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by Michael Lupo | January 4, 2023 · 6:00 am

“A Shakespearean panoply of characters”: Lou Reed: Caught between the twisted stars–An annotated bibliography

The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s angular, august facade reflects light beams that seem lightyears away from the intransigent, transgressive spirit, the championing of misfits, the sardonic humor that the exhibit captures and that Reed’s music embodies. Is there a psychogeographic contradiction between the outside buildings’ shimmering, safe, highbrow sheen and the sounds and images purveyed by the avant-garde prince (or pauper?) of New York proto-punk? If so, it is an incongruity to revel in.

Reed’s music and poetry disrupted reductive divisions between the cultivated and vernacular, the concert hall and the streets, and the transcendent and ephemeral. His sounds rejected the colorful and optimistic 1960s utopian collective, the normative middle-class assumptions that homogenized gender distinctions and human sexuality, and the blind eye cast towards a drug-fueled urban underclass. This rebellious spirit runs through his creative work and the eclectic literary and sonic sources on which he drew to craft his own sound(scapes). One finds this eclecticism refracted everywhere in the ethnic mosaic of New York City, whether on the Upper West Side in 2022, or the Lower East Side in the 1960s and 1970s. The NYC mosaic—a metaphor that’s preferable to “melting pot”, which fails to grasp the historical resonance of ethnically similar people living together in specific neighborhoods—is captured in the form of the exhibit. It eschews strict narrative construction of Reed’s life, offering instead a constellated, interconnected network of images, recordings, friendships, interests, collaborators, writings, and technologies. The visitor is invited to take a free (as in gratis) journey that may nourish the inquisitive iconoclast within.

Not only Reed, but also his friends and collaborators, become the “twisted stars” through which one navigates in the exhibit. And what could be more appropriate? Reed’s New York was a particular moment in U.S. music history when “highbrow” avant-garde Western art music walked arm-in-arm with minimalist “lowbrow” sensibilities in some streams of rock that would birth punk. The two camps’ common language was seeped in discourses of ingenuity, novelty, and rupture, and whether or not musicians in each directly influenced one another, ideas (musical and otherwise), were undoubtedly exchanged. Laurie Anderson‘s description—equally applicable to her husband, the real people featured in his lyrics, and some of his collaborators—is perhaps best: “a Shakespearean panoply of characters, and they were all New Yorkers“. Beyond New York, Reed’s artistic orbit spanned disciplines, styles, and perspectives: John Cale, Iggy Pop, David Bowie, Allen Ginsberg, Robert Wilson, Julian Schnabel, Hal Willner, Andy Warhol, Candy Darling, Little Joe, Doug Yule, Metallica, “Moe” Tucker, Sterling Morrison, Nico, William S. Burroughs, Paul McCartney, to name some.

Lou Reed is indexed in over 280 records across RILM Abstracts of Music Literature and RILM Abstracts of Music Literature with Full Text—the sources from which the bibliography below is taken—and has two entries in RILM Music Encyclopedias (in Das Gothic- und Dark Wave-Lexikon: Das Lexikon der schwarzen Szene and the Algemene muziek encyclopedie). Additionally, information on Reed, his collaborators, and related topics (such as literature, poetry, the NYC downtown scene, visual arts, film, recording techniques, and more) can be found in several reference texts in RME, as well as in MGG Online. Links to some of these sources have been embedded into this introduction. But in the end, this bibliography is by necessity a superficial treatment of what can be said and has been said on Reed and his career, as well as on what can be found in RILM’s resources.

What follows below more or less replicates the organizing structure of the exhibit, beginning with Reed’s work in The Velvet Underground and his collaboration with Cale and Warhol, followed by emphasis on his literary interests and poetry, which then leads into his solo productions of the 1970s (especially Metal machine music) and beyond, and ends with Reed as a subject (e.g., an interviewee, a listener with a wide range of interests, a human with a sense of humor). The reader, then, may use this blog entry to supplement and elaborate the experience of attending the exhibit (open until 4 March 2023) in person.

Reed’s music has attracted attention from musicologists (e.g., a 2016 special issue on The Velvet Underground published in Rock music studies), music theorists, music journalists (most notoriously Lester Bangs), theologians, literary theorists, and many others working in other music and music-adjacent fields, and this is reflected in some of the sources you’ll find in this bibliography. The writers of these texts are themselves a motley crew in all the best possible ways, and they reveal the enormous impact that Reed continues to make on musicians, researchers, teachers, and explorer-outcasts of all stripes around the world.

– Written and compiled by Michael Lupo, Assistant Editor/Marketing & Media, RILM

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Main entrance to the New York Public Library for the Performing Arts

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The exhibit begins with what is perhaps the most famous context for Reed’s production: his time as co-founder, songwriter, vocalist, and guitarist of The Velvet Underground.

Bockris, Victor and Gerard Malanga. Up-tight: The Velvet Underground story (New York: Quill, 1983). [RILM Abstracts of Music Literature, 1983-7587]

Abstract: Presents an in-depth history of the Velvet Underground from the pre-VU activities of band members up through the Exploding Plastic Inevitable tour and the four seminal albums. Although the band was an outright commercial failure at the time, they are now recognized as one of the key catalysts in the development of rock music, especially as progenitors of punk rock and postpunk. Substantial portions of the book reproduce interviews with the four founding members of the Velvet Underground (Lou Reed, John Cale, Maureen Tucker, and Sterling Morrison) and with key associates such as Nico, Andy Warhol, and members of the Factory.

Bouchard, Marie-Ève. “Andy Warhol et le Velvet Underground: Réalité ou reconstruction de la réalité?”, Les cahiers de la Société Québécoise de Recherche en Musique III/1–2 (septembre 1999) 51–62. [RILM Abstracts of Music Literature with Full Text, 1999-38064]

Abstract: Describes how reality is expressed in the New York underground scene in the 1960s, as epitomized by Andy Warhol’s Factory. The world of the Factory is detailed, and the relationship between Andy Warhol and The Velvet Underground is explored. The Velvet Underground incorporated elements of the Warhol Factory in their music, and in the song I’m waiting for the man composed by Lou Reed, in particular. An analysis of the song’s text and music is undertaken to demonstrate how it conforms to the reality of the Factory and the New York City underground.

Cuesta, Stan. Lou Reed, The Velvet Underground, John Cale, Nico (Paris: Layeur, 2019). [RILM Abstracts of Music Literature, 2019-21973]

Abstract: The Velvet Underground had an amazing destiny. In the 1960s, in the wake of Andy Warhol, avant-garde artist, provocateur, and way ahead of his time, they had no success at all! But, as Brian Eno said, although almost nobody bought their records when they were released, the people who did all later formed their own groups. The band steadily attracted more and more imitators, especially in punk, and is now recognized as one of the most enduringly influential groups in rock history. The recordings of the Velvet Underground are analyzed: the group only released four albums during its brief existence, though myriad records came out after they broke up: live, never-released, and other pirate recordings which achieved official status. After 1970, the three principal members of the group embarked on incredibly fertile solo careers, which are discussed chronologically.

Dorin, Stéphane. Velvet underground: La Factory de Warhol et l’invention de la bohème pop (Paris: Éditions des Archives Contemporaines, 2016). [RILM Abstracts of Music Literature, 2016-28124]

Abstract: Between 1965 and 1967 with its first album The Velvet Underground & Nico (1967), The Velvet Underground evolved from a promising underground New York band into a legend of rock history. This pivotal period for the group that installed itself in the Factory was equally so for Andy Warhol, who was for a short while its patron and manager. Warhol’s yearning to achieve the alchemical transformation of rock into art through his collaboration with Lou Reed and the Velvet Underground was always balanced on the razor’s edge between sub-cultural marginality and social and commercial recognition within the realm of contemporary art and rock. Although it did not completely shake up the classical and popular art and music worlds, it did blur their boundaries and give rise to one of the most beautiful myths of 20th-century American culture, and to a rock group which attained cult status. Using the conceptual tools of cultural studies and cultural sociology, an analysis of the life and experience of the band at the center of the Factory reveals how rock and art have transformed today’s lifestyles and relationship to work, from the standpoint of the pop aesthetic.

Heylin, Clinton. All yesterdays’ parties: The Velvet Underground in print 1966–1971 (Cambridge: Da Capo, 2005). [RILM Abstracts of Music Literature, 2005-18301]

Abstract: The Velvet Underground (VU) are among the most influential bands of all time. Their trademark sound is easily detected in David Bowie, Iggy Pop, Talking Heads, R.E.M., Jane’s Addiction, Yo La Tengo, Luna, and the Strokes, and they are also credited with creating a streetwise, pre-punk sensibility that has become inseparable from the popular image of downtown New York. “Discovered” by Andy Warhol in 1966, the VU—with their original line-up of Lou Reed, John Cale, Sterling Morrison, and Moe Tucker—would soon become the house band of the avant-garde, composing songs simultaneously furious in their abrasiveness and beautiful in their pathos, standing in striking contrast to the prevailing flower power of the era. With such a notorious pedigree, it’s only natural that the story of the VU has become shrouded in myth and hyperbole. Here gathered for the first time are almost all of the published writings contemporary with the band’s existence–from sources as mainstream as the New York times to vanished voices of the counterculture like Crawdaddy!, Oz, Open city, and Fusion. An invaluable snapshot of an era is provided by trailblazing rock writers such as Lester Bangs, Robert Greenfield, Sandy Pearlman, and Paul Williams. With the most complete VU discography assembled to date; a biographical overview by the editor; and photographs, posters, and other visual evocations of the period throughout, a treasure trove of lore is made available for anyone interested in the VU, their roots, and legacy.

A portion of The Velvet Underground section of *Lou Reed: Caught between the twisted stars*

Jovanovic, Rob. Seeing the light: Inside The Velvet Underground (New York: St. Martin’s Press, 2012). [RILM Abstracts of Music Literature, 2012-3572]

Abstract: Artists including David Bowie, The Sex Pistols, Joy Division, Roxy Music, Nirvana, U2, R.E.M., and even the dissident Czech playwright and eventual president Václav Havel have cited The Velvet Underground as a major influence. Formed by the mercurial Lou Reed and the classically trained Welshman John Cale in the mid-1960s, the band first gained notoriety after being adopted by Andy Warhol. Warhol’s patronage allowed the group to chart unexplored regions of rock ‘n’ roll, producing music that veered from droning, avant-garde experimentalism to folk-infused pop, offering taboo-busting tales of drug addiction, prostitution, and sexual deviance. Creative tensions and frustrated ambition eventually saw both Cale and Reed leave the band, to its ignominious end. In the decades since, The Velvet Underground’s music has attained classic status, revered alongside The Beatles and The Beach Boys as one of the sources of modern pop. New interviews from members Moe Tucker and Doug Yule, as well as the widow of their bandmate Sterling Morrison, reveal the mystique of one of the most important bands in rock history.

