Tracking Pop – serie

“Are We Not New Wave? is destined to become the definitive study of new wave music.”—Mark Spicer, coeditor of Sounding Out PopNew wave emerged at the turn of the 1980s as a pop music movement cast in the image of punk rock’s sneering demeanor, yet rendered more accessible and sophisticated. Artists such as the Cars, Devo, the Talking Heads, and the Human League leapt into the Top 40 with a novel sound that broke with the staid rock clichés of the 1970s and pointed the way to a more modern pop style. In Are We Not New Wave? Theo Cateforis provides the first musical and cultural history of the new wave movement, charting its rise out of mid-1970s punk to its ubiquitous early 1980s MTV presence and downfall in the mid-1980s. The book also explores the meanings behind the music’s distinctive traits—its characteristic whiteness and nervousness; its playful irony, electronic melodies, and crossover experimentations. Cateforis traces new wave’s modern sensibilities back to the space-age consumer culture of the late 1950s/early 1960s.Three decades after its rise and fall, new wave’s influence looms large over the contemporary pop scene, recycled and celebrated not only in reunion tours, VH1 nostalgia specials, and “80s night” dance clubs but in the music of artists as diverse as Rihanna, Lady Gaga, Miley Cyrus, and the Killers.

"In Albin J. Zak III's highly original study, phonograph records are not just the medium for disseminating songs but musical works unto themselves. Fashioned from a mix of copyright law, recording studios and techniques, the talent of musicians and disc jockeys, the ingenuity and avarice of producers, and the appetites of record buyers, the all-powerful marketplace Zak describes is an unruly zone where music of, by, and for the people is made and anointed."---Richard Crawford, author of America's Musical Life: A History"Wrestling clarity from the exuberant chaos of early rock 'n' roll, Albin Zak's I Don't Sound Like Nobody redefines our understanding of the record in the shaping of the post–World War II soundscape. Zak tracks the story which extends from Bing Crosby and Frank Sinatra through Elvis and Buddy Holly to the Beatles and Bob Dylan with excursions into dozens of lesser known, but crucial, players in a game with few established rules. A crucial addition to the bookshelf."---Craig Werner, author of A Change Is Gonna Come: Music, Race & the Soul of America"I Don't Sound Like Nobody is a superb account of the transformation of American popular music in the 1950s. Albin Zak insightfully explores what recording actually means in terms of the process of making and consuming music. His discussion of the legal, aesthetic, and industrial ramifications of changes in the recording process over the course of the 1950s will make popular music scholars and record collectors reconsider what they think they know about the period."---Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records"Informative, original, and entertaining. Through a narrative that is not only enlightening but also compelling, I Don't Sound Like Nobody probes the sources and mechanisms of change within post-war American popular music, shedding a cultural and historical light on the convergence of musical idioms that created '50s rock and roll."---Stan Hawkins, author of Settling the Pop Score"From the birth of the record industry through the legacy of Presley, the development of rock and roll, and the Beatles 'stunning arrival on the world's stage,' Albin Zak takes us on a journey of exceptional scholarship. The breadth of coverage and deep examination of recordings and repertoire reveal the author's reverence and sensitivity to the many dimensions and origins of this complex musical soundscape."---William Moylan, author of Understanding and Crafting the Mix: The Art of RecordingThe 1950s marked a radical transformation in American popular music as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' roll.The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, "I don't sound like nobody," a year before he made his first commercial record, he unwittingly articulated the era's musical Zeitgeist.The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, radio personalities, and fans---all of them key players in the decade's musical transformation.Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody approaches musical and historical issues of the 1950s through the lens of recordings and fashions a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll. Albin J. Zak III is Professor of Music at the University at Albany, State University of New York. He is the editor of The Velvet Underground Companion and the author of The Poetics of Rock: Cutting Tracks, Making Records, a groundbreaking study of rock music production. Zak is also a record producer, songwriter, singer, and guitarist.Jacket design by Paula NewcombJacket photograph © Eve Arnold/Magnum Photos

