New Books In Music

In the ninth episode of Soundscapes NYC, host Ryan Purcell traces the trans-Atlantic movement of artists associated with punk culture in New York and London. In conversation with British cultural historian Matt Worley, we follow New York-based artists like Jayne (née Wayne) County, Johnny Thunders, Jerry Nolan, and others to the U.K. where they embedded themselves in a growing music-based subculture. As the punk aesthetic expanded internationally it diversified in form incorporating elements of fashion, literature, and cinema like Derek Jarman’s apocalyptic masterpiece JUBILEE (1978).  Matt Worley is a Professor of Modern History at the University of Reading and author of numerous books that cover modern British history with a special focus on music and the British Labor movement. His book No Future: Punk, Politics and British Your Culture, 1976-1984 (Cambridge University Press, 2017) explores the evolution of punk as a fashion, a musical form, an attitude, and an overall aesthetic. Setting punk culture again

The first critical biography of iconic musician Alanis Morissette, creator of Jagged Little Pill. The 1990s hardly saw a bigger hit than Jagged Little Pill. Alanis Morissette's defining album won Grammys, dominated the Billboard charts, and sold more than 30 million copies worldwide. It left a deep mark on the psyches of countless listeners. Three decades later, Megan Volpert checks in with Morissette, probing her rich and varied post-JLP career and bearing feminist witness to the existential anger that ties her recent work to enduring classics like "You Oughta Know," "One Hand in My Pocket," and "Ironic." Why Alanis Morissette Matters (UT Press, 2025) builds a bridge from Jagged Little Pill to the fascinating life and subtle intellect of its creator, exploring how the artist's philosophical interests and personal journey are reflected in each track. Morissette's struggles with censorship, mental health challenges, and Catholicism; her queer allyship, spiritual skepticism, zealous fandom, and philanthropic

The Revolution Will Be Spotified: Music As a Rhetorical Mode of Resistance (Lexington Books, 2024) investigates the rhetorical strategies present in mainstream popular music and how those strategies are implemented to empower resistance. Case studies across the genres of popular music in the West are surveyed throughout the book to consider the power of music as a rhetorical tool during cultural flashpoints and times of crisis. Carey analyzes songs such as “This is America” by Childish Gambino, “Alien Superstar” by Beyoncé, “Thought Contagion” by Muse, and more to consider the impact of contemporary music on culture and social justice movements. Scholars of rhetoric and composition, communication, cultural studies, and ethnomusicology will find this book particularly interesting. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

A new history of how the musical worlds of German towns and cities were transformed during the Nazi era. In the years after the Nazis came to power in January 1933 and through the war years all aspects of life in Germany changed. However, despite the social and political upheaval, gentile citizens were able to continue leisure activities such as attending concerts. In this book, historian Neil Gregor surveys the classical concert scene in Nazi Germany from the perspective of the audience, rather than institutions or performers. Gregor delves into the cultural lives of ordinary Germans under conditions of dictatorship. Did the ways in which Germans heard music in the period change? Did a Nazi way of listening emerge? For audiences, Gregor shows, changes to the concert experience were small and often took place around the edges. This, combined with the preserved idea of the concert hall as a space of imagined civility and cultivation, led many concertgoers and music lovers to claim after the war that their fi

In the eighth episode of Soundscapes NYC, host Ryan Purcell talks with music history professor Steve Waksman about the social and stylistic transformation of the New York rock scene during the mid-1970s. The introduction of new bands clashed with the old guard, culminating with a violent altercation between artists in CBGB in March 1976.  In 2024, Waksman accepted the Leverhulme International Professorship in Music in the Department of Media, Humanities, and the Arts at the University of Huddersfield (UK) where for the next five years he will conduct a comprehensive study of how music and culture have developed since the invention of sound amplification. Waksman is the former Elsie Irwin Sweeney Professor of Music and American Studies at Smith College, and the author of numerous books on music history including Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (Univers

Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish’s Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz’s complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the plac

This Must Be the Place: How Music Can Make Your City Better (Watkins Media Limited, 2023) explores how music can make cities better. This Must Be the Place introduces and examines music's relationship to cities. Not the influence cities have on music, but the powerful impact music can have on how cities are developed, built, managed, and governed. Told in an accessible way through personal stories from cities around the world--including London, Melbourne, Nashville, Austin, and Zurich--This Must Be the Place takes a truly global perspective on the ways music is integral to everyday life but neglected in public policy. Arguing for the transformative role of artists and musicians in a post-pandemic world, This Must Be The Place not only examines the powerful impact music can have on our cities, but also serves as a how-to guide and toolkit for music-lovers, artists, and activists everywhere to begin the process of reinventing the communities they live in. Shain Shapiro is one of the world’s leading music and

2023 Weatherford Award Finalist, Nonfiction How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce: Musical Instrument Makers and Appalachia's Mountain Forests (West Virginia UP, 2023) considers the meanings of work, place, and creative expression in drawing music from wood. Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region’s work and nature. From West Virginia University Press