Soto, Alfred. “A restless feeling: Lou Reed’s music remembered”, The quietus (October 28, 2013) https://thequietus.com/articles/13708-lou-reed-obituary. [RILM Abstracts of Music Literature, 2015-1400]

Abstract: The author casts an ear back through the musical history of The Velvet Underground legend and brilliant rock musician who recently passed away. Lou Reed saw himself as the bard of New York; the way, he explained, Joyce had Dublin and Faulkner the South, though a sensibility awash in Edgar Allan Poe, Delmore Schwartz, and Nelson Algren produced adolescent renderings of perversion. But he didn’t stop there. Reed’s fictive power acted as a window through which sympathetic parents, heterosexual marriages, and other tenets of the bourgeoisie look as deeply strange as kissing a boot of shiny, shiny leather. If rock critics remain as obsessed with lyrics as they ever were, Reed deserves the blame as much as Dylan. But what’s astonishing about those Velvet Underground records is the success with which their musical correlatives complement if not overwhelm the lyrics. For instance, Venus in furs, the ode to sadomasochism from the band’s first album, is sexy and thrilling and wondrous in ways that have little to do with the ooh-scary libretto. Listen as those Byrds-y guitars slam against the single note that John Cale saws off his viola, while “Moe” Tucker bangs a kick drum; when Cale actually plays chords on the bridge the song sounds as tired and weary as Reed himself.

Warner, Simon. “La banalité de la dégradation: Andy Warhol, le Velvet Underground et l’esthétique trash”, Volume! La revue des musiques populaires IX/1 (2012) 51-65. [RILM Abstracts of Music Literature with Full Text, 2012-15874]

Abstract: The American 1960s has become closely associated with moral crusades that strove for Civil Rights for the Black community and protested against the conflict in Vietnam, and with the peace and love gestures of the hippies, particularly in the latter part of the decade. However, the seeds of a more subversive underground movement were sown during the period, and a new approach to art creation, centered on an emerging trash aesthetic, not only challenged the psychedelic utopianism of the counterculture but actually left a longer lasting mark on left-field creative activity in the final quarter of the century. As Andy Warhol’s art and film projects were reshaped into multimedia experiences, the importance of the Velvet Underground, the rising house band at the artist’s Factory headquarters, was magnified. The Exploding Plastic Inevitable, a performance work inspired in part by early-decade Happenings, would be unveiled in 1966, combining Warhol’s underground cinema projections, light shows, dancers, and the cacophonous sound of the Velvets. This radical piece of stage art was filmed by the director Ronald Nameth, and his account remains a key document of the live venture. While Warhol and the band built on traditions from Dada to the Beats to build a form of anti-art, it was during this time that the aesthetic of trash took shape, from the Pop Art celebrations of mass cultural forms to the darker realms of drugs and sexual perversity. This anti-aesthetic would have an enduring impact in the years that followed, beyond the subterranean avant-garde of New York City, as music, cinema, art, and literature were all shaped by this brand of expression. An English translation is abstracted as RILM 2014-3712.

Willis, Ellen. “Velvet underground: Golden archive series”, Stranded: Rock and roll for a desert island, ed. by Greil Marcus (New York: Da Capo, 1996) 71–83. [RILM Abstracts of Music Literature, 1996-3327]

Abstract: Ostensibly an essay on her desert island album—a slightly Willis-doctored version of an existing Velvet Underground anthology released in 1970 (she switches out Afterhours for Pale blue eyes)—this piece serves as more of a general essay on the band and even Lou Reed’s post-VU work. Willis situates all sides of the band into a larger framework that accounts for detachment, innocence, irony, and, most unusual in writings on the Velvets, moral responsibility. As she sees it, there’s an intended irony in their emotional distance—a straddling of the rock ‘n’ roller as aesthete and the rock ‘n’ roller as punk. Their stance is self-critical and even in danger of being internally undermined: “The risk is real because the Velvets do not use irony as a net, a way of evading responsibility by keeping everyone guessing what they really mean. On the contrary, their irony functions as a metaphor for the spiritual paradox, affirming that the need to face one’s nakedness and the impulse to cover it up are equally real, equally human”.

Although strained at times, Reed’s relationship with the vanguardist John Cale was incredibly fruitful. Moreover, it encouraged a complex and perhaps erroneous dichotomy between highbrow and lowbrow sensibilities, which surfaced in different guises throughout Reed’s career.

Gibson, Dylan Lawrence. “Postmodernism in Lou Reed and Metallica’s collaborative album Lulu: The subjective perception of highbrow and lowbrow“, Metal music studies V/2 (2019) 187–200. [RILM Abstracts of Music of Literature with Full Text, 2019-5761]

Abstract: The 2011 collaborative album Lulu (by Lou Reed and Metallica) presents one with what can be clearly identified as a clash between highbrow and lowbrow culture. This clash, as demonstrated in this article, attempts to blur what the media tries to enforce by revealing that Metallica and Lou Reed in actuality cannot be exclusively defined by one coherent label. The intended implication is that the album should not be dismissed as its impact, as Metallica’s first postmodern album, ought to be remembered and formally recognized as such—a postmodern experimental metal album.

Gracyk, Theodore. “What goes on: The double-bind of theorizing rock”, Literature and psychology XLIV/3 (1998)1–22. [RILM Abstracts of Music Literature, 1999-32628]

Abstract: Theorizing about rock is difficult because intellectuals trained in the values of high culture have not found a way to approach popular music on its own terms. In addition, rock music is often assumed to be incapable of incorporating the values of high culture. The career of Lou Reed of The Velvet Underground demonstrates how a rock musician can include tradition and morality in his work, drawing on both high and low culture. The views of the cultural critics John Fiske and Martha Bayles are also examined.

Sangild, Torben. “Flossede nerver: Støj og avantgardisme hos Velvet Underground”, Loaded: Om The Velvet Underground, Lou Reed, John Cale, Nico, ed. by Klaus Lynggaard and Henrik Queitsch (København: Information, 2004) 64–70. [RILM Abstracts of Music Literature, 2004-10893]

Abstract: The link between The Velvet Underground and the avant-garde art music world was established by John Cale, a classically trained composer and viola player active in the vanguardist scene of John Cage and associates. Together with Lou Reed they developed an aesthetic alternating between intense noise and otherworldy ambience on albums such as White light/White heat. Lou Reed pushed this aesthetic further than it had ever been taken in popular music with his album Metal machine music. With their avant-noise innovations, The Velvet Underground were a key inspiration for the post-punk of the 1970s and 1980s.

Zak, Albin J., III., ed. The Velvet Underground companion: Four decades of commentary (New York: G. Schirmer, 1997). [RILM Abstracts of Music Literature, 1997-8762]

Abstract: A collection of articles, reviews, and essays on the influential avant-garde rock band made up of John Cale, Lou Reed, Maureen Tucker, Sterling Morrison, guest vocalist Nico, and Doug Yule in the band’s final incarnation. Interviews with and memoirs by band members are included.

The exhibit includes multiple stations for listening to Reed’s music. One example, now available on vinyl as Words & music, May 1965, is a reel-to-reel tape that Reed sent to himself, likely as a “poor man’s copyright”. It contains a number of acoustic demos with Cale, some of which would develop into VU songs.

The package containing Reed’s 1965 demos. Canal Street Communications

Peraino, Judith A. “I’ll be your mixtape: Lou Reed, Andy Warhol, and the queer intimacies of cassettes”, The journal of musicology: A quarterly review of music history, criticism, analysis, and performance practice XXXVI/4 (fall 2019) 401–436. [RILM Abstracts of Music Literature, 2019-9699]

Abstract: Tells the story of a cassette tape housed in the Andy Warhol Museum archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of 20th-century pop art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground & Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, The philosophy of Andy Warhol (from A to B and back again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.

Perhaps Reed’s “lyrics and poetry were kind of one and the same” (Don Fleming). In the early 1970s, in the direct aftermath of the VU, Reed follows a path towards literature and writing poetry.

Morris, Daniel. “Whose life is saved by rock and roll? An essay on the lyrics of Lou Reed”, Popular music and society XVI/3 (fall 1992) 23–30. [RILM Abstracts of Music Literature, 1992-4611]

Abstract: Reed’s lyrics are the work of a surreal, imagistic poet whose announced purpose is to chronicle public life in New York. His desire to embody the city through the description of a representative life diminished rather than enhanced the scope and quality of his writing over time. In lyrics from 1967, 1969, and 1989, Reed wrote a genuine public poetry by focusing his gaze with empathy and identification on the pain of others living on the margins of visibility. His best writing stems from an impersonal, Whitmanesque impulse to register the value of lives on the margin and not from the self-absorption that characterized his writing from 1972 on.

Rae, Casey. William S. Burroughs and the cult of rock ‘n’ roll (Austin: University of Texas Press, 2019). [RILM Abstracts of Music Literature, 2019-12562]

Abstract: William S. Burroughs’s fiction and essays are legendary, but his influence on music’s counterculture has been less well documented. Examining how one of America’s most controversial literary figures altered the destinies of many notable and varied musicians, this book reveals the transformations in music history that can be traced to Burroughs. A heroin addict and a gay man, Burroughs rose to notoriety outside the conventional literary world; his masterpiece, Naked lunch, was banned on the grounds of obscenity, but its nonlinear structure was just as daring as its content. The book examines Burroughs’s parallel rise to fame among daring musicians of the 1960s, 1970s, and 1980s, when it became a rite of passage to hang out with the author or to experiment with his cut-up techniques for producing revolutionary lyrics (as the Beatles and Radiohead did). Whether they tell of him exploring the occult with David Bowie, providing Lou Reed with gritty depictions of street life, or counseling Patti Smith about coping with fame, the stories of Burroughs’s backstage impact will transform the way we see the U.S.’s cultural revolution and how we hear its music.