From Attali's "cold social silence" to Baudrillard's hallucinatory reality, reproduced music has long been the target of critical attack. In Bytes and Backbeats, however, Steve Savage deploys an innovative combination of designed recording projects, ethnographic studies of contemporary music practice, and critical analysis to challenge many of these traditional attitudes about the creation and reception of music. Savage adopts the notion of "repurposing" as central to understanding how every aspect of musical activity, from creation to reception, has been transformed, arguing that the tension within production between a naturalizing "art" and a self-conscious "artifice" reflects and feeds into our evolving notions of creativity, authenticity, and community.At the core of the book are three original audio projects, drawing from rock & roll, jazz, and traditional African music, through which Savage is able to target areas of contemporary practice that are particularly significant in the cultural evolution of the musical experience. Each audio project includes a studio study providing context for the social and cultural analysis that follows. This work stems from Savage's experience as a professional recording engineer and record producer.

Rhymin’ and Stealin’ begins with a crucial premise: the fundamental element of hip-hop culture and aesthetics is the overt use of preexisting material to new ends. Whether it is taking an old dance move for a breakdancing battle, using spray paint to create street art, quoting from a famous speech, or sampling a rapper or 1970s funk song, hip-hop aesthetics involve borrowing from the past. By appropriating and reappropriating these elements, they become transformed into something new, something different, something hip-hop. Rhymin’ and Stealin’ is the first book-length study of musical borrowing in hip-hop music, which not only includes digital sampling but also demonstrates a wider web of references and quotations within the hip-hop world. Examples from Nas, Jay-Z, A Tribe Called Quest, Eminem, and many others show that the transformation of preexisting material is the fundamental element of hip-hop aesthetics. Although all music genres use and adapt preexisting material in different ways, hip-hop music celebrates and flaunts its “open source” culture through highly varied means. It is this interest in the web of references, borrowed material, and digitally sampled sounds that forms the basis of this book—sampling and other types of borrowing becomes a framework with which to analyze hip-hop music and wider cultural trends.

Collegiate a cappella, part of a long tradition of unaccompanied singing, is known to date back on American college campuses to at least the colonial era. Considered in the context of college glee clubs, barbershop quartets, early-twentieth-century vocal pop groups, doo-wop groups, and contemporary a cappella manifestations in pop music, collegiate a cappella is an extension of a very old tradition of close harmony singing---one that includes but also goes beyond the founding of the Yale Whiffenpoofs. Yet despite this important history, collegiate a cappella has until now never been the subject of scholarly examination.In Powerful Voices: The Musical and Social World of Collegiate A Cappella, Joshua S. Duchan offers the first thorough accounting of the music's history and reveals how the critical issues of sociability, gender, performance, and technology affect its music and experience. Just as importantly, Duchan provides a vital contribution to music scholarship more broadly, in several important ways: by expanding the small body of literature on choruses and amateur music; by addressing musical and social processes in a field where the vast majority of scholarship focuses on individuals and their products; and by highlighting a musical context long neglected by musicologists---the college campus. Ultimately, Powerful Voices is a window on a world of amateur music that has begun to expand its reach internationally, carrying this uniquely American musical form to new global audiences, while playing an important role in the social, cultural, and musical education of countless singers over the last century.

I Hear a Symphony opens new territory in the study of Motown’s legacy, arguing that the music of Motown was indelibly shaped by the ideals of Detroit’s postwar black middle class; that Motown’s creative personnel participated in an African-American tradition of dialogism in rhythm and blues while developing the famous “Motown Sound.” Throughout the book, Flory focuses on the central importance of “crossover” to the Motown story; first as a key concept in the company’s efforts to reach across American commercial markets, then as a means to extend influence internationally, and finally as a way to expand the brand beyond strictly musical products. Flory’s work reveals the richness of the Motown sound, and equally rich and complex cultural influence Motown still exerts.

