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Did Elvis Presley's brand of rock 'n' roll help revise racial attitudes in postwar America? Michael T. Bertrand delves into this question and many others to investigate popular music's revolutionary influence on black-white relations in the South. 

Youthful fans of rhythm and blues, rock 'n' roll, and other black-inspired music often broke from their segregationist elders and ignored the color line. Not coincidentally, these same young white people--the southern branch of a national and commercialized youth culture--led a general relaxation of racist attitudes. Bertrand argues that African American music facilitated a new recognition of black people as fellow human beings. African American audiences welcomed Elvis with enthusiasm while racially mixed audiences flocked to music venues at a time when adults expected separate performances for black and white audiences. Bertrand also describes the critical role of radio and recordings in making African American culture available to white fans on an unprecedented scale. Over time, southern working-class youth used the new music to define and express new values and build their own identities.

For a brief period from the late 1950s to the mid-1960s, folk music captured a mass audience in the United States, as college students and others swarmed to concerts by the likes of Peter, Paul & Mary, Joan Baez, and Bob Dylan. In this comprehensive study, Ronald D. Cohen reconstructs the history of this singular cultural moment, tracing its origins to the early decades of the twentieth century. Drawing on scores of interviews and numerous manuscript collections, as well as his own extensive files, Cohen shows how a broad range of traditions—from hillbilly, gospel, blues, and sea shanties to cowboy, ethnic, and political protest music—all contributed to the genre known as folk. He documents the crucial work of John Lomax and other collectors who, with the assistance of recording companies, preserved and distributed folk music in the 1920s. 

During the 1930s and 1940s, the emergence of left-wing politics and the rise of the commercial music marketplace helped to stimulate wider interest in folk music. Stars emerged, such as Woody Guthrie, Leadbelly, Pete Seeger, Burl Ives, and Josh White. With the success of the Weavers and the Kingston Trio in the 1950s, the stage was set for the full-blown “folk revival” of the early 1960s. Centered in New York's Greenwich Village and sustained by a flourishing record industry, the revival spread to college campuses and communities across the country. It included a wide array of performers and a supporting cast of journalists, club owners, record company executives, political activists, managers, and organizers. By 1965 the boom had passed its peak, as rock and roll came to dominate the marketplace, but the folk revival left an enduring musical legacy in American culture.

Co-published with the Country Music Foundation Press

Randy Travis’s 1986 breakthrough put him at the forefront of Nashville’s new traditionalist sound and, in the words of Garth Brooks, saved country music. The singer’s warm baritone and all-time classic songs like “Forever and Ever, Amen” landed him atop the charts sixteen times. His cross-genre appeal brought a level of multiplatinum success that no country artist before him had ever achieved.

Diane Diekman’s biography follows the life and career of one of country music’s most beloved figures. Steered from a troubled path as a teen, Travis served a long apprenticeship under manager and future wife Lib Hatcher before being rejected by the Nashville music industry as “too country.” The single “On the Other Hand” and his smash debut album did away with the doubters and began a dominant four-year run that stretched into ongoing success as a recording artist, trailblazing live performer, and actor in film and television. Diekman uses dozens of interviews and in-depth research to fill in the details of Travis’s pre-fame life and his enormous impact on country, popular, and gospel music. From there, she pivots to telling the story of the singer’s difficult divorce from Hatcher, subsequent problems with alcohol and run-ins with the law, and the challenges he overcame in the aftermath of a devastating 2013 stroke.

Informed by a wealth of new research and interviews, Randy Travis is the first in-depth biography of the country music legend.

In this first musicological history of rap music, Cheryl L. Keyes traces the genre's history from its roots in West African bardic traditions, the Jamaican dancehall tradition, and African American vernacular expressions to its permeation of the cultural mainstream as a major tenet of hip-hop lifestyle and culture. 

Rap music, according to Keyes, addresses the political and economic disfranchisement of black youths and other groups, fosters ethnic pride, and displays culture values and aesthetics. Blending popular culture with folklore and ethnomusicology, Keyes offers a nuanced portrait of the artists, themes, and varying styles reflective of urban life and street consciousness. Her analysis draws on music, lives, politics, and interests of figures ranging from Afrika Bambaataa, the "godfather of hip-hop," to early artists like Grandmaster Flash, to crossover pioneers like LL Cool J, De La Soul, and Public Enemy, to megastars like Tupac Shakur and The Notorious B.I.G. At the same time, Keyes delves into the impact of the rapper-turned mogul phenomenon, the rise of Death Row Records, and the East Coast-West Coast tensions of the Nineties.