Metal machine music

Lou Reed holding a copy of Metal Machine Music, Paris, 19 September 1996. Photograph: Lou Reed Papers, Music & Recorded Sound Division, The New York Public Library for the Performing Arts

Dault, David. “To the void: Karl Barth, Yvves Klein, and Lou Reed’s Metal machine music“, Secular music and sacred theology, ed. by Tom Beaudoin (Collegeville: Liturgical Press, 2013) 3–15. [RILM Abstracts of Music Literature, 2013-2033]

Abstract: This chapter juxtaposes the music of Lou Reed with the theology of Karl Barth and the art of Yves Klein, so as to show how all three artists create works that try to name what exceeds naming. The ancient theological question of whether God can be comprehended in human turns is turned into a triptych of rock and roll, theology, and visual art, all trying to let that which is profoundly other appear through their respective mediums.

Moore, Thurston. “Towards a sonic machine music”, Lou Reed, Metal Machine Trio: The creation of the universe, ed. by Christopher Scoates (Bloomfield Hills: Cranbrook Art Museum, 2015) 63. [RILM Abstracts of Music Literature, 2015-19624]

Abstract: Personal recollections of the guitarist and founding member of Sonic Youth on his encounter with Lou Reed’s Metal machine music (1975), particularly the way in which the seminal album validated feedback as a compositional element.

*Metal machine music* LP viewable at *Lou Reed: Caught between the twisted stars*

Spelman, Nicola. “Recasting noise: The lives and times of Metal machine music“, Resonances: Noise and contemporary music, ed. by Michael Goddard, Benjamin Halligan, and Nicola Spelman (New York: Bloomsbury, 2013) 24–36. [RILM Abstracts of Music Literature, 2013-6206]

Abstract: Many of Lou Reed’s fans purchased his double-album Metal machine music (1975) assuming its contents to be of a similar ilk to his previous albums. With limited pre-listening opportunities, they were effectively lured into an auditory experience few were prepared for. Thus followed an unprecedented number of album returns and the record’s withdrawal just three weeks later. Although many accounts of the album’s unpalatable nature rest on attempts to describe its arresting sonic properties, the discrete sounds and techniques of timbral manipulation explored with MMM (heavy distortion, feedback, amplifier hum, use of tremolo units, varied tape speed, EQ, reverb and tone controls) were already standard fare by the time of its conception and release. As such, the distinctly experimental aspects of Reed’s noisescape are located not within the sounds themselves, but rather in how and where they were presented, and in the way they were creatively and unconventionally employed. Here, through examination of the original album and its subsequent transformations—moving from recorded composition to score/arrangement and finally to an improvised performance exploring the compositional techniques used in the construction of the original work—an attempt is made to pinpoint shifts in perception resulting from this successive recasting of noise.

Steintrager, James A. “Metal machines, primal screams, horrible noise, and the faint hum of a paradigm shift in sound studies and sonic practice”, Musica humana III/1 (spring 2011) 121–151. [RILM Abstracts of Music Literature with Full Text, 2011-10305]

Abstract: In the mid-1970s there emerged both in pop music practice and in theoretical discourse a paradigm that extended liberating, ecstatic value to noise. For noise in practice, Lou Reed’s LP Metal machine music has been cited as seminal; in theory, Jacques Attali’s Noise: The political economy of music (see RILM 1977-1976 for the original French version; the first English translation is cited as RILM 1985-7455) stands out. Both of these important moments, however, have deep and often complex genealogies. Moreover, once we grasp the historical constitution of the noise paradigm, we can better understand why and how the promise of liberating noise—noise as revolutionary violence or subjectivity-shattering ecstasy—has in recent sound theory been treated as an unnecessarily limiting discursive trap. This has been most emphatically the case with Michel Chion’s suggested abandonment of the concept of noise as pseudo-scientific and roughly ideological. This abandonment, moreover, has been echoed in sonic practice—in the onkyō scene in Japan, for example—where an emphasis on subtle sound processing, gently modulated feedback, and bare audibility have put into question the relevance of noise as previously conceived and produced.

And then there was more Reed solo…with a little help from his friends

Reed’s live performance TV concept on display in the *Lous Reed: Caught between the twisted stars*

Furman, Ezra. Transformer. 33 1/3 (New York: Bloomsbury, 2018). [RILM Abstracts of Music Literature, 2018-6807]

Abstract: Lou Reed’s most enduringly popular album is described with varying labels: it’s often called a glam rock album, a proto-punk album, a commercial breakthrough for Lou Reed, and an album about being gay. And yet, it doesn’t neatly fit into any of these descriptors. Buried underneath the radio-friendly exterior lie coded confessions of the subversive, wounded intelligence that gives this album its staying power as a work of art. Here Lou Reed managed to make a fun, accessible record that is also a troubled meditation on the ambiguities—sexual, musical, and otherwise—that defined his public persona and helped make him one of the most fascinating and influential figures in rock history. Through close listening and personal reflections, the author explores Reed’s unstable identities and the secrets the songs challenge us to uncover.

Thompson, Dave. Your pretty face is going to hell: The dangerous glitter of David Bowie, Iggy Pop, and Lou Reed (New York: Backbeat Books, 2009). [RILM Abstracts of Music Literature, 2009-8003]

Abstract: Sketches the intertwining, outrageous lives of three rock legends. When Lou Reed and Iggy Pop first met David Bowie in the fall of 1971, Bowie was just another English musician passing through New York City. Reed was still recovering from the collapse of the Velvet Underground, and Iggy Pop had already been branded a loser. Yet within two years they completely changed the face of popular music with a decadent glamour and street-level vibe. With Bowie producing, Reed’s Transformer album was a worldwide hit, spinning off the sleazy street anthem “Walk on the wild side”. Iggy’s Raw power, mixed by Bowie, provided the mean-spirited, high-octane blueprint for punk rock. Bowie boosted elements from both Iggy and Reed to create his gender-bending rock idol alter-ego Ziggy Stardust. Here, the story of these friendships, and the musical productivity and rock star debauchery that emerged from their three-fold alliance is told—a triple helix of sexuality, glam rock, and drugs as seen through the eyes of the people who made it happen.

And Lou Reed the humorist

Lou Reed performing at the Hop Farm Music Festival on Saturday, 2 July 2011

Hamelman, Steven. “‘I never said I was tasteful’: Lou Reed and the classic philosophy of humor”, The Routledge companion to popular music and humor, ed. by Thomas M. Kitts and Nick Baxter-Moore. Routledge music companions (New York: Routledge, 2019) 177–185. [RILM Abstracts of Music Literature, 2019-12616]

Abstract: Lou Reed is rarely considered a humorist. Yet, the author identifies the humorous impulse in Reed, which he sees as dry and ironic, raunchy and tasteless, and dark and cynical. He draws on the three main theories of humor (superiority, incongruity, and relief) to explicate songs like Dirt and The gift, Reed’s laughter at the end of the original recording of Heroin, and his on-stage monologues.

_____. “Why is this man laughing?”, Rock music studies III/2 (2016) 180–191. [RILM Abstracts of Music Literature, 2016-25331]

Abstract: There is a good deal of humor, from dry and ironical to raunchy and tasteless, in the music and live monologues of Lou Reed, both as a member of The Velvet Underground and as a solo artist. To examine Reed’s wide-ranging humor in terms of the three major categories comprising the philosophy of humor (superiority theory, incongruity theory, and relief theory) is to appreciate the nuances of a rock humorist who could at one point be heard laughing at the end of a song about heroin’s destructiveness and at another point delivering a scathing but hilarious attack on well-known rock journalists who annoyed him. As this analysis demonstrates, the diversity of tone, subject matter, and manner of delivery of Reed’s humor reflects an artist who satisfied, in terms defined as much by courage as by literary skill, the three classic divisions of humor, suggesting that despite his reputation for writing dark and often cynical songs about taboo topics, Lou Reed enjoyed hearing the sound of laughter, sometimes his own, when he gave free expression to his comic genius.

Interviews

*Lou Reed: Caught between the twisted stars*: Reed in TV interviews

Reed, Lou. Lou Reed: The last interview and other conversations (Brooklyn: Melville House, 2015). [RILM Abstracts of Music Literature, 2015-81311]

Abstract: A revealing collection of interviews with one of the greatest artists in the history of rock ’n’ roll—as brilliant, punchy, and blustery as the man himself. In this collection of interviews given over 30 years, including his final interview, Lou Reed oscillates between losing patience with his interviewers (he was famous for walking out on them) and sharing profound observations on the human experience, especially as he reflects on poetry and novels, the joy of live performances, and the power of sound. In conversation with legendary rock critics and authors he respected, Reed’s interviews are as pithy and brilliant as the man himself.

Reed’s album collection at *Lou Reed: Caught between the twisted stars*, including several bootlegs of his performances, zines, and TV interviews

Finally, take a listen to some of the music that Reed liked in “Listen Like Lou Did”, a playlist curated by NYPL.

And definitely take a second to get what is surely the coolest, most New York, free library card that has ever existed.

Special Edition Lou Reed NYPL library card

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Filed under featured, Literature, Mass media, Musicology, Performers, Popular music

Tagged as Lou Reed, Performers, Popular music, RILM annotated bibliographies, The Velvet Underground

by Michael Lupo | March 3, 2022 · 6:00 am

Sounding a history of Ukrainian sovereignty: An annotated bibliography

Seven strings/Сім струн (dedicated to Uncle Michael)*

 For thee, O Ukraine, O our mother unfortunate, bound,
 The first string I touch is for thee.
 The string will vibrate with a quiet yet deep solemn sound,
 The song from my heart will gush free.

 My song o’er the earth’s distant reaches will fly in its task
 With my dearest hopes as its guide;
 Wherever it speeds o’er the world among mankind, ’twill ask
 “Know ye where good fortune doth bide?”
  
 And there somewhere yonder my song solitary will meet
 With other such wandering lays,
 And then, joining in with that loud-singing swarm, will fly
 Away over thorn-studded ways.
  
 ’Twill speed over ocean’s blue bosom, o’er mountains will fly,
 And circle about in free air;
 ’Twill soar ever higher far up in the vault of the sky
 And maybe find good fortune there.
  
 And finding it somewhere, that longed-for good fortune may greet
 And visit our dear native strand,
 May visit and greet thee, Ukraine, O thou mother most sweet,
 Ill-starred and unfortunate land. 