Winner of the Society for Music Theory's Outstanding Multi-Author Collection AwardThis book offers a series of essays that show the integrated role that musical structure (including harmony, melody, rhythm, meter, form, and musical association) plays in making sense of what transpires onstage in musicals. Written by a group of music analysts who care deeply about musical theater, this collection provides new understanding of how musicals are put together, how composers and lyricists structure words and music to complement one another, and how music helps us understand the human relationships and historical and social contexts. Using a wide range of musical examples, representing the history of musical theater from the 1920s to the present day, the book explores how music interacts with dramatic elements within individual shows and other pieces within and outside of the genre. These essays invite readers to consider issues that are fundamental both to our understanding of musical theater and to the multiple ways we engage with music.

"Exceptionally illuminating and philosophically sophisticated."---Ted Cohen, Professor of Philosophy, University of Chicago"In this audacious and long-awaited book, Joel Rudinow takes seriously a range of interrelated issues that most music theorizing is embarrassed to tackle. People often ask me about music and spirituality. With Soul Music, I can finally recommend a book that offers genuine philosophical insight into the topic."---Theodore Gracyk, Professor of Philosophy, Minnesota State University MoorheadThe idea is as strange as it is commonplace---that the "soul" in soul music is more than just a name, that somehow the music truly taps into something essential rooted in the spiritual notion of the soul itself. Or is it strange? From the civil rights movement and beyond, soul music has played a key, indisputable role in moments of national healing. Of course, American popular music has long been embroiled in controversies over its spiritual purity (or lack thereof). But why? However easy it might seem to dismiss these ideas and debates as quaint and merely symbolic, they persist.In Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, Joel Rudinow, a philosopher of music, takes these peculiar notions and exposes them to serious scrutiny. How, Rudinow asks, does music truly work upon the soul, individually and collectively? And what does it mean to say that music can be spiritually therapeutic or toxic? This illuminating, meditative exploration leads from the metaphysical idea of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the history of race and racism in American popular culture to current clinical practices of music therapy.Joel Rudinow teaches in the Philosophy and Humanities Departments at Santa Rosa Junior College and is the coauthor of Invitation to Critical Thinking and the coeditor of Ethics and Values in the Information Age.

Krautrock is a catch-all term for the music of various white German rock groups of the 1970s that blended influences of African American and Anglo-American music with the experimental and electronic music of European composers. Groups such as Can, Popol Vuh, Faust, and Tangerine Dream arose out of the German student movement of 1968 and connected leftist political activism with experimental rock music and, later, electronic sounds. Since the 1970s, American and British popular genres such as indie, post-rock, techno, and hip-hop have drawn heavily on krautrock, ironically reversing a flow of influence krautrock originally set out to disrupt.Among other topics, individual chapters of the book focus on the redefinition of German identity in the music of Kraftwerk, Can, and Neu!; on community and conflict in the music of Amon Düül, Faust, and Ton Steine Scherben; on “cosmic music” and New Age; and on Donna Summer’s and David Bowie’s connections to Germany. Rather than providing a purely musicological or historical account, Krautrock discusses the music as being constructed through performance and articulated through various forms of expressive culture, including communal living, spirituality, and sound.

Hearing Harmony offers a listener-based, philosophical-psychological theory of harmonic effects for Anglophone popular music since the 1950s. It begins with chords, their functions and characteristic hierarchies, then identifies the most common and salient harmonic-progression classes, or harmonic schemas. The identification of these schemas, as well as the historical contextualization of many of them, allows for systematic exploration of the repertory’s typical harmonic transformations (such as chord substitution) and harmonic ambiguities. Doll provides readers with a novel explanation of the assorted aural qualities of chords, and how certain harmonic effects result from the interaction of various melodic, rhythmic, textural, timbral, and extra-musical contexts, and how these interactions can determine whether a chordal riff is tonally centered or tonally ambiguous, whether it sounds aggressive or playful or sad, whether it seems to evoke an earlier song using a similar series of chords, whether it sounds conventional or unfamiliar.