Mary J. Blige is an icon who represents the political consciousness of hip hop and the historical promise of soul. She is an everywoman, celebrated by Oprah Winfrey and beloved by pop music fans of all ages and races. Blige has sold over fifty million albums, won numerous Grammys, and even played at multiple White House events, as well as the 2013 Nobel Peace Prize ceremony. Displaying astonishing range and versatility, she has recorded everything from Broadway standards to Led Zeppelin anthems and worked with some of popular music’s greatest artists—Aretha Franklin, Eric Clapton, Elton John, Whitney Houston, Sting, U2, and Beyoncé, among them.

Real Love, No Drama: The Music of Mary J. Blige tells the story of one of the most important artists in pop music history. Danny Alexander follows the whole arc of Blige’s career, from her first album, which heralded the birth of “hip hop soul,” to her critically praised 2014 album, The London Sessions. He highlights the fact that Blige was part of the historically unprecedented movement of black women onto pop radio and explores how she and other women took control of their careers and used their music to give voice to women’s (and men’s) everyday struggles and dreams. This book adds immensely to the story of both black women artists and artists rooted in hip hop and pays tribute to a musician who, by expanding her reach and asking tough questions about how music can and should evolve, has proven herself an artistic visionary.

Rebel Dance, Renegade Stanceshows how community music-makers and dancers take in all that is around them socially and globally, and publicly and bodily unfold their memories, sentiments, and raw responses within open spaces designated or commandeered for local popular dance. Umi Vaughan, an African American anthropologist, musician, dancer, and photographer "plantao" in Cuba—planted, living like a Cuban—reveals a rarely discussed perspective on contemporary Cuban society during the 1990s, the peak decade of timba, and beyond, as the Cuban leadership transferred from Fidel Castro to his brother. Simultaneously, the book reveals popular dance music in the context of a young and astutely educated Cuban generation of fierce and creative performers.

By looking at the experiences of black Cubans and exploring the notion of "Afro Cuba," Rebel Dance, Renegade Stanceexplains timba's evolution and achieved significance in the larger context of Cuban culture. Vaughan discusses a maroon aesthetic extended beyond the colonial era to the context of contemporary society; describes the dance spaces of Cuba; and examines the performance of identity and desire through the character of the "especulador." This book will find an audience with musicians, anthropologists, ethnomusicologists, interdisciplinary specialists in performance studies, cultural studies, and Latin American and Caribbean studies, as well as laypeople who are interested in Atlantic/African and African American/Africana studies and/or Cuban culture.

Perhaps best known for Broadside, the influential magazine they founded in 1962, Agnes “Sis” Cunningham and Gordon Friesen have long been renowned figures on the American left. In this book, these two dedicated social activists—Sis the folk musician and Gordon the radical journalist—offer a spirited account of their personal and political odyssey. The story is illustrated with numerous photographs and drawings. 

Born into poverty in rural Oklahoma, further shaped by the hardships of the “dustbowl” Depression years, Sis and Gordon were already committed to radical causes when they met and married in 1941. A short time later they moved to New York City, where they befriended Pete Seeger and Woody Guthrie. Sis joined the folk protest group the Almanac Singers, and Gordon continued his work as a journalist. Although blacklisted for their political views during the McCarthy era, Sis and Gordon persevered and eventually launched Broadside, which they continued to produce for almost twenty years. The magazine was instrumental in promoting the careers of many singer-songwriters, publishing the first works of such artists as Bob Dylan, Janis Ian, Phil Ochs, Buffy Sainte-Marie, and Tom Paxton, as well as the works of more established figures, including Malvina Reynolds and Pete Seeger. Indeed, Broadside gave birth to a musical revival that energized the country and forged a vital link between the folk music of the 1930s and 1940s and the urban folk revivalists of the 1960s and 1970s.

A Classic of Blues Literature inductee into the Blues Foundation's Blues Hall of Fame

Drawing on archives and interviews with musicians, Red River Blues remains an acclaimed work of blues scholarship. Bruce Bastin traces the origins of the music to the turn of the twentieth century, when African Americans rejected slave songs, worksongs, and minstrel music in favor of a potent new vehicle for secular musical expression. Bastin looks at the blues' early emerging popularity and its spread via the Great Migration, delves into a wealth of field recordings, and looks at the careers of Brownie McGhee, Blind Boy Fuller, Curly Weaver, Sonny Terry, and many other foundational artists.

Following the first edition’s breakthrough study of popular feminism in 2010s popular music, this new edition of Resilience & Melancholy expands its original analysis into the 2020s. Robin James reads pop music from artists like Taylor Swift, Charli XCX, Rihanna, Beyonce, and Lady Gaga against the work of philosophers, feminists, and media theorists like Michel Foucault, Patricia Hill Collins, and Steven Shaviro. The result is an accessible dive into the last two decades of pop music and its politics.