By Lesâ Ukraїnka, translated into English by Percival Cundy in Spirit of flames: A collection of the works of Lesya Ukrainka (New York: Bookman Associates, 1950)

*Uncle Michael was Ukraїnka's Uncle Mihajlo (Mihajlo Dragomanov, 1841-95), a significant Ukrainian cultural and political figure.

_______________________________________

Noll, William. “Cultural contact through music institutions in Ukrainian lands, 1920–1948”, Music-cultures in contact: Convergences and collisions, ed. by Margaret J. Kartomi and Stephen Blum. Australian studies in the history, philosophy and social studies of music 2; Musicology: A book series 16 (Sydney: Currency Press; New York: Gordon and Breach, 1994) 204–219. [RILM Abstracts of Music Literature, 1994-4762]

Abstract: In the first half of the 20th century, the networks of music institutions in the two zones of the Ukraine were largely conceived and implemented by urban-born and urban-trained activists who were consciously creating institutionalized links with rural populations. The music and dance practices developed and distributed through these institutions were derived from rural populations, although they were stylized, notated, and arranged by urban dwellers in ways that were thought to appeal to both urban and rural groups. Most of the musical performances took place in local centers that were part of a widespread national network. Activists in western Ukraine used music to help establish and maintain a Ukrainian national identity among a large rural population with ethnic minority status in the Polish state. In eastern Ukraine the music network was intended to be the primary shaping force of village musical culture.

Poljak, Dubravka. “Aspekt samoupravnosti u baladnih junaka ukrajinske narodne balade”, Zbornik od XXV kongres na Sojuzot na Združenijata na Folkloristite na Jugoslavija/Rad XXV kongresa Saveza Udruženja Folklorista Jugoslavije, ed. by Lazo Karovski and Goce Stefanoski (Skopje: Sojuz na Združenijata na Folkloristite na Jugoslavija, 1980) 109–112. [RILM Abstracts of Music Literature, 1999-31936]

Abstract: Examines the theme of self-determination in the Ukrainian heroic ballads.

Berthiaume-Zavada, Claudette. “Résonances de la bandoura ou la mémoire vive d’un peuple”, Construire le savoir musical: Enjeux épistémologiques, esthétiques et sociaux, ed. by Monique Desroches and Ghyslaine Guertin. Logiques sociales: Musiques et champ social (Paris: L’Harmattan, 2003) 129–142. [RILM Abstracts of Music Literature, 2003-16721]

Reproduction of an old-world style bandura made in Toronto by William Vetzal

Abstract: Considers the Ukrainian duma as a cultural artifact that reveals how knowledge can be built on the basis of and by means of music. The duma is a musical genre, a half-sung, half-recited epic with different accompaniments depending on the period (the lira, the kobza, and, more recently, the bandura). The bandura, a Ukrainian national symbol, is the guardian of the collective memory of the Cossack epics and of historical events. The Ukrainian duma is an example of a multifunctional form of expression in which the musical aspect is inseparable from the social, and where a musical instrument and a musical form can convey the values of a people and provide trails for the researcher to follow in understanding the behavior of a population.

Ostashewski, Marcia. “Identity politics and Western Canadian Ukrainian musics: Globalizing the local or localizing the global?”, TOPIA: Canadian journal of cultural studies 6 (fall–winter 2001) 63–82. [RILM Abstracts of Music Literature, 2001-22653]

Abstract: Explores how Ukrainian musicians in Western Canada use music to construct local senses of identity and Ukrainianness, while participating in a more global sense of Ukrainian history and nationhood.

Bajgarová, Jitka. “Ukrainische Musik: Idee und Geschichte einer musikalischen Nationalbewegung in ihrem europäischen Kontext—Lipsko, 7.–9. května 2006”, Hudební věda 2/43 (2006) 215–216. [RILM Abstracts of Music Literature with Full Text, 2006-30845]

Abstract: A report on the conference on Ukrainian music and nationalism, which took place in Leipzig from 7 to 9 May 2006.

Helbig, Adriana. “The cyberpolitics of music in Ukraine’s 2004 Orange Revolution”, Current musicology 82 (fall 2006) 81–101. [RILM Abstracts of Music Literature, 2006-8421]

Abstract: Analyzes the relationship between political activism and what the author terms cybermusicality—an engagement with Internet music and its surrounding discourses that enables musical creativity both online and off. By looking into cybermusical phenomena in a non-Western context, this study moves beyond geographically and culturally limited analytical approaches that privilege Web-based music in the West and promote an uncritical celebration of the Internet as a technology of only the developed world. Music and the Internet played crucial roles in Ukraine’s 2004 Pomarančeva Revolûcia (Orange Revolution) when nearly one million people protested against election fraud, mass government corruption, and oligarchic market reforms. Prior to 2004, media outlets in Ukraine such as television, radio, and newspapers were government-controlled and censored. In contrast, the Internet grew in popularity as a technology that people could trust and helped activate the masses in anti-government protest. The article analyzes the revolution’s music and recordings disseminated on the Internet and examines the representative power of political song. This repertoire functioned as a particularly salient expression of citizen empowerment through the interpretation and evaluation of truth (pravda), a concept understood in the rhetoric of the revolution as the public’s “right to know” what is at the core of post-Soviet Ukrainian government propaganda.

Kiânovs’ka, Lûbov Oleksandrìvna. “Soziokulturelle Funktionen der ukrainischen nationalen Chorbewegung in Galizien nach 1867”, Chorgesang als Medium von Interkulturalität: Formen, Kanäle, Diskurse, ed. by Erik Fischer, Annelie Kürsten, Sarah Brasack, and Verena Ludorff. Berichte des interkulturellen Forschungsprojekts Deutsche Musikkultur im östlichen Europa 3 (Stuttgart: Franz Steiner, 2007) 403–411. [RILM Abstracts of Music Literature, 2007-34444]

Abstract: After 1867 cultural areas with a strong national patriotic component began to develop within the Ukrainian choral movement. Numerous Polish choirs (Echo, Lutnia (Lute), Lwowski chór męski (Lemberg men’s choir), etc.), and Ukrainian choirs (Teorban, Bojan, Bandurist, etc.) emerged which pursued national goals in addition to societal and social objectives. The socio-cultural functions of Ukrainian choirs, which were representatives of an ethnic group without a state of their own, are examined. Their functions can be summed up as follows: establishing a national mind-set, aided by the choral culture, which was the focus of the political elite; promoting the formation of a national identity and a national memory by reviving the (ethnic) song culture; furthering general musical education by providing knowledge of the great international and national works, previously inaccessible to many; musical education—the professional musical academies of the Ukraine subsequently developed from the music schools and choirs, stimulating musical creation—a whole host of “national” compositions were composed especially for choirs; representative tasks; the “transfer” of the political and socio-cultural structures of choirs to other organizations with a similar orientation such as publishing houses, museums, and libraries.

Wickström, David-Emil. “Drive-ethno-dance and Hutzul punk: Ukrainian-associated popular music and (geo)politics in a post-Soviet context”, Yearbook for traditional music 40 (2008) 60–88. [RILM Abstracts of Music Literature with Full Text, 2008-8821]

Abstract: Focuses on how Ruslana, Gajdamaki, and Svoboda—contemporary groups playing Ukrainian popular music—fashion themselves based on their country of (perceived) origin and what role politics, history, and traditional music play in that process. Using a postcolonial perspective, the author argues that the identity constructed by Ruslana and Gajdamaki functions to assert Ukrainian sovereignty and thus distinguishes the Ukraine from its former colonizer Russia, while Russian-based Svoboda exoticizes the Ukraine by drawing on colonial representations of the country.

Kušnìruk, Ol’ga. “Refleksìâ nacìonal’nogo v muzičnomu diskursì”, Studìï mistectvoznavčì 4:28 (2009) 43–47. [RILM Abstracts of Music Literature, 2009-21736]

Examines the category of nationalism in music from the perspective of non-Russian musicology and proposes to introduce this category into the terminological apparatus of the modern Ukrainian musicology.

Wickström, David-Emil. Okna otkroj!—Open the windows! Scenes, transcultural flows, and identity politics in popular music from post-Soviet St. Petersburg (Ph.D. diss., University of Copenhagen, 2009). [RILM Abstracts of Music Literature, 2009-22095]

Abstract: Focuses on music production in post-Soviet St. Petersburg from the perspective of local groups, the processes that enable these groups to tour Central Europe, as well as how the groups respond to social and cultural changes in their creative work. The aim is to provide a better understanding of popular music’s role in society, especially related to music, migration, and transcultural flows, specifically focusing on the ties to the post-Soviet emigrant community in Germany. These findings also provide a deeper understanding of cultural processes in the second decade after the fall of the Soviet Union. The first part examines popular music production from a scene perspective as theorized by Will Straw (1991, 2004) and others. This is done based on experiences with the St. Petersburg group Svoboda. By tracing the social networks and hubs, as well as underlying discourses, an overview of music production in the St. Petersburg rock scene is given. The same approach is applied to the scene approach to the Russendisko, a fortnightly discotheque in Berlin run by two emigrants from the former Soviet Union playing post-Soviet popular music, with a high percentage of St. Petersburg groups. The Russendisko is special since it targets a German and not an emigrant audience. The focus is both on the Russendisko itself as well as related events in Germany. Drawing on Ulf Hannerz’s theorization of transcultural flows (1992, 1996) some of the (cultural) flows to and from St. Petersburg are traced. Here the focus is on the flow of music aided by media and people within the frames “form of life” and “market” to both St. Petersburg and Berlin. Since influences from the music style ska were quite prominent in the music heard at the Russendisko, the discussion centers around the presence of reggae and ska in St. Petersburg. Here again Svoboda, whose self-proclaimed style is Ukra-ska-Pung (Ukrainian ska punk) is used as the link between the two cities, especially since some of the group’s songs are also played at the Russendisko. An important connection between St. Petersburg and Berlin that has provided the basis for the Russendisko is the massive emigration from the former Soviet Union to Germany after 1990, which is also briefly discussed. The final part turns to identity constructions, especially how bands from St. Petersburg create a band image and market themselves. Here the focus is on how these constructions relate to concepts of collective identities, especially how groups assert their origin (from St. Petersburg/Russia) and ideas of Russian national identities. One notion of Russian national identity is that Russia, Ukraine, and Belarus historically belong together. Inspired by post-colonial theory, the relationship to Ukraine is given special attention by comparing representations of Ukraine by the Russian group Svoboda and the Ukrainian performer Ruslana. The last section returns to Germany and examines first how the band identities shift when promoted to a primarily non-Russian speaking audience within the Russendisko scene. At the same time the Russendisko seems to be part of a broader German and Austrian musical focus on the East–especially linked with music from the Balkans–and the discussion is broadened to include this perspective. Returning to the post-Soviet musicians living in Berlin, the discussion is rounded off by examining why the term diaspora is not applicable within the post-Soviet emigrant community. A related monograph is cited as RILM Abstracts of Music Literature, 2014-78783.