What do expert drummers do? Why do they do it? Is there anything creative about it? If so, how might that creativity inform their practice and that of others in related artistic spheres? Applying ideas from cultural psychology to findings from research into the creative behaviors of a specific subset of popular music instrumentalists, Bill Bruford demonstrates the ways in which expert drummers experience creativity in performance and offers fresh insights into in-the-moment interactional processes in music. An expert practitioner himself, Dr. Bruford draws on a cohort of internationally renowned, peak-career professionals and his own experience to guide the reader through the many dimensions of creativity in drummer performance.

From its 1939 “Nickel, Nickel” jingle to pathbreaking collaborations with Michael Jackson and Madonna to its pair of X Factor commercials in 2011 and 2012, Pepsi-Cola has played a leading role in drawing the American pop music industry into a synergetic relationship with advertising. This idea has been copied successfully by countless other brands over the years, and such commercial collaboration is commonplace today—but how did we get here? How and why have pop music aesthetics been co-opted to benefit corporate branding? What effect have Pepsi’s music marketing practices in particular had on other brands, the advertising industry, and popular music itself?Soda Goes Pop investigates these and other vital questions around the evolving relationships between popular music and corporate advertising. Joanna K. Love joins musical analysis, historical research, and cultural theory to trace parallel shifts in these industries over eight decades. In addition to scholarly and industry resources, she draws on first-hand accounts, pop culture magazines, trade press journals, and other archival materials. Pepsi’s longevity as an influential American brand, its legendary commercials, and its pioneering, relentless pursuit of alliances with American musical stars makes the brand a particularly instructive point of focus. Several of the company’s most famous ad campaigns are prime examples of the practice of redaction, whereby marketers select, censor, and restructure musical texts to fit commercial contexts in ways that revise their aesthetic meanings and serve corporate aims. Ultimately, Love demonstrates how Pepsi’s marketing has historically appropriated and altered images of pop icons and the meanings of hit songs, and how these commercials shaped relationships between the American music business, the advertising industry, and corporate brands.Soda Goes Pop is a rich resource for scholars and students of American studies, popular culture, advertising, broadcast media, and musicology. It is also an accessible and informative book for the general reader, as Love’s musical and theoretical analyses are clearly presented for non-specialist audiences and readers with varying degrees of musical knowledge.

Jay-Z and Kanye West’s 2011 Watch the Throne is a self-avowed “luxury rap” album centered on Eurocentric conceptions of nobility, artistry, and haute couture. Critical Excess performs a close reading of the sonic and social commentary on this album, examining how the album alternately imagines and critiques the mutually reinforcing ideas of Europe, nobility, old money, art, and their standard bearer, whiteness. Reading the album alongside Black critical theory and work on the prophetic nature of music, Rollefson argues that through their performance of black excellence, opulence, and decadence, Jay-Z and Kanye West poured gas on the white resentment of the Obama presidency—a resentment that would ultimately spill over into public life, make audible the dog whistling of the Far Right, and embolden white supremacists to come out from under their rocks. Ultimately, Rollefson argues, Jay-Z and Kanye West’s performance of what Rollefson calls “critical excess” on this hip hop album exceeds the limits of conspicuous consumption and heralds the final stage of late capitalism—“the New Gilded Age.”

