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035 $a(OCoLC)on1163964026
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019 $a1163957713
020 $a9781478011941$q(hardcover)
020 $a1478011947$q(hardcover)
020 $a9781478014089$q(paperback)
020 $a1478014083$q(paperback)
020 $z9781478021391$q(electronic book)
035 $a(OCoLC)1163964026$z(OCoLC)1163957713
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043 $an-us---
050 00 $aML3477$b.W457 2021
082 00 $a782.421630973$223
100 1 $aWeisbard, Eric,$eauthor.
245 10 $aSongbooks :$bthe literature of American popular music /$cEric Weisbard.
246 10 $aLiterature of American popular music
264 1 $aDurham :$bDuke University Press,$c2021.
264 4 $c©2021
300 $axxii, 530 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aRefiguring American music
504 $aIncludes bibliographical references (pages 446-512) and index.
505 20 $tSetting the Scene --$tThe Jazz Age --$tMidcentury Icons --$tVernacular Counterculture --$tAfter the Revolution --$tNew Voices, New Methods --$tTopics in Progress.
505 00 $gPart I:$tSetting the scene.$tFirst writer, of music and music: William Billings, The New-England Psalm-Singer, 1770 ;$tBlackface minstrelsy extends its twisted roots: T.D. Rice, "Jim Crow," c. 1832 ;$tShape-note singing and early country: B.F. White and E.J. King, The Sacred Harp, 1844 ;$tMusic in captivity: Solomon Northup, Twelve Years a Slave, 1853 ;$tChampion of the white male vernacular: Walt Whitman, Leaves of Grass, 1855 ;$tNotating spirituals: William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, eds., Slave Songs of the United States, 1867 ;$tFirst Black music historian: James Trotter, Music and Some Highly Musical People: The Lives of Remarkable Musicians of the Colored Race, 1878 ;$tChild ballads and folklore: Francis James Child, The English and Scottish Popular Ballads, 1882-1898 ;$tWomen not inventing ethnomusicology: Alice C. Fletcher, A Study of Omaha Indian Music, 1893 ;$tFirst hist songwriter, from pop to folk and back again: Morrison Foster, Biography, Songs and Musical Compositions of Stephen C. Foster, 1896 ;$tNovelist of urban pop longings: Theodore Dreiser, Sister Carrie, 1900 ;$tAmericana emerges: Emma Bell Miles, The Spirit of the Mountains, 1905 ;$tDocumenting the story: O.G. Sonneck, Bibliography of Early Secular American Music, 1905 ;$tTin Pan Alley's sheet music biz: Charles K. Harris, How to Write a Popular song, 1906 ;$tFirst family of folk collecting: John A. Lomax, Cowboy Songs and Other Frontier Ballads, 1910 ;$tProclaiming Black modernity: James Weldon Johnson, The Autobiography of an Ex-Colored Man, 1912 ;$tSongcatching in the mountains: Olive Dame Campbell and Cecil J. Sharp, English Folk Songs from the Southern Appalachians, 1917
505 00 $gPart II:$tThe jazz age.$tStories for the slicks: F. Scott Fitzgerald, Flappers and Philosophers, 1920 ;$tRemembering the first Black star: Mabel Rowland, ed., Bert Williams, Son of Laughter, 1923 ;$tMagazine criticism across popular genres: Gilbert Seldes, The Seven Lively Arts, 1924 ;$tHarlem Renaissance: Alain Locke, ed., The New Negro: An Interpretation, 1925 ;$tTin Pan Alley's standards setter: Alexander Woollcott, The Story of Irving Berlin, 1925 ;$tBroadway musical as supertext: Edna Ferber, Show Boar, 1926 ;$tFather of the blues in Print: W.C. Handy, Ed., Blues: An Anthology, 1926 ;$tPoet of the blare and racial mountain: Langston Hughes, The Weary Blues, 1926 ;$tBlessed immortal, forgotten songwriter: Carrie Jacobs-Bond, The Roads of Melody, 1927 ;$tTune detective and expert explainer: Sigmund Spaeth, Read 'Em and Weep: The Songs You Forgot to Remember, 1927 ;$tPop's first history lesson: Isaac Goldberg, Tin Pan Alley: A Chronicle of the American Popular Music Racket, 1930 ;$tRoots intellectual: Constance Rourke, American Humor: A Study of the National Character, 1931 ;$tJook ethnography, inventing Black music studies: Zora Neal Hurston, Mules and Men, 1935 ;$tWhat he played came first: Louis Armstrong, Swing That Music, 1936 ;$tJazz's original novel: Dorothy Baker, Young Man with a Horse ;$tIntroducing jazz critics: Frederic Ramsey Jr. and Charles Edward Smith, eds., Jazzmen, 1939