Yekelchyk, Serhy. “What is Ukrainian about Ukraine’s pop culture? The strange case of Verka Serduchka”, Canadian-American Slavic studies/Revue canadienne-américaine d’études slaves 44/1–2 (spring–summer 2009) 217–232. [RILM Abstracts of Music Literature, 2010-342]

Abstract: The Ukrainian cross-dressing and language-mixing pop star Vêrka Serdûčka (played by male actor Andrij Danilko) is the most controversial product of Ukrainian post-Soviet mass culture. Ukrainian nationalists reject Serdûčka as a parody of their nation, while Russians took umbrage at her 2007 Eurovision entry, which allegedly contained the words “Russia goodbye”. This article interprets the character of Serdûčka as a jester, who makes audiences laugh at their own cultural stereotypes and prejudices, and at the same time as a representative of Ukraine’s living traditional culture, reflecting an ambiguous national identity of this essentially bilingual country.

Lastovec’ka-Solans’ka, Zorâna Mykolaїvna. “Rol’ tradyciї ta nacional’nyh cinnostej u duhovnij kul’turi ukraїnciv”, Naukovij vìsnik Nacìonal’noï Muzičnoï Akademìï Ukraïni ìmenì P.I. Čajkovs’kogo 85 (2010) 36–50. [RILM Abstracts of Music Literature, 2010-16673]

Abstract: Discusses the Ukrainian sociocultural values through the prism of their traditions. Sociocultural dynamics of cultural development, individual ethnic-aesthetic culture, nation’s genetic memory, national self-identification, and their expression in musical art are analyzed.

Radzievskij, Vitalij Aleksandrovič. “Muzykal’naâ kul’tura na ukrainskom Majdane”, Muzykal’naâ kul’tura v teoretičeskom i prikladnom izmerenii. I, ed. by Irina Gennadievna Umnova (Kemerovo: Gosudarstvennyj Universitet Kul’tury i Iskusstva, 2014) 88–96. [RILM abstracts of Music Literature, 2014-80333]

Abstract: Describes the musical components of the majdan culture as the main sociocultural dimensions of the Ukrainian culture. The music of the Èvromajdan is discussed.

Schwanitz, Mirko. “Rüben sammeln und Sex Pistols hören: Die ukrainische Revolution und der Mut ihrer Künstler”, Österreichische Musikzeitschrift 69/2 (2014) 62–64. [RILM Abstracts of Music Literature, 2014-11161]

Abstract: Discusses the poet and writer Serhìj Žadan, who is considered one of the most powerfully eloquent poets in Europe, with reference as well to selected Ukrainian artists and their situation. Ukraine is presented as the country where most poets, authors, and singers are fighting fiercely for their vision of a new and freer homeland. The translator and author Ûrìj Prohas’ko figures as one of the most important cultural mediators between Ukraine and the German-speaking countries. Andrej Kurkov, internationally the best-known and most-translated Ukrainian author, offered prescient warnings about the scenario that has now come to pass.

Morozova, Lûbov’ Sergeevna and Katarzyna Kramnik. “Sounds of Maidan”, Glissando: Magazyn o muzyce współczesnej 26 (2015) http://glissando.pl/en/tekst/sounds-of-maidan/. [RILM Abstracts of Music Literature, 2015-3900]

Abstract: Discusses the soundscape of the Majdan Nezaležnostì (Independence Square) in Kiïv during Èvromajdan.

Sonevytsky, Maria. “The freak cabaret on the revolution stage: On the ambivalent politics of femininity, rurality, and nationalism in Ukrainian popular music”, Journal of popular music studies 28/3 (September 2016) 291–314. [RILM Abstracts of Music Literature, 2016-5972]

The Dakh Daughters at Rudolstadt-Festival 2016.

Abstract: In the winter of 2013, as dramatic political demonstrations overtook central Kiïv, Ukraine, screens around the world projected live video feeds of the protests first referred to as Èvromajdan, and later simply as Majdan. Social media was pivotal in inciting the groundswell of opposition that eventually led to the abdication of power by President Vìktor Ânukovič. As part of the broad social contest over meaning that has characterized the Ukrainian Majdan and the ongoing war in Ukraine’s eastern borderlands, online communities have interpreted Majdan-themed music videos in dialectically opposing ways, engaging in bitter feuds over the meanings of politically charged tropes on the comment boards of websites and social media feeds, each side accusing the other of propagandizing on behalf of either Putin’s Russia or the US and European Union. This polarized battle over interpretation often mirrored the entrenched discourse over Ukraine’s liminal geopolitical position: forever the quintessential borderland, buffering an expanding Europe from the Russian sphere of influence. This article considers one such contested performance that circulated in the form of an edited music video, the Èvromajdan performance of the piece Gannusâ by the Ukrainian freak cabaret act known as the Dakh Daughters, a Kiïv-based collective of female actors and musicians known for their dramatic, collage-based musical performance pieces.

Kiânovs’ka, Lûbov Oleksandrìvna. “Verluste des ukrainischen Musiklebens in der Periode der ‘Hingerichteten Renaissance’: 1930er Jahre und nach dem Zweiten Weltkrieg”, Musicology today: Journal of the National University of Music Bucharest 7/3:27 (July–September 2016) 241–258. [RILM Abstracts of Music Literature with Full Text, 2016-34688]

Abstract: Describes the tragic events of the Ukrainian musical culture in the period of Stalin’s terror. The author explains—from a social and political perspective—the reasons why Ukrainian art and the Ukrainian intelligentsia had been subjected to repression. Most of the prominent artists were murdered; other examples of reprisal are considered, against the director, actor, public figure Les’ Kurbas, and against choreographer, composer, manager Vasil’ Mikolajovič Verhovinec’. The cruel extinction of blind kobza-players under Harkìv is also described. Even after World War II, repressions against Ukrainian artists hadn’t been stopped, as we find out from the case of the composer Vasil’ Oleksandrovič Barvìns’kij.

Sonevytsky, Maria. Wild music: Sound and sovereignty in Ukraine. Music/culture (Middletown: Wesleyan University Press, 2019). [RILM abstracts of Music Literature, 2019-11778]

Abstract: What are the uses of musical exoticism? This book tracks vernacular Ukrainian discourses of wildness as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, the author assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, the author proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.

– Compiled by Katya Slutskaya Levine, Editor, RILM

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Filed under Ethnomusicology, Europe, featured, Instruments, Musicology, Performance practice, Performers, Politics, Popular music

Tagged as Ballad, Ethnomusicology, Gender, Nationalism, Politics, Popular music, Protest music, RILM annotated bibliographies, Soundscape, Ukraine

by rilm | March 25, 2021 · 2:26 pm

Philip Ewell: Erasing colorasure in American music theory, and confronting demons from our past

Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black composers and musicians under the rubric Colorased. These tweets contain names and basic information about each neglected figure. In keeping with RILM’s mission to document and disseminate writings about music, we wanted to preserve and share these tweets, and asked Dr. Ewell if he would be willing to re-post them, along with some text framing his project, here on RILM’s blog.

We are delighted that Dr. Ewell accepted our invitation. Below are his text and his Colorased tweets. RILM Assistant Editor Michael Lupo has added the number of times (if any) the names are represented in each of RILM’s resources as of this date to aid further research. (Where a product is not listed, it means the name was not present at all.) The dearth of references highlights the fact that more research is needed. We hope this proves to be fodder for the scholarly music community.

-Barbara Dobbs Mackenzie, Executive Director, RILM

This past Black History Month, 2021, I undertook a Twitter project, Erasing colorasure in American music theory. In the history of American music theory, and American classical music, Whiteness has consistently erased nonWhiteness from existence as unimportant in a process I call colorasure, which I based on Kate Manne’s useful concept of herasure when the same happens with women.¹In order to shine a light on notable colorased Black musicians, every February morning I sent out a tweet of a Black African musical figure, usually American, who has been colorased by American music theory—this list of 28 figures appears at the end of this post.

Many such figures are now being (re)discovered. While some are more famous—e.g., Joseph Bologne, Scott Joplin, Yusef Lateef, Vicente Lusitano, Charles Mingus, Florence Price, or George Russell (none of whom I listed for Erasing colorasure)—others never broke through. Importantly, Black women have been both colorased and herased from existence, which has made it nearly impossible for them to break through in the history of American classical music.

Of the many hundreds of important Black musical figures out there, I tried to stick with music theorists and composers who may have been of interest to American music theory, had American music theory ever truly been interested in Blackness. This public music-theory project followed in the footsteps of pioneer scholars who know infinitely more about these figures than I do, scholars such as Samuel Floyd, Tammy Kernodle, Horace Maxile, Emmett Price, and Eileen Southern, and many others, and I was deeply indebted to such scholars with this simple project.²

Two aspects of Erasing colorasure need to be highlighted, one easier to absorb, one harder. One simple reason that Erasing colorasure was lauded both on Twitter and Facebook, and elsewhere as well, is that the addition of Black musicians to our general music conversation, and to any American music curriculum, does not really threaten the White-cisgender-male power structure of the field in 2021—this structure remains intact and, more important, in control. Consequently, White-male power in academic music actually loves this type of work. This easier unthreatening work generally falls under the rubric of Diversity, Equity, and Inclusivity (DEI), which is now being strongly emphasized in music institutions across the country.