Notions of hip hop authenticity, as expressed both within hip hop communities and in the larger American culture, rely on the construction of the rapper as a Black, masculine, heterosexual, cisgender man who enacts a narrative of struggle and success. In Queer Voices in Hip Hop, Lauron J. Kehrer turns our attention to openly queer and trans rappers and positions them within a longer Black queer musical lineage. Combining musical, textual, and visual analysis with reception history, this book reclaims queer involvement in hip hop by tracing the genre’s beginnings within Black and Latinx queer music-making practices and spaces, demonstrating that queer and trans rappers draw on Ballroom and other cultural expressions particular to queer and trans communities of color in their work in order to articulate their subject positions. By centering the performances of openly queer and trans artists of color, Queer Voices in Hip Hop reclaims their work as essential to the development and persistence of hip hop in the United States as it tells the story of hip hop’s queer roots.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z’s song “Dirt Off Your Shoulder,” politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton’s sax-playing and Obama’s shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates?With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

The Bastard Instrument chronicles the history of the electric bass and the musicians who played it, from the instrument’s invention through its widespread acceptance at the end of the 1960s. Although their contributions have often gone unsung, electric bassists helped shape the sound of a wide range of genres, including jazz, rhythm & blues, rock, country, soul, funk, and more. Their innovations are preserved in performances from artists as diverse as Lionel Hampton, Liberace, Elvis Presley, Patsy Cline, the Supremes, the Beatles, James Brown, Bob Dylan, Aretha Franklin, Jefferson Airplane, and Sly and the Family Stone, all of whom are discussed in this volume. At long last, The Bastard Instrument gives these early electric bassists credit for the significance of their accomplishments and demonstrates how they fundamentally altered the trajectory of popular music.

Throughout his career, the Minneapolis musician Prince was known for fusing different musical genres as well as moving between different identities—sexual lothario, devout man of God, androgynous sprite—qualities that fit the postmodernism of the 1980s. This volume takes a fresh look at Prince’s work, arguing that his music was deeply informed by the history and techniques of Black culture, and that his multigenre fluency and changeable image were weapons that he deployed in a career-long fight against the racially segregated structures of the American music industry. Using a methodology that mixes musicology with African American literary theory, queer theory, and gender studies, this book analyzes the ways that Prince mixed and manipulated musical genres that are indexed to racial identities—such as “white” rock or new-wave, and “Black” funk, gospel, or R&B—in order to construct pluralistic identities. Each chapter includes detailed musical analyses and transcriptions of Prince’s songs, focusing on his use of rock guitar, new-wave synthesizers, funk drumming, gospel singing, and R&B horns. By tracking Prince’s transformations of instrumental and vocal idioms derived from specific musical genres, and considering the historical and cultural values embedded within those genres, Griffin Woodworth explores the ways that Prince musically broke down stereotypes of Black masculinity. With its intersectional approach to musical analysis, this book captures the sounds of American racial politics in the 1980s, 90s, and 2000s as heard through the music of one of the era’s most popular artists as he worked to transform and transcend those politics.

In the past decade, a distinctive resurgence of indie music has seen young, queer, and feminist artists reformulating the genre with strategic reappropriations of ’90s grunge and 2000s-era pop. Big Feelings offers a nuanced analysis of these musicians and the socio-political crises informing their sounds. Dan DiPiero situates this new wave of indie music within the context of the emotional sensibilities and social orientations of a young generation flattened by an endless stream of everyday traumas. Listening closely to Soccer Mommy, Indigo De Souza, Jay Som, SASAMI, The Ophelias, Vagabon, boygenius, and more, Big Feelings traces points of resonance and connection that help fans perceive politics where it might first appear absent.By bringing listeners’ experiences into the analysis, DiPiero shows how indie rock feminisms have shifted since the 1990s, rejecting overt political messages in favor of sonic catharsis, and reflecting the complex, ambivalent feeling of being young while the world burns. In reprising the sounds of an alt-rock associated in public consciousness with white male pain, Big Feelings music doubles down on the stereotypical association between femininity and emotionality to perform whole spectrums of feeling in varied states of overwhelm. In doing so, these artists draw attention to overlooked histories of women and queer musicians who have been forging indie rock all along, while also remaking how the music matters in the present.

