Joyce, Ezra Pound, H.D., Samuel Beckett, William Burroughs, Amiri Baraka, Bob Kaufman, Robert Duncan, and Kamau Brathwaite and in performances by John Cage, Caribbean DJ-poets, and Cecil Taylor. From the early twentieth-century soundscapes of Futurist and Dadaist 'sonosphers' to Henri Chopin's electroacoustical audio-poames, the authors argue, these states of sound make bold but wavering statements--statements held only partially in check by meaning. The contributors are Loretta Collins, James A. Connor, Michael Davidson, N. Katherine Hayles, Nathaniel Mackey, Steve McCaffery, Alec McHoul, Toby Miller, Adalaide Morris, Fred Moten, Marjorie Perloff, Jed Rasula, and Garrett Stewart.




Play Like a Man


Book Description

As a member of Poster Children, Rose Marshack took part in entwined revolutions. Marshack and other women seized a much-elevated profile in music during the indie rock breakthrough while the advent of new digital technologies transformed the recording and marketing of music. Touring in a van, meeting your idols, juggling a programming job with music, keeping control and credibility, the perils of an independent record label (and the greater perils of a major)—Marshack chronicles the band’s day-to-day life and punctuates her account with excerpts from her tour reports and hard-learned lessons on how to rock, program, and teach while female. She also details the ways Poster Children applied punk’s DIY ethos to digital tech as a way to connect with fans via then-new media like pkids listservs, internet radio, and enhanced CDs. An inside look at a scene and a career, Play Like a Man is the evocative and humorous tale of one woman’s life in the trenches and online.




Sound Effect


Book Description

Longlisted for the PQ Best Publication Award in Performance Design & Scenography 2023 Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with the emergence of the modern scenic sound effect in the late 18th century, and ending with headphone theatre which brings theatre's auditorium into an intimate relationship with the audience's internal sonic space, the book relates contemporary questions of theatre sound design to a 250-year Western cultural history of hearing. It argues that while theatron was an instrument for seeing and theorizing, first a collective hearing, or audience is convened. Theatre begins with people entering an acoustemological apparatus that produces a way of hearing and of knowing. Once, this was a giant marble ear on a hillside, turned up to a cosmos whose inaudible music accounted for all. In modern times, theatre's auditorium, or instrument for hearing, has turned inwards on the people and their collective conversance in the sonic memes, tropes, clichés and picturesques that constitute a popular, fictional ontology. This is a study about drama, entertainment, modernity and the theatre of audibility. It addresses the cultural frames of resonance that inform our understanding of SOUND as the rubric of the world we experience through our ears. Ross Brown reveals how mythologies, pop-culture, art, commerce and audio, have shaped the audible world as a form of theatre. Garrick, De Loutherbourg, Brecht, Dracula, Jekyll, Hyde, Spike Milligan, John Lennon, James Bond, Scooby-Do and Edison make cameo appearances as Brown weaves together a history of modern hearing, with an argument that sound is a story, audibility has a dramaturgy, hearing is scenographic, and the auditoria of drama serve modern life as the organon, or definitive frame of reference, on the sonic world.




Inflamed


Book Description

Raj Patel, the New York Times bestselling author of The Value of Nothing, teams up with physician, activist, and co-founder of the Do No Harm Coalition Rupa Marya to reveal the links between health and structural injustices--and to offer a new deep medicine that can heal our bodies and our world. The Covid pandemic and the shocking racial disparities in its impact. The surge in inflammatory illnesses such as gastrointestinal disorders and asthma. Mass uprisings around the world in response to systemic racism and violence. Rising numbers of climate refugees. Our bodies, societies, and planet are inflamed. Boldly original, Inflamed takes us on a medical tour through the human body—our digestive, endocrine, circulatory, respiratory, reproductive, immune, and nervous systems. Unlike a traditional anatomy book, this groundbreaking work illuminates the hidden relationships between our biological systems and the profound injustices of our political and economic systems. Inflammation is connected to the food we eat, the air we breathe, and the diversity of the microbes living inside us, which regulate everything from our brain’s development to our immune system’s functioning. It’s connected to the number of traumatic events we experienced as children and to the traumas endured by our ancestors. It’s connected not only to access to health care but to the very models of health that physicians practice. Raj Patel, the renowned political economist and New York Times bestselling author of The Value of Nothing, teams up with the physician Rupa Marya to offer a radical new cure: the deep medicine of decolonization. Decolonizing heals what has been divided, reestablishing our relationships with the Earth and one another. Combining the latest scientific research and scholarship on globalization with the stories of Marya’s work with patients in marginalized communities, activist passion, and the wisdom of Indigenous groups, Inflamed points the way toward a deep medicine that has the potential to heal not only our bodies, but the world.




The Sound State of Uzbekistan


Book Description

The Sound State of Uzbekistan: Popular Music and Politics in the Karimov Era is a pioneering study of the intersection between popular music and state politics in Central Asia. Based on 20 months of fieldwork and archival research in Tashkent, this book explores a remarkable era in Uzbekistan’s politics (2001–2016), when the Uzbek government promoted a rather unlikely candidate to the prominent position of state sound: estrada, a genre of popular music and a musical relic of socialism. The political importance it attached to estrada was matched by the establishment of an elaborate bureaucratic apparatus for state oversight. The Sound State of Uzbekistan shows the continuing legacy of Soviet concepts to frame the nexus between music, artists and the state, and explains the extraordinary potency ascribed to estrada. At the same time, it challenges classical readings of transition and also questions common binary models for researching culture in totalitarian or authoritarian states. Proposing to approach lives in music under authoritarianism as a form of normality instead, the author promotes a post-Cold War paradigm in music studies.