The harder aspect relates to what I call the “three legs” of American music theory’s stool, namely, Whiteness, maleness, and cisnormativity. Examining and exposing how and why White cisgender men, both subconsciously and, frankly, consciously, colorased Blackness and other forms of nonWhiteness from the conversation is what represents true antiracist work in the academic study of music. This much harder work relates to how and why those Black composers and musicians were colorased to begin with. The work is arduous, and exhausting, but ultimately rewarding and emancipating. However, this work directly challenges and threatens the White-cisgender-male power structure of what we do in the United States as musicians, and this is why true antiracist work in academic music is often met with angry, bullying, and gaslighting responses.³

In a response to a 20-minute lecture that I gave in November 2019, music theorist Timothy Jackson wrote:

“As for Black composers, they have had to overcome unbelievable prejudice and hardships, yet there have been many talented and technically competent Black composers in the past hundred years. We can certainly listen to their music with pleasure, even if they are not ‘supreme geniuses’ on the level of the very greatest classical composers.”⁴

With this jarring statement, Jackson was only saying out loud what, sadly, many senior colleagues still believe: that the musical work by Blacks and Blackness exists, overall, on an inferior level to that of the so-called “masterpieces” by the “supreme geniuses” of the White Western canon.Clearly, in Jackson’s interpretation the 28 musicians I name below from Erasing colorasure, though “competent”, would not qualify as “supreme geniuses” like the composers—Johann Sebastian Bach, Johannes Brahms, Wolfgang Amadeus Mozart, etc.—of the White Western canon.

To underscore his belief in Black inferiority, Jackson alleged that I, Philip Ewell, am “uninterested in bringing Blacks up to ‘standard’ so they can compete.”⁵ I suppose Jackson is correct in one sense—I am uninterested in bringing Blacks up to standard, but our reasoning is quite different. I believe that Blacks, Whites, and all other races are on the same standard, and thus Blacks need no bringing up to begin with, while Jackson clearly believes that Blacks are substandard, and that Blacks, and other nonWhites one presumes, should aspire to Whiteness.

In a fallacy of White supremacy, and of antiBlackness in the case of Erasing colorasure I hasten to add, music of the White Western canon is still thought to be superior to other nonWhite musics of the world. Perhaps most important, Timothy Jackson only wrote down that which many senior figures in music theory, and in academic music, actually believe. Many have tried to cleave themselves from the egregious antiBlack statements that appear in Jackson’s now infamous response, and in the other antiBlack responses in the symposium in Volume 12 of the Journal of Schenkerian studies, but his comments actually represent deep-seated beliefs held by the field of American music theory itself since its inception in the 1960s.⁶ That is, Jackson’s musical beliefs are not at all uncommon among senior music theorists, musicians, and music pedagogues in our American music institutions. To argue otherwise would be less than candid.

Happily, there are strong currents in the academic study of music in our country that are countering this fallacious and harmful belief in White-male musical superiority. Hardly a week goes by without another source or website being released by mid-career and junior scholars that counters academic music’s false belief in a meritorious White-male exceptionalism.⁷These sources underscore the simple truth that music of the White-male Western canon—itself a mythological human construct meant, in very large part, to enshrine White-male dominance in the academic study of music in the U.S.—is not superior (nor inferior) to other musics of the world.⁸ These sources show the richness of the many musics of our planet for all to see.

To be clear, there is far more activity in the realm of DEI in music, that is, the unthreatening additive activity that I describe above. There needs to be more honest antiracist appraisal with respect to how we got to where we are in the academic study of music in our country, one in which the “core” of study still sits squarely on the exclusionist three-legged White-cis-male stool of academic music, one in which assimilating to White-cis-male beliefs, methods, and mythologies remains paramount. Both paths, that of DEI and of antiracism/antisexism, are important to pursue but, currently, DEI work is far more common, for obvious reasons. It is my hope that the harder path of antiracism/antisexism, especially, is pursued with an even greater intensity in the near future, which will help everyone understand that all musics of our world are worthy of our consideration, in the classroom, on the concert stage, and beyond.

Erasing Colorasure in American Music Theory: Twitter Project, Black History Month, 2021⁹

1. Colorased 1: John T. Douglass (1847–86), violinist, composer. Born in U.S. of slave mother. Studied in Dresden with Eduard Rapoldi, and in Paris. Composed three-act Virginia’s ball, premiered Stuyvesant Institute, 1868, probably the first opera by an African American composer. Taught David Mannes violin, NY, 1870s. Also a pianist, cellist, guitarist.

Items about John T. Douglass in:

RILM Music Encyclopedias: 1

2. Colorased 2: Julia Perry (1924–79), composer, educator. Studied at Westminster Choir College, also with N. Boulanger and L. Dallapiccola in France/Italy. Awarded Boulanger Grand Prix for her Viola Sonata. Composed four operas, 12 symphonies, concertos, etc. Received two Guggenheims.

Items about Julia Perry in:

RILM Abstracts of Music Literature: 7
RILM Music Encyclopedias: 13
Index to Printed Music: 7

3. Colorased 3: Valerie Capers (b. 1935), pianist, composer. Father was a professional jazz pianist. Blind since the age of six. Got BA and MA degrees from Juilliard, where she was the first blind graduate. Formed her own trio and in 1966 recorded her first jazz album, Portrait in soul.

Items about Valerie Gail Capers in:

RILM Abstracts of Music Literature: 3
RILM Music Encyclopedias: 6
Index to Printed Music: 7

4. Colorased 4: José White Lafitte (1836–1918), composer, violinist. From Cuba, concertized with L.M. Gottschalk. Studied at the Paris Conservatory, Grand Prize winner, 1856. Owner of the “Swansong” Stradivarius. Composed some 30 works, including the F#-minor concerto, recorded by Rachel B. Pine, 1997.

Items about José White Lafitte in:

RILM Abstracts of Music Literature: 10

5. Colorased 5: George Walker (1922–2018), composer. First African American to win a Pulitzer Prize (Lilacs, 1996). First Black graduate of the Curtis Institute (1945), First Black doctorate from the Eastman (1955). Nearly 100 compositions, symphonies, concertos, songs, piano, etc. Studied at Fontainebleau, 1947.

Items about George Theophilus Walker in:

RILM Abstracts of Music Literature: 89
RILM Music Encyclopedias: 44
Index to Printed Music: 4

6. Colorased 6: Undine Smith Moore (1904–89), professor, composer, music theorist. Attended Fisk U, Juilliard, Columbia (MA), and workshops at Eastman. In 1969, cofounded Black Music Center at Virginia State College, and wrote music theory textbook featuring music by Black composers.

Items about Undine Smith Moore in:

RILM Abstracts of Music Literature: 16
RILM Music Encyclopedias: 13
Index to Printed Music: 10

7. Colorased 7: Horace Boyer (1935–2009), professor, music theorist. Published more than 40 articles in major journals. His 1973 Eastman music theory PhD on Black church music may be the first such PhD awarded to African American Black. Theory professor for 26 years at University of Massachusetts, Amherst.

Items about Horace Clarence Boyer in:

RILM Abstracts of Music Literature: 41
RILM Music Encyclopedias: 60

8. Colorased 8: Zenobia Powell Perry (1908–2004), professor, composer. BA Tuskegee Institute, 1938, MA Colorado St. College, 1945. Piano studies with Robert Dett. Composition studies with Darius Milhaud, Charles Jones. Faculty/composer at Central St. University, Ohio, 1955–82. Opera, Tawawa house, 1985.

Items about Zenobia Powell Perry in:

RILM Abstracts of Music Literature: 7
RILM Music Encyclopedias: 6
Index to Printed Music: 2

9. Colorased 9: Henry Williams (1813–1903), violinist, composer, educator. Played with Francis Johnson’s band in Philadelphia. Composed Lauriette, 1840, and Parisian Waltzes, 1854. Member of the National Peace Jubilee Orchestra in Boston, 1872.

Items about Henry F. Williams in:

RILM Abstracts of Music Literature: 3
RILM Music Encyclopedias: 5
Index to Printed Music: 7

10. Colorased 10: Margaret Bonds (1913–72), pianist, educator, composer. Composition studies with Florence Price. BM/MM Northwestern (1933–34). Juilliard comp studies with Roy Harris, Emerson Harper. Theater/song composer, collaborated with Langston Hughes. First Black to perform with Chicago Symphony Orchestra.

Items about Margaret Bonds in:

RILM Abstracts of Music Literature: 27
RILM Music Encyclopedias: 15
Index to Printed Music: 12

11. Colorased 11: William Marion Cook (1869–1944), composer, violinist, conductor. Studied violin, Oberlin. Studied composition with A. Dvořák, 1894–95. Studied violin, Berlin Hochschule, with Heinrich Jacobson and Joseph Joachim. Composed/staged many Broadway musicals in New York City.

Items about Will Marion Cook in:

RILM Abstracts of Music Literature: 68
RILM Music Encyclopedias: 53
Index to Printed Music: 4
MGG Online: 1

12. Colorased 12: Carl Rossini Diton (1886–1962), pianist, composer, educator. Graduated University of Pennsylvania, 1909. Studied in Munich, Germany, 1910–11. Certificate, voice, Juilliard, 1931. Taught at Paine College, Wiley University, and Talladega College (1911–18). Accompanied Marian Anderson and Jules Bledsoe.

Items about Carl Diton in:

RILM Abstracts of Music Literature: 3
RILM Music Encyclopedias: 12
Index to Printed Music: 1

13. Colorased 13: Calvin Bernard Grimes (1939–2011), professor, music theorist. 1974 University of Iowa music theory PhD, “American musical periodicals, 1819–52: Music theory and musical thought in the U.S.” Chair, Division Dean, Music Theory Professor, Morehouse College (his alma mater, ’62). Choir director.

Items about Calvin Bernard Grimes in:

RILM Abstracts of Music Literature: 1

14. Colorased 14: Francis Johnson (1792–1844), composer, bandleader, bugler, violinist. Collection of new cottillions, 1818. Wrote more than 200 compositions. First African American composer to have music published as sheet music. Active in Philadelphia.

Items about Francis Johnson in:

RILM Abstracts of Music Literature: 28
RILM Music Encyclopedias: 29
Index to Printed Music: 53

15. Colorased 15: Joseph Douglass (1871–1935), violinist, conductor, educator. Grandson of Frederick Douglass. First violinist to record for Victor recordings. Studied at Boston Conservatory. First Black violinist to tour Europe. Taught at Howard University.

Items about Joseph Douglass in:

RILM Abstracts of Music Literature: 1
RILM Music Encyclopedias: 11

16. Colorased 16: Mary Lou Williams (1910–81), composer, educator. Guggenheims 1972 and 1977. Taught at Duke University, 1977–81. Wrote hundreds of compositions. Worked with and/or mentored most jazz greats of the twentieth century. Wrote Zodiac suite, Mary Lou’s Mass, and Black Christ of the Andes.