It has long been assumed that people who prefer Led Zeppelin to Mozart live aesthetically impoverished lives. But why? In Listening to Popular Music, award-winning popular music scholar Theodore Gracyk argues that aesthetic value is just as important in popular listening as it is with “serious” music. And we don’t have to treat popular music as art in order to recognize its worth. Aesthetic values are realized differently in different musical styles, and each requires listening skills that people must learn. Boldly merging insights from popular music studies, aesthetic theory, cognitive science, psychology, identity theory, and cultural studies, Gracyk crafts an innovative study that argues that understanding aesthetic value is crucial to the enjoyment of all forms of music. Listening to Popular Music thusoffers a new, general framework for understanding what it means to appreciate music, showing that an informed preference for popular music is a response to real values of the music, including aesthetic values. "Finally, a book on aesthetics that's philosophically grounded, anti-elitist, and tailored to popular music. Much needed and deftly achieved."—William Echard, Department of Music, and Institute for Comparative Studies in Literature, Art, and Culture, Carleton University "A sophisticated account of aesthetic value in popular music that revealingly challenges orthodoxies of cultural studies and traditional aesthetics."—Stephen Davies, Department of Philosophy, University of Auckland, and author of The Philosophy of Art "Gracyk's arguments are thoughtful, clear, and persuasive, and it's refreshing to see him expose the flaws in commonly repeated critiques of popular music. This book will challenge open-minded doubters to take popular music seriously."—Mark Katz, Assistant Professor of Music, University of North Carolina at Chapel Hill, and author of Capturing Sound: How Technology Has Changed MusicTheodore Gracyk is Department Chair and Professor of Philosophy at Minnesota State University Moorhead. He is the author of Rhythm and Noise: An Aesthetics of Rock and I Wanna Be Me: Rock Music and the Politics of Identity, which won the 2002 IASPM-US Woody Guthrie Book Award.

Krautrock is a catch-all term for the music of various white German rock groups of the 1970s that blended influences of African American and Anglo-American music with the experimental and electronic music of European composers. Groups such as Can, Popol Vuh, Faust, and Tangerine Dream arose out of the German student movement of 1968 and connected leftist political activism with experimental rock music and, later, electronic sounds. Since the 1970s, American and British popular genres such as indie, post-rock, techno, and hip-hop have drawn heavily on krautrock, ironically reversing a flow of influence krautrock originally set out to disrupt.Among other topics, individual chapters of the book focus on the redefinition of German identity in the music of Kraftwerk, Can, and Neu!; on community and conflict in the music of Amon Düül, Faust, and Ton Steine Scherben; on “cosmic music” and New Age; and on Donna Summer’s and David Bowie’s connections to Germany. Rather than providing a purely musicological or historical account, Krautrock discusses the music as being constructed through performance and articulated through various forms of expressive culture, including communal living, spirituality, and sound.

What do expert drummers do? Why do they do it? Is there anything creative about it? If so, how might that creativity inform their practice and that of others in related artistic spheres? Applying ideas from cultural psychology to findings from research into the creative behaviors of a specific subset of popular music instrumentalists, Bill Bruford demonstrates the ways in which expert drummers experience creativity in performance and offers fresh insights into in-the-moment interactional processes in music. An expert practitioner himself, Dr. Bruford draws on a cohort of internationally renowned, peak-career professionals and his own experience to guide the reader through the many dimensions of creativity in drummer performance.

