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Making the Scene in the Garden State explores New Jersey’s rich musical heritage through stories about the musicians, listeners and fans who came together to create sounds from across the American popular music spectrum. The book includes chapters on the beginnings of musical recording in Thomas Edison’s factories in West Orange; early recording and the invention of the Victrola at Victor Records’ Camden complex; Rudy Van Gelder’s recording studios (for Blue Note, Prestige, and other jazz labels) in Hackensack and Englewood Cliffs; Zacherley and the afterschool dance television show Disc-o-Teen, broadcast from Newark in the 1960s; Bruce Springsteen’s early years on the Jersey Shore at the Upstage Club in Asbury Park; and, the 1980s indie rock scene centered at Maxwell’s in Hoboken. Concluding with a foray into the thriving local music scenes of today, the book examines the sounds, sights and textures of the locales where New Jerseyans have gathered to rock, bop, and boogie.
The first comprehensive analysis of the biblical and theological themes in Bruce Springsteen's music.
Speech and Song at the Margins of Global Health tells the story of a unique Zulu gospel choir comprised of people living with HIV in South Africa, and how they maintained healthy, productive lives amid globalized inequality, international aid, and the stigma that often comes with having HIV. By singing, joking, and narrating about HIV in Zulu, the performers in the choir were able to engage with international audiences, connect with global health professionals, and also maintain traditional familial respect through the prism of performance. The focus on gospel singing in the narrative provides a holistic viewpoint on life with HIV in the later years of the pandemic, and the author’s musical engagement led to fieldwork in participants’ homes and communities, including the larger stigmatized community of infected individuals. This viewpoint suggests overlooked ways that aid recipients contribute to global health in support, counseling, and activism, as the performers set up instruments, waited around in hotel lobbies, and struck up conversations with passersby and audience members. The story of the choir reveals the complexity and inequities of global health interventions, but also the positive impact of those interventions in the crafting of community.
Arguably no other 19th-century German composer was as literate or as finely attuned to setting verse as Robert Schumann. Finson challenges assumptions about Schumann’s Lieder, engaging traditionally held interpretations. Arranged in part thematically, rather than by strict compositional chronology, this book speaks to the heart of Schumann’s music.
From rap to folk to punk, music has often sought to shape its listeners’ political views, uniting them as a global community and inspiring them to take action. Yet the rallying potential of music can also be harnessed for sinister ends. As this groundbreaking new book reveals, white-power music has served as a key recruiting tool for neo-Nazi and racist hate groups worldwide. Reichsrock shines a light on the international white-power music industry, the fandoms it has spawned, and the virulently racist beliefs it perpetuates. Kirsten Dyck not only investigates how white-power bands and their fans have used the internet to spread their message globally, but also considers how distinctly local white-power scenes have emerged in Western Europe, Eastern Europe, Latin America, the United States, and many other sites. While exploring how white-power bands draw from a common well of nationalist, racist, and neo-Nazi ideologies, the book thus also illuminates how white-power musicians adapt their music to different locations, many of which have their own terms for defining whiteness and racial otherness. Closely tracking the online presence of white-power musicians and their fans, Dyck analyzes the virtual forums and media they use to articulate their hateful rhetoric. This book also demonstrates how this fandom has sparked spectacular violence in the real world, from bombings to mass shootings. Reichsrock thus sounds an urgent message about a global menace.