The Loft was a dance party series organized by DJ David Mancuso in his Manhattan warehouse apartment at 647 Broadway from Valentine’s Day 1970 to June 1974. The parties offered an alternative to New York’s commercial nightclub scene. The invitation-only events featured an egalitarian space for music and dance with a top-of-the-line sound system, eclectic musical selections, and a racially inclusive and gay-friendly mix of guests. Attendees included the city’s leading disc jockeys such as Larry Levan, Nicky Siano, and Frankie Knuckles, who launched their careers in next generation clubs like the Paradise Garage, The Gallery, Chicago’s Warehouse, and The Saint—  all influenced by the Loft.  In the premiere episode of Season Two of Soundscapes NYC, host Ryan Purcell introduces co-host Kristie Soares, in conversation with music and dance historian Tim Lawrence, to contextualize David Mancuso’s Loft. Lawrence is a Professor of Cultural Studies at the University of East London’s School of Arts and Digital Indust

Bruce Springsteen was keenly aware and excited by the sounds of the CBGBs scene during the Seventies. With his own bands, the Boss performed in the same venues associated with punk rock and ultimately wrote songs for Patti Smith and the Ramones. Yet Springsteen’s sound has remained distinct from punk rock as it emanated from New York. In the seventh episode of Soundscapes NYC, host Ryan Purcell talks with Bruce Springsteen biographer Jim Cullen and Melissa Ziobro the head curator of the Bruce Springsteen Archives and Center for American Music at Monmouth University about Springsteen’s complicated relationship with punk rock in 1970s New York. As an NJ native, the Boss was a so-called “Bridge-and-Tunnel-Boy” but that socio-cultural infrastructure worked both ways. By the end of the Seventies, Springsteen did not need to travel to New York to engage with the punk sound. Punk culture was traveling to Asbury Park, NJ.  Jim Cullen is a historian of American popular culture and has taught at several colleges and un

In this episode Pat speaks with Dr Lexi Eikelboom. Dr Lexi Eikelboom is both a visual artist and a scholar of philosophical theology. Her academic work analyses aesthetic concepts such as rhythm and form as way to illuminate the human implications of the philosophical arguments in which the concepts appear. She also leads collaborative projects investigating art as a form of thinking and the effects of engagement with art on theoretical work. They discuss rhythm and time in cubist painting, letting the shapes of art speak for themselves, and art as confrontation and incitement to change. A transcript of this episode will be available on the Concept : Art website (www.conceptart.fm). Concept : Art is produced on muwinina Country, lutruwita Tasmania. Always was, always will be Aboriginal land. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In the fifth episode of Soundscapes N.Y.C., host Ryan Purcell talks with British music critic Jon Savage about how LGBTQ resistance shaped American popular music from the 1950s to the 1980s. Savage discusses the curious and queer roots of the word punk stretching back to the time of Shakespeare when it was used to connote ambiguous and transgressive gender and sexuality. Those meanings carried through to the 1970s though their origins may have been obscured by popular culture.  Jon Savage is the award-winning author of England’s Dreaming: Sex Pistols and Punk Rock (1991) and Teenage: The Creation of Youth, 1875-1945 (2007) and his latest book, The Secret Public: How LGBTQ Resistance Shaped Popular Culture, 1955-1979 (2024). He is the writer of the award-winning film documentaries The Brian Epstein Story (1988) and Joy Division (2007), as well as the feature film Teenage (2013). His compilations include Meridian 1970 (Heavenly/EMI 2005) and Queer Noises: From the Closet to the Charts, 1961-1976 (Trikont 2006).

In the fourth episode of Soundscapes NYC, host Ryan Purcell and music historian Jesse Rifkin tour a constellation of seedy bars and venues in the 1970s that nurtured bands during the early days of punk rock. These spaces include well-known clubs like CBGBs and Max’s Kansas City and lesser-known haunts like the Mercer Arts Center and Mother’s that shed light on hidden meanings behind punk rock. These stories illuminate echoes of the trans liberation struggle, and how punk rock embodied the sounds of the city collapsing in a literal sense.   Jesse Rifkin is the owner and operator of Walk on the Wild Side Tours NYC, a music history walking tour company in New York City, and consults as a pop music historian for the Association for Cultural Equity. His work has been featured in the New York Times, Conde Nast Traveller, and Vice among other venues. Before his work as a historian, he spent twelve years touring the country as a working musician, playing at CBGB, Lincoln Center, and venues of every size and shape in

When singer Debbie Harry helped form Blondie in 1974 she developed a unique stage persona to front the band. Though she may have appeared to fans as a hyper-femme caricature, Harry recalls her role as androgynous or "transexual" in her 2019 memoir Face It. In the third episode of Soundscapes N.Y.C., host Ryan Purcell talks with Cornell University professor of music Judith Peraino, and  University of Iowa cultural studies professor Kembrew McLeod about the stylistic and social forces that shaped gender-bending bands like Blondie and others in the early “punk” scene in 1970s New York.  Judith Peraino is the author of multiple publications on rock music and constructions of gender. This includes We’re Having Much More Fun: Punk Archives for the Present from CBGB to Gilman and Beyond (Cornell University Press, 2025) co-edited with Tom McEnaney, professor of comparative literature at the University of California, Berkley.  McLeod is a cultural critic and documentary filmmaker. He is the author of Parallel Lines in