From its 1939 “Nickel, Nickel” jingle to pathbreaking collaborations with Michael Jackson and Madonna to its pair of X Factor commercials in 2011 and 2012, Pepsi-Cola has played a leading role in drawing the American pop music industry into a synergetic relationship with advertising. This idea has been copied successfully by countless other brands over the years, and such commercial collaboration is commonplace today—but how did we get here? How and why have pop music aesthetics been co-opted to benefit corporate branding? What effect have Pepsi’s music marketing practices in particular had on other brands, the advertising industry, and popular music itself?Soda Goes Pop investigates these and other vital questions around the evolving relationships between popular music and corporate advertising. Joanna K. Love joins musical analysis, historical research, and cultural theory to trace parallel shifts in these industries over eight decades. In addition to scholarly and industry resources, she draws on first-hand accounts, pop culture magazines, trade press journals, and other archival materials. Pepsi’s longevity as an influential American brand, its legendary commercials, and its pioneering, relentless pursuit of alliances with American musical stars makes the brand a particularly instructive point of focus. Several of the company’s most famous ad campaigns are prime examples of the practice of redaction, whereby marketers select, censor, and restructure musical texts to fit commercial contexts in ways that revise their aesthetic meanings and serve corporate aims. Ultimately, Love demonstrates how Pepsi’s marketing has historically appropriated and altered images of pop icons and the meanings of hit songs, and how these commercials shaped relationships between the American music business, the advertising industry, and corporate brands.Soda Goes Pop is a rich resource for scholars and students of American studies, popular culture, advertising, broadcast media, and musicology. It is also an accessible and informative book for the general reader, as Love’s musical and theoretical analyses are clearly presented for non-specialist audiences and readers with varying degrees of musical knowledge.

The Beatles, the 1968 double LP more commonly known as the White Album, has always been viewed as an oddity in the group’s oeuvre. Many have found it to be inconsistent, sprawling, and self-indulgent. The Beatles through a Glass Onion is the first-ever scholarly volume to explore this seminal recording at length, bringing together contributions by some of the most eminent scholars of rock music writing today. It marks a reconsideration of this iconic but under-appreciated recording and reaffirms the White Album’s significance in the Beatles’ career and in rock history.This volume treats the White Album as a whole, with essays scrutinizing it from a wide range of perspectives. These essays place the album within the social and political context of a turbulent historical moment; locate it within the Beatles’ lives and careers, taking into consideration the complex personal forces at play during the recording sessions; investigate the musical as well as pharmaceutical influences on the record; reveal how it reflects new developments in the Beatles’ songwriting and arranging; revisit the question of its alleged disunity; and finally, track its legacy and the breadth of its influence on later rock, pop, and hip-hop artists.The Beatles through a Glass Onion features the scholarship of Adam Bradley, Vincent Benitez, Lori Burns, John Covach, Walter Everett, Michael Frontani, Steve Hamelman, Ian Inglis, John Kimsey, Mark Osteen, Russell Reising, Stephen Valdez, Anthony D. Villa, Kenneth Womack, and Alyssa Woods. John Covach’s Afterword summarizes the White Album’s lasting impact and value. The Beatles through a Glass Onion represents a landmark work of rock music scholarship. It will prove to be an essential and enduring contribution to the field.

Jay-Z and Kanye West’s 2011 Watch the Throne is a self-avowed “luxury rap” album centered on Eurocentric conceptions of nobility, artistry, and haute couture. Critical Excess performs a close reading of the sonic and social commentary on this album, examining how the album alternately imagines and critiques the mutually reinforcing ideas of Europe, nobility, old money, art, and their standard bearer, whiteness. Reading the album alongside Black critical theory and work on the prophetic nature of music, Rollefson argues that through their performance of black excellence, opulence, and decadence, Jay-Z and Kanye West poured gas on the white resentment of the Obama presidency—a resentment that would ultimately spill over into public life, make audible the dog whistling of the Far Right, and embolden white supremacists to come out from under their rocks. Ultimately, Rollefson argues, Jay-Z and Kanye West’s performance of what Rollefson calls “critical excess” on this hip hop album exceeds the limits of conspicuous consumption and heralds the final stage of late capitalism—“the New Gilded Age.”