Throughout the book, James shows how pop music and the politics of gender and race intersect in their discourse of resilience. While the book argues that resilience is a postfeminist strategy that invites female artists to lean into patriarchal, racial, capitalist privilege, it also finds that artists such as Beyonce, Rihanna, and Atari Teenage Riot offer a melancholic alternative to resilience in their work. As music has continued to evolve, this melancholic opposition has evolved and responded to the co-optation of melancholy into chill, the asset-ification of music, the de-monetization of musical labor, and the rise of a reactionary masculine resilience.

As an industry insider and pioneering post-punk musician, Vivien Goldman’s perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes—identity, money, love, and protest—to explore what makes punk such a liberating art form for women.

With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain’s first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song “Free Money,” for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem “Identity,” with the refrain “Identity is the crisis you can't see.” Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.

Despite its global popularity, rap has received little scholarly attention in terms of its poetic features. Rhymes in the Flow systematically analyzes the poetics (rap beats, rhythms, rhymes, verse and song structures) of many notable rap songs to provide new insights on rap artistry and performance. Defining and describing the features of what rappers commonly call flow, the authors establish a theory of the rap line as they trace rap’s deepest roots and stylistic evolution—from Anglo-Saxon poetry to Lil Wayne—and contextualize its complex poetics. Rhymes in the Flow helps explain rap’s wide appeal by focusing primarily on its rhythmic and thematic power, while also claiming its historical, cultural, musical, and poetic importance.

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.

"Collecting essays by fourteen expert contributors into a trans-oceanic celebration and critique, Mamadou Diouf and Ifeoma Kiddoe Nwankwo show how music, dance, and popular culture turn ways of remembering Africa into African ways of remembering.  With a mix of Nuyorican, Cuban, Haitian, Kenyan, Senegalese, Trinidagonian, and Brazilian beats, Rhythms of the Afro-Atlantic World proves that the pleasures of poly-rhythm belong to the realm of the discursive as well as the sonic and the kinesthetic."
---Joseph Roach, Sterling Professor of Theater, Yale University

"As necessary as it is brilliant, Rhythms of the Afro-Atlantic World dances across, beyond, and within the Black Atlantic Diaspora with the aplomb and skill befitting its editors and contributors."
---Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic

Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are the living evidence of a constant (re)composition and (re)mixing of local sounds and gestures.

Rhythms of the Afro-Atlantic World distinguishes itself as a collection focusing on the circulation of cultural forms across the Atlantic world, tracing the paths trod by a range of music and dance forms within, across, or beyond the variety of locales that constitute the Atlantic world. The editors and contributors do so, however, without assuming that these paths have been either always in line with national, regional, or continental boundaries or always transnational, transgressive, and perfectly hybrid/syncretic. This collection seeks to reorient the discourse on cultural forms moving in the Atlantic world by being attentive to the specifics of the forms---their specific geneses, the specific uses to which they are put by their creators and consumers, and the specific ways in which they travel or churn in place.

Mamadou Diouf is Leitner Family Professor of African Studies, Director of the Institute of African Studies, and Professor of History at Columbia University.

Ifeoma Kiddoe Nwankwo is Associate Professor of English at Vanderbilt University.

Jacket photograph by Elias Irizarry

A study of the deep history of the Wagnerian environmental imagination.
 
Richard Wagner’s operas are bursting with environmental imagery, from tittering birds to flowing rivers to towering trees. In Richard Wagner’s Political Ecology, Kirsten S. Paige asks where Wagner’s environmental imagination came from, how it was received by audience members and reconceived by stage directors, and how it refracts his politics. By tracing the ecological dimensions of the composer’s essays and dramas, Paige reveals how Wagner’s environmental imagination was inextricable from broader political concerns of his time.

The book begins by examining the way Wagner’s political ecology shape-shifted across its rhetorical, musical, scenographic, and technological permutations. Although Wagner’s essays and dramas invite a range of interpretations, for Paige, they point to an all-encompassing image of opera-as-climate. The book then turns to the ways Wagnerian drama—and opera more generally—at once participates in the industrial-technological lineage of climate change and helps spectators grapple with the challenges of living in a warming world. In providing the first close examination of Wagner’s artistic thought, practice, and reception in relation to nineteenth-century climate theory and the early history of environmentalism, Richard Wagner’s Political Ecology considers what it might mean to reimagine opera around ethical mandates of sustainability.