In the second episode of Soundscapes N.Y.C., host Ryan Purcell talks with Tony Zanetta. In the late 1960s, Zanetta worked in Off-Off-Broadway theater and ultimately landed a role playing the Andy Warhol character in Pork, an absurdist play based on Warhol’s phone recordings. Zanetta followed the cast to London where he befriended David Bowie who subsequently appointed him president of his management company, Main Man, and Bowie’s direct point of contact in America for the Ziggy Stardust tour (1972). With his involvement with Bowie, Zanetta was responsible for developing acts under the Main Man umbrella. This included a proto-punk band called Queen Elizabeth fronted by Jayne (formerly Wayne) County. With Bowie’s financial backing, Zanetta produced a gender-bending spectacle of drag, sex, and rock ’n’ roll: Wayne County at the Trucks! (1974). It may be the most spectacular rock show you have never heard of … till now. Contact Soundscapes NYC Here Support the show Learn more about your ad choices. Visit megapho

In the premiere episode of Soundscapes N.Y.C., host Ryan Purcell talks with celebrated writer Lucy Sante about the landscape of gender logics within the New York rock scene. It was a nebulous soundscape of counterculture formed around gender explorations and social upheaval set to the soundtrack of an aggressive style of rock ’n’ roll that critics would identify as punk rock by the end of the seventies.   Lucy Sante is the author of Low Life, Evidence, The Factory of Facts, Kill All Your Darlings, Folk Photography, The Other Paris, Maybe the People Would Be the Times, and Nineteen Reservoirs. Her awards include a Whiting Writers Award, an Award in Literature from the American Academy of Arts and Letters, a Grammy Award (for album notes), an Infinity Award from the International Center of Photography, and Guggenheim and Cullman Center fellowships. She recently retired after twenty-four years of teaching at Bard College.  Contact Soundscapes NYC Here Support the show Learn more about your ad choices. Visit meg

A vivid and intricate study of dance music traditions that reveals the many contradictions of being Syrian in the 21st century Dabke, one of Syria's most beloved dance music traditions, is at the center of the country's war and the social tensions that preceded conflict. Drawing on almost two decades of ethnographic, archival, and digital research, Shayna M. Silverstein shows how dabke dance music embodies the fraught dynamics of gender, class, ethnicity, and nationhood in an authoritarian state. Fraught Balance: The Embodied Politics of Dabke Dance Music in Syria (Wesleyan UP, 2024) situates dabke politically, economically, and historically in a broader account of expressive culture in Syria's recent (and ongoing) turmoil. Silverstein shows how people imagine the Syrian nation through dabke, how the state has coopted it, how performances of masculinity reveal--and play with--the tensions and complexities of the broader social imaginary, how forces opposed to the state have used it resistively, and how migr

In Defending Rumba in Havana: The Sacred and the Black Corporeal Undercommons (Duke University Press, 2025), anthropologist and dancer Maya J. Berry examines rumba as a way of knowing the embodied and spiritual dimensions of Black political imagination in post-Fidel Cuba. Historically a Black working-class popular dance, rumba, Berry contends, is a method of Black Cuban struggle that provides the community, accountability, sustenance, and dignity that neither the state nor the expanding private market can. Berry’s feminist theorization builds on the notion of the undercommons to show how rumba creates a space in which its practitioners enact deeply felt and dedicatedly defended choreographies of reciprocity, refusal, sovereignty, devotion, and pleasure, both on stage and in their daily lives. Berry demonstrates that this Black corporeal undercommons emphasizes mutual aid and refuses neoliberal development logics, favoring instead a collective self-determination rooted in African diasporic spiritual practices

Michael Broyles examines a wide variety of musical, technological, and social currents that helped to shape American music in Revolutions in American Music: Three Decades that Changed a Country and Its Sounds (Norton, 2024), but he accomplishes this by focusing on just thirty years. Broyles discusses three pivotal decades in US musical history: the 1840s, the 1920s, and the 1950s. He argues that these decades fundamentally remade the American cultural landscape in enduring ways. Although Revolutions in American Music describes the ruptures caused by new musical and technological innovations such as the development of jazz or rock 'n roll, Broyles also revisits deep cultural and social fissures that affected America and American music in all three time periods. Throughout the book, Broyles introduces important figures who have been overlooked and tells stories that illuminate the messy, complex, sometimes dark, but always fascinating history of music in the United States. Learn more about your ad choices. Visi

When Leah Lax was asked to write an opera to celebrate local immigrants, she began by spending a year listening to accounts of upheaval, migration, and arrival told her in confidence by people from around the globe. She felt she had discovered America, found its great beating heart. In interludes between the astounding and powerful stories in Not From Here: the Song of America (Pegasus Elliot MacKenzie, 2024), Leah uncovers the lost history of her Jewish family and finds a larger context for her own story. "In a way," she writes, "we Americans are all immigrants." Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music