Items about Mary Lou Williams in:

RILM Abstracts of Music Literature: 110
RILM Music Encyclopedias: 31
Index to Printed Music: 15
MGG Online: 1

17. Colorased 17: Roland Wiggins (1932–2019), professor, music theorist. PhD, Combs College of Music. Studied with V. Persichetti, H. Cowell. Taught J. Coltrane, T. Monk, Y. Lateef, B. Taylor. Used Schillinger System. Director Center for Aesthetics, University of Massachusetts. Professor at Hampshire College and University of Virginia.

There are no items about Roland Wiggins in any RILM product.

18. Colorased 18: Olly Wilson (1937–2018), composer, pianist, musicologist. BM, Washington University, St. Louis; MM, composition, University of Illinois; PhD University of Iowa (1964). Taught Florida A&M, Oberlin, UC-Berkeley. Commissions by Chicago and Boston symphonies and NY Philharmonic. Guggenheim, 1971. Rome Prize, 2008.

Items about Olly Woodrow Wilson, Jr. in:

RILM Abstracts of Music Literature: 50
RILM Music Encyclopedias: 14
MGG Online: 1

19. Colorased 19: Harry Lawrence Freeman (1869–1954), composer. Composed 23 operas, the first of which, Epthelia, was premiered in New York in 1891. Papers housed at Columbia University. Unpublished manuscript entitled The negro in music and drama. Wrote of other Black composers as “our musical cousins”.

Items about Harry Lawrence Freeman in:

RILM Abstracts of Music Literature: 6
RILM Music Encyclopedias: 4

20. Colorased 20: Jewel Thompson (b. 1935), professor, music theorist, Hunter College CUNY. PhD, Music Theory, Eastman, 1981, “Samuel Coleridge-Taylor: The development of his compositional style”. Probably first African American woman to earn music theory PhD in U.S., and likely first music theory dissertation on a Black composer.

Items about Jewel Thompson in:

RILM Abstracts of Music Literature: 4

21. Colorased 21: Clarence Cameron White (1880–1960), violinist, composer. Studied at Oberlin, Howard University, and with Samuel Coleridge-Taylor in London. Compositions include a violin concerto, operas, and ballets. Composed the opera Ouanga!, 1932.

Items about Clarence Cameron White in:

RILM Abstracts of Music Literature: 9
RILM Music Encyclopedias: 6

22. Colorased 22: James Reese Europe (1881–1919), composer, bandleader. In 1910, organized Clef Club Orchestra, first group to play early jazz at Carnegie Hall. Played music solely by Black composers. Europe’s orchestra included Will Marion Cook.

Items about James Reese Europe in:

RILM Abstracts of Music Literature: 65
RILM Music Encyclopedias: 29
Index to Printed Music: 2
MGG Online: 1

23. Colorased 23: Hazel Harrison (1883–1969), pianist. Studied with Hugo van Dalen in Berlin, soloed with the Berlin Philharmonic and performed recitals there. Also studied with Ferruccio Busoni. Taught at Tuskegee Institute and Howard University.

Items about Hazel Harrison in:

RILM Abstracts of Music Literature: 6
RILM Music Encyclopedias: 8

24. Colorased 24: Robert Nathaniel Dett (1882–1943), professor, composer, pianist. Performed at Carnegie Hall and Boston Symphony Hall as pianist and choir director. Studied at Oberlin, with A. Foote at Harvard (1920–21), and N. Boulanger at Fontainebleau (1929). MM, Eastman, 1932.

Items about Robert Nathaniel Dett in:

RILM Abstracts of Music Literature: 73
RILM Music Encyclopedias: 28
Index to Printed Music: 46
MGG Online: 1

25. Colorased 25: Dorothy Rudd (b. 1940), composer, educator. Cofounder of Society of Black Composers. Graduated Howard University, 1963, Studies with N. Boulanger, Paris, 1963. Chamber works, symphony, song cycles, and three-act opera Frederick Douglass (1985).

Items about Dorothy Rudd Moore in:

RILM Abstracts of Music Literature: 8
RILM Music Encyclopedias: 10
Index to Printed Music: 2

26. Colorased 26: Lucius Wyatt (b. 1938), professor, music theorist. 1973 Eastman PhD, “The mid-twentieth-century orchestral variation, 1953–1963”. Former chair, music department, Prairie View A&M. Director Prairie View Symphonic Band. Published more than 25 articles in major journals. Director of bands at Tuskegee University.

Items about Lucius Wyatt in:

RILM Abstracts of Music Literature: 11
RILM Music Encyclopedias: 7

27. Colorased 27: Hale Smith (1925–2009), composer, pianist. BM/MM, Cleveland Institute of Music. Compositions include band, choir, orchestra, chamber, and song. Taught at Long Island University and University of Connecticut, Storrs. Honorary Doctorate, Cleveland Institute of Music, 1988. Worked with Eric Dolphy, D. Gillespie, and others.

Items about Hale Smith in:

RILM Abstracts of Music Literature: 28
RILM Music Encyclopedias: 13
Index to Printed Music: 4

28. Colorased 28: Kermit Moore (1929–2013), cellist, conductor, composer. Studied Cleveland Institute of Music, Juilliard, NYU, Paris Conservatoire. Cello teachers: F. Salmond, P. Bazelaire, G. Piatigorsky, P. Casals. Composition with N. Boulanger. Conducting with S. Koussevitsky. Compositions include film scores and chamber music.

Items about Kermit Moore in:

RILM Abstracts of Music Literature: 5
RILM Music Encyclopedias: 10

¹See Kate Manne, Down girl: The logic of misogyny (Oxford: Oxford University Press, 2017) and Entitled: How male privilege hurts women (New York: Crown Publishers, 2020).

²See, for example, Samuel A. Floyd, Jr., International dictionary of Black composers (Chicago: Fitzroy Dearborn, 1999; RILM Abstracts of Music Literature 1999-5098); Tammy L. Kernodle, Horace J. Maxile, Jr., and Emmett G. Price, III, eds., Encyclopedia of African American music (Santa Barbara: Greenwood, 2010; RILM Abstracts of Music Literature 2011-1135); and Eileen Southern, Biographical dictionary of Afro-American and African musicians (Westport: Greenwood Press, 1982; RILM Abstracts 1982-44).

³The angry response from conservative forces in music theory to my antiracist work in the field closely resembles the angry response from those same forces to the antisexist work by Susan McClary in her landmark Feminine endings: Music, gender, and sexuality (Minneapolis: University of Minnesota, 1991; RILM Abstracts of Music Literature 1991-2755). I am proud to be mentioned in the same breath as a pioneer such as McClary.

⁴Timothy L. Jackson, “A preliminary response to Ewell”, Journal of Schenkerian studies XII (2020) 165; RILM Abstracts of Music Literature with Full Text 2019-20465.

⁵Jackson, 163.

⁶For more on the controversy that this volume issue instigated, see the “Media” tab of my website, philipewell.com, where I have linked many feature stories that explain some of the issues surrounding this controversy.

⁷See, for example, Black opera research network (blackoperaresearch.net); Composers of Color Resource Project (composersofcolor.hcommons.org); Cora S. Palfy and Eric Gilson, “The hidden curriculum in the music theory classroom”, Journal of music theory pedagogy 32 (2018; RILM Abstracts of Music Literature 2018-52605); Dave Molk and Michelle Ohnona, “Promoting equity: Developing an antiracist music theory classroom”, New music box 29 January 2020 (https://nmbx.newmusicusa.org/promoting-equity-developing-an-antiracist-music-theory-classroom/); ÆPEX Contemporary Performance (http://aepexcontemporary.org); Engaged music theory (engagedmusictheory.com); Music by Black composers (musicbyblackcomposers.org); Institute for Composer Diversity (composerdiversity.com); Expanding the music theory canon (expandingthemusictheorycanon.com); Project spectrum (projectspectrummusic.com); Rachel Lumsden and Jeffrey Swinkin, eds., The Norton guide to teaching music theory (W. W. Norton & Company, 2018; RILM Abstracts of Music Literature 2018-52608); and Robin D. Moore, ed., College music curricula for a new century (Oxford University Press, 2017; RILM Abstracts of Music Literature 2017-25093). Finally, see Rosa Abrahams, Philip Ewell, Aaron Grant, and Cora S. Palfy, The practicing music theorist, a new modernized and inclusive undergraduate music theory textbook (W.W. Norton, projected release 2023).

⁸ For more on the many mythologies of “Western civilization”, see Kwame Anthony Appiah, “There is no such thing as Western civilization”, The guardian, November 9, 2016.

⁹I’ve written out the many abbreviations I used in my original tweets here.

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Filed under Black studies, featured, Theory

Tagged as Black studies, Theory

by rilm | March 4, 2020 · 8:00 am

Smithsonian Collections Object: The Sony TPS-L2 “Walkman” Cassette Player, National Museum of American History

For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The Aural Walk”

When first launched by Sony on July 1, 1979, you would have called it something different depending on where you lived. In the United States, it was the Sound-About; in Sweden, the Freestyle; in the United Kingdom, the Stowaway. Such diversity reflected concerns that, while acceptable in Asia, Latin American, and the Middle East, the name Walkman was just too grammatically awkward, too “Japanese-made” to be marketable in the Anglophone world. However, like much of the music it mediated, its catchiness could not be denied. The Walkman would become the standard not only for a specific stereo cassette player made by Sony, but for all personal cassette players throughout the world. There was a time when, just as you might reach for a Kleenex instead of a tissue, or a Xerox instead of a photocopy, your portable listening device was the Walkman, even if it was not one proper.

As urban populations continue to swell, and portable, “smart” personal devices rapidly accumulate functionalities, the Sony Walkman seems like a relic and a premonition: an icon of the last two decades of the 20th century that helped construct the idea of the modern “urban nomad.”

First introduced in the United States in June of 1980, the TPS-L2 Walkman (featured above) was clad in sleek blue and silver, weighed 14 ounces, and came with a carrying case and headphones. This original model featured two headphone jack sockets and a hotline feature that allowed you to talk to your companion without having to lower the volume or remove your headphones. Early commercials for the product present it as a device that could unite different cultures and ages, a meeting ground for the traditional and modern:

Two commercials, aired in Japan in 1979, promoting the Sony Walkman

Another commercial—this one featuring the TPS-L2’s direct offspring, the “classic” Walkman II (WM-2)—shows us how the stereo cassette player and radio can provide an enhanced version of the everyday work day.