Notions of hip hop authenticity, as expressed both within hip hop communities and in the larger American culture, rely on the construction of the rapper as a Black, masculine, heterosexual, cisgender man who enacts a narrative of struggle and success. In Queer Voices in Hip Hop, Lauron J. Kehrer turns our attention to openly queer and trans rappers and positions them within a longer Black queer musical lineage. Combining musical, textual, and visual analysis with reception history, this book reclaims queer involvement in hip hop by tracing the genre’s beginnings within Black and Latinx queer music-making practices and spaces, demonstrating that queer and trans rappers draw on Ballroom and other cultural expressions particular to queer and trans communities of color in their work in order to articulate their subject positions. By centering the performances of openly queer and trans artists of color, Queer Voices in Hip Hop reclaims their work as essential to the development and persistence of hip hop in the United States as it tells the story of hip hop’s queer roots.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z’s song “Dirt Off Your Shoulder,” politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton’s sax-playing and Obama’s shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates?With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

The Bastard Instrument chronicles the history of the electric bass and the musicians who played it, from the instrument’s invention through its widespread acceptance at the end of the 1960s. Although their contributions have often gone unsung, electric bassists helped shape the sound of a wide range of genres, including jazz, rhythm & blues, rock, country, soul, funk, and more. Their innovations are preserved in performances from artists as diverse as Lionel Hampton, Liberace, Elvis Presley, Patsy Cline, the Supremes, the Beatles, James Brown, Bob Dylan, Aretha Franklin, Jefferson Airplane, and Sly and the Family Stone, all of whom are discussed in this volume. At long last, The Bastard Instrument gives these early electric bassists credit for the significance of their accomplishments and demonstrates how they fundamentally altered the trajectory of popular music.

Throughout his career, the Minneapolis musician Prince was known for fusing different musical genres as well as moving between different identities—sexual lothario, devout man of God, androgynous sprite—qualities that fit the postmodernism of the 1980s. This volume takes a fresh look at Prince’s work, arguing that his music was deeply informed by the history and techniques of Black culture, and that his multigenre fluency and changeable image were weapons that he deployed in a career-long fight against the racially segregated structures of the American music industry. Using a methodology that mixes musicology with African American literary theory, queer theory, and gender studies, this book analyzes the ways that Prince mixed and manipulated musical genres that are indexed to racial identities—such as “white” rock or new-wave, and “Black” funk, gospel, or R&B—in order to construct pluralistic identities. Each chapter includes detailed musical analyses and transcriptions of Prince’s songs, focusing on his use of rock guitar, new-wave synthesizers, funk drumming, gospel singing, and R&B horns. By tracking Prince’s transformations of instrumental and vocal idioms derived from specific musical genres, and considering the historical and cultural values embedded within those genres, Griffin Woodworth explores the ways that Prince musically broke down stereotypes of Black masculinity. With its intersectional approach to musical analysis, this book captures the sounds of American racial politics in the 1980s, 90s, and 2000s as heard through the music of one of the era’s most popular artists as he worked to transform and transcend those politics.

In the past decade, a distinctive resurgence of indie music has seen young, queer, and feminist artists reformulating the genre with strategic reappropriations of ’90s grunge and 2000s-era pop. Big Feelings offers a nuanced analysis of these musicians and the socio-political crises informing their sounds. Dan DiPiero situates this new wave of indie music within the context of the emotional sensibilities and social orientations of a young generation flattened by an endless stream of everyday traumas. Listening closely to Soccer Mommy, Indigo De Souza, Jay Som, SASAMI, The Ophelias, Vagabon, boygenius, and more, Big Feelings traces points of resonance and connection that help fans perceive politics where it might first appear absent.By bringing listeners’ experiences into the analysis, DiPiero shows how indie rock feminisms have shifted since the 1990s, rejecting overt political messages in favor of sonic catharsis, and reflecting the complex, ambivalent feeling of being young while the world burns. In reprising the sounds of an alt-rock associated in public consciousness with white male pain, Big Feelings music doubles down on the stereotypical association between femininity and emotionality to perform whole spectrums of feeling in varied states of overwhelm. In doing so, these artists draw attention to overlooked histories of women and queer musicians who have been forging indie rock all along, while also remaking how the music matters in the present.