505 00 $gPart III:$tMidcentury icons.$tFolk embodiment: Woody Guthrie, Bound for Glory, 1943 ;$tA hack story soldiers took to war: David Ewen, Man of Popular Music, 1944 ;$tFrom immigrant Jew to red hot mama: Sophie Tucker, Some of These Days, 1945 ;$tWhite Negro drug dealer: Mezz Mezzrow and Bernard Wolfe, Really the blues, 1946 ;$tComposer of tone parallels: Barry Ulanov, Duke Ellington, 1946 ;$tJazz's precursor as pop and art: Rudi Blesh and Harriet Janis, They All Played Ragtime: The True Story of an American Music, 1950 ;$tField Recording in the Library of Congress: Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor" of Jazz, 1950 ;$tDramatizing Blackness from a distance: Ethel Waters with Charles Samuels, His Eye Is on the Sparrow, 1951 ;$tCentering vernacular song: Gilbert Chase, America's Music, 1955 ;$tWriting about records: Roland Gelart, The Fabulous Phonograph: From Tin Foil to High Fidelity, 1955 ;$tCollective oral history to document scenes: Nat Shapiro and Nat Hentoff, eds., Hear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It, 1955 ;$tThe greatest jazz singer's star text: Billie Holiday with William Dufty, Lady Sings the Blues, 1956 ;$tBeat generation: Jack Kerouac, On the Road, 1957 ;$tBorderlands folklore and transnational imaginaries: Americo Paredes, "With His Pistol in His Hands": A Border Ballad and Its Hero, 1958 ;$tNew Yorker critic of a genre becoming middlebrow: Whitney Balliett, The Sound of Surprise: 46 Pieces on Jazz, 1959
505 00 $gPart IV:$tVernacular counterculture.$tBlues revivalists: Samuel Charters, The Country Blues, 1959; Paul Oliver, Blues Fell This Morning: the Meaning of the Blues, 1960 ;$tBritpop in fiction: Colin MacInnes, Absolute Beginners, 1979 ;$tForm-exploding indeterminacy: John Cage, Silence, 1961 ;$tScience fiction writer pens first rock and roll novel: Harlan Ellison, Rockabilly [Spider Kiss], 1961 ;$tPro-jazz scene sociology: Howard S. Becker, Outsiders: Studies in the Sociology of Deviance, 1963 ;$tReclaiming Black music: LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America, 1963 ;$tAn endless lit, limiited only in scope: Michael Braun, "Love Me Do!": The Beatles' Progress, 1964 ;$tMusic as a prose master's jagged grain: Ralph Ellison, Shadow and Act, 1964 ;$tHow to succeed in...: M. William Krasilovsky and Sidney Schemel, This Business of Music, 1964 ;$tSchmaltz and adversity: Sammy Davis Jr. and Jane and Burt Boyar, Yes I Can, 1965 ;$tNew journalism and electrified syntax: Tom Wolfe, Kandy-Kolored Tangerine-Flake Streamline Baby, 1965 ;$tDefining a genre: Bill C. Malone, Country Music, U.S.A.: A Fifty-Year History, 1968 ;$tSwing's movers as an alternate history of American Pop: Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance, 1968 ;$tRock and roll's greatest hyper: Nik Cohn, Awopbopaloobop Alopbamboom, 1969/1970 ;$tEbony's pioneering critic of Black Pop as Black Power: Phyl Garland, The Sound of Soul: The Story of Black Music, 1969 ;$tEntertainment journalism and the power of knowing: Lillian Roxon, Rock Encyclopedia, 1969 ;$tAn over-the-top genre's first reliable history: Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, 1970 ;$tRock critic of the trivially awesome: Richard Meltzer, The Aesthetics of Rock, 1970 ; Black religious fervor as the core of rock and soul: Anthony Heilbut, The Gospel Sound: Good news and Bad Times, 1971 ;$tJazz memoir of "rotary perception" multiplicity: Charles Mingus, Beneath the Underdog, 1971 ;$tComposing a formal history: Eileen Southern, The Music of Black Americans, 1971 ;$tKrazy Kat fiction of viral vernaculars: Ishmael Reed, Mumbo Jumbo, 1972 ;$tDerrière Garde prose and residual pop styles: Alex Wilder, American Popular Song: The Great Innovators, 1900-1950, 1972 ;$tCharts as a new literature: Joel Whitburn, Top Pop Records, 1955-1972, 1973 ;$tSelling platinum across formats: Clive Davis with James Willwerth, Clive: Inside the Record Business, 1975 ;$tBlues relationships and Black women's deep songs: Gayl Jones, Corregidora, 1975 ;$t"Look at the world in a rock 'n' roll sense...What does that even mean?": Greil Marcus, Mystery Train: Images of America in Rock ' Roll Music, 1975 ;$tCultural studies brings pop from the hallway to the classroom: Stuart Hall and Tony Jefferson, eds., Resistance through Rituals: Youth Subcultures in Post-War Britain, 1976 ;$tA life in country for an era of feminism and counterculture: Loretta Lynn with George Vecsey, Coal Miner's Daughter, 1976 ;$tIntroducing rock critics: Jim Miller, ed., The Rolling Stone Illustrated History of Rock & Roll, 1976 ;$tPatriarchal exegete of Black vernacular as equipment for living": Albert Murray, Stomping the blues, 1976 ;$tReading pop culture as intellectual obligation: Roland Barthes, Image---Music---Text, 1977 ;$tPaging through books to make history: Dena Epstein, Sinful Tunes and Spirituals: Black Folk Music to the Civil War, 1977 ;$tHistorians begin to study popular music: Lawrence Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, 1977 ;$tMusicking to overturn hierarchy: Christopher Small, Music, Society, Education, 1977 ;$tDrool data and stained panties from a critical noise boy: Nick Tosches, Country: The Biggest Music in America, 1977 --
505 00 $gPart V:$tAfter the revolution.$tPunk negates rock: Julie Burchill and Tony Parsons, The Boy Looked at Johnny: The Obituary of Rock and Roll, 1978 ;$tThe ghostwriter behind the music books: Ray Charles and David Ritz, Brother Ray: Ray Charles' Own Story, 1978 ;$tDisco negate rock: Andrew Holleran, Dancer from the Dance, 1978 ;$tIndustry schmoozer and Black music advocate fills public libraries with okay overviews: Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues, 1978 ;$tMusicology's greatest tune chronicler: Charles Hamm, Yesterdays: Popular Song in America, 1979 ;$tCriticism's greatest album chonicler: Robert Christgau, Christgau's Record Guide: Rock Albums of the '70s, 1981 ;$tRock's Frank Capra: Cameron Crowe, Fast Times at Ridgemont High: A True Story, 1981 ;$tCulture studies/rock critic twofer!: Simon Frith, Sound Effects: Youth, Leisure, and the Politics of Rock'n'Roll, 1981 ;$tA magical explainer of impure sounds: Robert Palmer, Deep Blues, 1981 ;$tFeminist rock critic, pop-savvy social critic: Ellen Willis, Beginning to See the Light: Pieces of a Decade, 1981 ;$tNew deal swing believer revived: Otis Ferguson, In the Spirit of Jazz: The Otis Ferguson Reader, 1982 ;$tEthnomusicology and pop, forever fraught: Bruno Nettl, The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 1983 ;$tAutodidact deviance, modeling the rock generation to come: V. Vale and Andrea Juno, eds., RE/Search #6/7: Industrial Culture Handbook, 1983 ;$tThe Rolling Stones of Rolling Stones Books: Stanley Booth, The True Adventures of the Rolling Stones, 1984 ;$tFinding the blackface in bluegrass: Robert Cantwell, Bluegrass Breakdown: The Making of the Old Southern Sound, 1984 ;$tCyberpunk novels and cultural studies futurism: William Gibson, Neuromancer, 1984 ;$tGlossy magazine features writer gets history's second draft: Gerry Hirshey, Nowhere to Run: The Story of Soul Music, 1984 ;$tTheorizing sound as dress rehearsal for the future: Jacques Attali, Noise: The Political Economy of Music, 1977 (translation, 1985) ;$tClassic rock, mass market paperback style: Stephen Davis, Hammer of the Gods: The Led Zeppelin Saga, 1985 ;$tLove and rockets, signature comic of punk Los Angeles as borderland imaginary: Los Bros Hernandez, Music for Mechanics, 1985 ;$tPlays about Black American culture surviving the loss of political will: August Wilson, Ma Rainey's Black Bottom, 1985 ;$tPutting pop in the big books of music: H. Wiley Hitchcock and Stanley Sadie, eds., The New Grove Dictionary of American Music, 1986 ;$tPopular music's defining singer and swinger: Kitty Kelley, His Way: The Unauthorized Biography of Frank Sinatra, 1986 ;$tAnti-epic lyricizing of Black music after Black power: Nathaniel Mackey, Bedouin Hornbook, 1986 ;$tLost icon of rock criticism: Lester Bangs, Psychotic Reactions and Carburetor Dung, 1987 ;$tVeiled glimpses of the songwriter who invented rock and roll as literature: Chuck Berry, Chuck Berry: The Autobiography, 1987 ;$tMaking 'wild-eyed girls" a more complex narrative: Pamela Des Barres, I'm with the Band: Confessions of a Groupie, 1987 ;$tReporting Black music as art mixed with business: Nelson George, The Death of Rhythm & Blues, 1988 ;$tSessions with the evil genius of jazz: Miles Davis with Quincy Troupe, Miles: The Autobiography, 1989
505 00 $gPart VI:$tNew voices, new methods.$tLiterature of New World Order Americanization: Jessica Hagedon, Dogeaters, 1990 ;$tEthnic studies of blended musical identities: George Lipsitz, Time Passages: Collective Memory and American Popular culture, 1990 ;$tBallad novels for a Baby Boomer Appalachia: Sharyn McCrumb, If Ever I Return, Pretty Peggy-O, 1990 ;$tPimply, prole, and putrid, but with a surprisingly diverse genre literature: Chuck Eddy, Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe, 1991 ;$tHow musicology met cultural studies: Susan McClary, Feminine Endings: Music, Gender, and Sexuality, 1991 ;$tIdol for academic analysis and a changing public sphere: Madonna, Sex, 1992 ;$tBlack Bohemian cultural nationalism: Greg Tate, Flyboy in the Buttermile: Essays on Contemporary America, 1992 ;$tFrom indie to alternative rock: Gina Arnold, Route 666: On the Road to Nirvana, 1993 ;$tMusicology on popular music---in pragmatic context: Richard Crawford, The American Musical Landscape, 1993 ;$tListening, queerly: Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire, 1993 ;$tBlackface as stolen vernacular: Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class, 1993 ;$tMedia studies of girls listening to Top 40: Susan Douglas, Where the Girls: Growing Up Female with the Mass Media, 1994 ;$tIronies of a contested identity: Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley, 1994 ;$tTwo generations of leading ethnomusicologists debate the popular: Charles Keil and Steven Felk, Music Grooves: Essays and Dialogues, 1994 ;$tDefining hip-hop as flow, layering, rupture, and postindustrial resistance: Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America, 1994 ;$tRegendering music writing, with the deadly art of attitude: Evelyn McDonnell and Ann Powers, eds., Rock She Wrote: Women Write about Rock, Pop, and Rap, 1995 ;$tSoundscaping references, immersing trauma: David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, 1995 ;$tSociologist gives country studies a soft-shell contrast to the honky-tonk: Richard Peterson, Creating Country Music: Fabricating Authenticity, 1997 ;$tAll that not-quite jazz: Gary Giddins, Visions of Jazz: The First Century, 1998 ;$tJazz studies conquers the academy: Robert G. O'Meally, ed., The Jazz Cadence of American Culture, 1998
505 00 $gPart VII:$tTopics in progress.$tParadigms of Club Culture, house and techno to rave and EDM: Simon Reynolds, Energy Flash: A Journey through Rave Music and Dance Culture, 1998 ;$tPerformance studies, minoritarian identity, and academic wildness: José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics, 1999 ;$tLeft of Black: networking a new discourse: Mark Anthony Neal, What the Music Said: Black Popular Music and Black Public Culture, 1999 ;$tAerobics as genre, managing emotions: Tia DeNora, Music in Everyday Life, 2000 ;$tConfronting globalization: Thomas Turino, Nationalists, Cosmopolitans, and Popular Music in Zimbabwe, 2000 ;$tEvocations of cultural migration centered on race, rhythm, and eventually sexuality: Alejo Carpentier, Music in Cuba, 2001 ;$tDigging up the pre-recordings creation of a Black pop paradigm: Lynn Abbott and Doug Seroff, Out of Sight: The Rise of African American Popular Music, 1889-1895 ;$tWhen faith in popular sound wavers, he's waiting: Theodor Adorno, Essays on Music, ed. Richard Leppert, 2002 ;$tCodifying a precarious but global academic field: David Hesmondhalgh and Keith Negus, eds., Popular Music Studies, 2002 ;$tSalsa and the mixings of global culture: Lise Waxer, City of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia, 2002 ;$tMusicals as pop, nationalism, and changing identity: Stacy Wolf, A Problem Like Maria: Gender and Sexuality in the American Musical, 2002 ;$tMusical fiction and criticism by the greatest used bookstore clerk of all time: Jonathan Lethem, Fortress of Solitude, 2003 ;$tPoetic ontologies of Black musical style: Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition, 2003 ;$tRescuing the Afromodern vernacular: Guthrie Ramsey, Jr., Race Music: Black Cultures from Bebop to Hip-Hop, 2003 ;$tSound studies and the songs question: Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction, 2003 ;$tDylanologist conventions: Bob Dylan, Chronicles: Volume One, 2004 ;$tTwo editions of a field evolving faster than a collection could contain: Murray Forman and Mark Anthony Neal, eds., That's the Joint! The Hip-Hop Studies Reader, 2004, 2012 ;$tRevisionist bluesology and tangled intellectual history: Elijah Wald, Escaping the Delta: Robert Johnson and the Invention of the Blues, 2004 ;$tTrying to tell the story of a dominant genre: Jeff Chang, Can't Stop, Won't Stop: A History of the Hip-Hop Generation, 2005 ;$tRefiguring American Music---and its institutionalization: Josh Kun, Audiotopia: Music, Race, And America, 2005 ;$tCountry music scholars pioneer gender and industry analysis: Diane Pecknold, The Selling Sound: The Rise of the Country Music Industry, 2007 ;$tWhere does classical music fit in?: Alex Ross, The Rest Is Noise: Listening to the Twentieth Century, 2007 ;$tPoptimism, 33 1/3 books, and the struggles of music critics: Carl Wilson, Let's Talk about Love: A Journey to the End of Taste, 2007 ;$tNovelists collegial with indie music: Jennifer Egan, A Visit from the Goon Squad, 2010 ;$tYouTube, streaming, and the popular music performance archive: Will Friedwalk, A Biographical Guide to the Great Jazz and Pop Singers, 2010 ;$tIdiosyncratic musician memoirs---performer as writer in the era of the artist as brand: Jay-Z, Decoded, 2010.
520 $aIn Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir, Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts on alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre--cultural studies in the form of notes on the fly, on sounds that never cease to change meaning. --$cFrom back cover.
650 0 $aPopular music$zUnited States$xHistory and criticism.
650 0 $aPopular music$zUnited States$xHistoriography.
650 7 $aPopular music.$2fast$0(OCoLC)fst01071422
650 7 $aPopular music$xHistoriography.$2fast$0(OCoLC)fst01920673
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aMusic criticism and reviews.$2lcgft
776 08 $iOnline version:$aWeisbard, Eric.$tSongbooks.$dDurham : Duke University Press, 2021$z9781478021391$w(DLC) 2020032093
830 0 $aRefiguring American music.
852 0 $bbar$hML3477$i.W457 2021