People of all ages, but especially young, energetic, modern urbanites, are illuminated, in color, by the (“hi-fi”) sounds offered by the Walkman. The scene features enclosed, autonomous characters listening to their personal devices in a social context. The commercial’s negotiation of the ambiguous boundary between diegetic sounds (i.e., music is a part of the narrative; we assume the characters on screen can hear it) and non-diegetic sounds (i.e., disconnected from the narrative; music that remains unheard by characters) drives the point home: when the jingle fades in, only after the protagonist “sees the light” (that shines on the Walkman side of the street of course), some people—couples and shopkeepers—clearly dance to the same music we hear. But perhaps others—the roller skater, the juggler, the skateboarder—are left “to their own devices” (quite literally, as Sony would release different versions of their Walkman to suit specific youth tastes). This polyphony of movement streams suggests a freedom and escape from the silent, black-and-white “dark” that enshrouds the toiling city-dwellers who, alone without the Walkman, fail to take part in a shared experience.

Over and above these media texts’ “datedness” and function (to sell you the product), they point to an issue that is just as provocative now as it was when sociologists and media/cultural studies researchers approached the Walkman in the early 1980s: the social consequences of the potential for personal, portable devices to blur the boundaries between the domestic and public spheres in an urban environment. By roughly 1983, the hotline feature was removed, and two headphone jacks brought down to one. Contrary to Sony head Akio Morita’s conviction that it would be rude for one person to listen to music alone, he discovered shortly after the device’s release that “buyers began to see their little portable stereo sets as very personal.” More than sharing music, people were more interested in curating their own unique “theatrical” experiences—with themselves as protagonist—as they traversed urban environments. The Walkman became a part of an urban strategy, an autonomous and perhaps solitary (but not isolating!) means through which to negotiate the urban soundscape.

If Walkman users were protagonists, some spectators (non-Walkman users) were not entertained or enthused. “Cultural moralists,” as Umberto Eco has called them, had serious reservations about the mixture of the two spheres, public and private, just as Morita did. Included in the primer, Cultural Studies: The Story of the Sony Walkman, which takes the Walkman as a case study through which to examine key concepts in sociology and media studies, we find a reprint of a brief article that details the experiences of one Walkman user in London. In his short piece, “Menace II Society,” Vincent Jackson writes,

You pull out your Walkman, You stick in your tape […] You press the play button. BAM! The Eyes. Ice glares tell it all. In the short time it takes for the other passengers to look you up and down with utter contempt, you have already had a huge label slapped across your forehead. You are a scumbag, a low-life, a loser. For some strange reason, the Walkman has become the scourge of the modern day traveler, the leper’s bell, symbolic of the endemic rebellion in today’s youth culture. Wear a Walkman and you’re travelling strapped. A Menace to Society.

Despite the hyperbolic tone of this account, it is undeniable that, particularly in the direct wake of its release, the Walkman’s ability to facilitate concealment in a public setting, where it “doesn’t belong,” was disquieting to many an onlooker. Never mind that testimony from Walkman users themselves revealed that many found the device not only useful as a way to shut out unwanted aspects of the city, but also to sculpt the city’s sounds and images in such a way as to commune with it. To many, Walkman users were flaunting a secret—what are they listening to?!—in plain sight. Perhaps the silence of this secret was louder (and more offensive) than the cacophony of all the city’s ambulances, police cars, fire engines, construction, and subways combined.

Whatever one’s perspective, it is undeniable that the Walkman opened a door to practices—both intimate and social at once—that have endured. For this reason and many others, it is of extraordinary value, not only as a cultural object, but also as just one example of human beings’ desire to use music as a vehicle through which to situate themselves among others.

This post was produced through a partnership between Smithsonian Year of Music and RILM with its blog Bibliolore.

Written and compiled by Michael Lupo, Assistant Editor, Répertoire International de Littérature Musicale (RILM).

Bibliography

Bull, Michael. “Investigating the culture of mobile listening: From Walkman to iPod”, Consuming music together: Social and collaborative aspects of music consumption technologies, ed. by Kenton O’Hara and Barry Brown. Computer supported cooperative work 35 (Dordrecht: Springer, 2006) 131–149. [RILM Abstracts of Music Literature, 2006-26623]

_____. Sounding out the city: Personal stereos and the management of everyday life. Materializing culture (Oxford: Berg, 2000). [RILM Abstracts of Music Literature, 2000-57258]

Examines the auditory experience of self and place by exploring the reasons why and the ways in which people tune into their personal stereos (e.g., Walkmans, etc.) and tune out city sounds. Urban, cultural, and anthropological studies have been dominated by explanations of experiences drawing upon notions of visuality. But culture always has an auditory component that shapes attitudes and behavior—perhaps nowhere more so than in the city, where sound is intensified. Strictly visual approaches to culture are challenged here by proposing an auditory understanding of behavior through an ethnographic analysis of personal stereo use. Our understanding of how people, through the senses, negotiate central experiences of the urban—such as space, place, time, and the management of everyday experience—are reformulated, and the critical role played by technology is examined. (publisher)

Chambers, Iain. “A miniature history of the Walkman”, New formations: A journal of culture/theory/politics 11 (summer 1990) 1–4. [RILM Abstracts of Music Literature, 1990-40156]

_____. “The aural walk”, Audio culture: Readings in modern music, ed. by Christopher Cox and Daniel Warner. (2nd ed.; New York: Bloomsbury, 2013) 98–101. [RILM Abstracts of Music Literature, 2013-15440]

_____. Urban rhythms: Pop music and popular culture (New York: St. Martin’s Press, 1985). [RILM Abstracts of Music Literature, 1986-4279]

Chow, Rey. “Listening otherwise, music miniaturized: A different type of question about revolution”, The cultural studies reader, ed. by Simon During (2nd ed.; London: Routledge, 1999) 462–478. [RILM Abstracts of Music Literature, 1999-62371]

Du Gay, Paul and Stuart Hall, et. al. Doing cultural studies: The story of the Sony Walkman (2nd ed.; Los Angeles: Sage, 2013). [RILM Abstracts of Music Literature, 2013-46759]

What does the Walkman have to do with the 21st century? The long-awaited second edition of this classic textbook takes students on a journey between past and present, giving them the skills do to cultural analysis along the way. Through the notion of the circuit of culture, this book teaches students to critically examine what culture means, and how and why it is enmeshed with the media texts and objects in their lives. Students will gain practical experience with the historical comparative method, learn to think about some of the cultural conundrums of the present and their relation to the past, unpack the key concepts of contemporary culture, such as mobility and materiality, look with fresh eyes at today’s media world and the cultural practices it gives rise to, and practice their critical skills with up-to-date exercises and activities. This book remains the perfect how-to for cultural studies. It is an essential classic, reworked for today’s students in cultural studies, media studies, and sociology. (publisher)

Hosokawa, Shūhei. “The Walkman effect”, The sound studies reader, ed. by Jonathan Sterne (New York: Routledge, 2012): 104–116. [RILM Abstracts of Music Literature, 2012-11796]

The 1980 Sony invention has been paramount in the creation of “musica mobilis”, a music whose source follows “the corporal transportation of the source owner”. The internal effects of listening, the internal-external relationship between inner hearing and outside (urban) sounds, and the external theatricality of “wearing” a Walkman are all examined. It is argued that to think about the Walkman is to reflect on the urban itself.

_____. “Walkman as urban strategy”, OneTwoThreeFour: A rock ‘n’ roll quarterly 6 (summer 1988): 40–45. [RILM Abstracts of Music Literature, 1988-26630]

The Walkman–however awkward this Japanese-made English sounds–has become a worldwide phenomenon. Proportional to its proliferation, doubts and criticism around the technology have grown, presuming that most users are part of the “lonely crowd” (David Riesman) in an “alienated” society and that the Walkman is a remarkable symbol for “self-enclosure” among young people. The radicalism of the Walkman, however, is not a matter of the subject being changed by a soundscape, but rather a soundscape being changed by a subject. Michel de Certeau compares the walk act to the speech act: “The walk act is to the urban system as the speech act is to language”. The Walkman makes the walk act, as a “space of enunciation”, more poetic and dramatic, enabling the quasi-complete separation of the audible experience and the visual once of a pedestrian.

Schönhammer, Rainer. “The Walkman and the primary world of the sense”, Phenomenology + pedagogy 7 (1989) 127–144. [RILM Abstracts of Music Literature, 1989-14178]

Williams, Andrew Paul. The functions of Walkman music (Ph.D. diss., The University of Adelaide, 2004). [RILM Abstracts of Music Literature, 2004-26911]

Since its release in 1979, the Walkman has engendered new modes of musical experience for millions of listeners. Its portability and the apparent isolation offered by its headphones enable Walkman users to listen to music in situations where it would otherwise be impossible. They can also use Walkman music to achieve outcomes for which other forms of music may not be suited. Eleven functions of Walkman music, ten adapted from Michael Bull’s (2000) strategies of Walkman use and one derived from this study’s fieldwork results, are examined here. Following Timothy Rice’s (1987) model for ethnomusicological study, the functions’ origins in historical musical practice are investigated, as well as their maintenance in social interaction and listeners’ individual experience of them. This study demonstrates Walkman listeners are focused entirely on their Walkman music in only two functions, either enjoying it or trying to learn it. Four functions involve Walkman listeners’ interactions with their surroundings—namely, listeners use Walkman music to control their environments’ soundscapes, to ease their negotiation of places they consider unpleasant, to control personal interactions and, in combination with their surroundings, Walkman music gives listeners the impression they are viewing or acting in a film for which their music is the soundtrack. Listeners use Walkman music for its effects on themselves in five functions. They choose rhythmic music for motivation during exercise or music which will influence their mood. Listeners also use Walkman music to simulate the presence of a companion or because they consider it a more enjoyable or productive use of time they would otherwise consider wasted. Finally, Walkman music can prompt listeners’ memories of past events. While similar observations have been made in previous studies and particularly by Bull, music’s role has not been appropriately acknowledged. This study’s examination of Walkman music in terms of the functions it fulfills for listeners corrects this imbalance. Observations in the literature relating to Walkman use are tested for their resonance with Walkman listeners in ethnographic interviews conducted in Adelaide, Australia. Conclusions are drawn regarding the degree of isolation listeners actually achieve from their surroundings and also regarding the relative novelty or otherwise of the uses to which listeners put their Walkman music. (author)

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Smithsonian Collections Object: The Sony TPS-L2 “Walkman” Cassette Player, National Museum of American History

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“A Shakespearean panoply of characters”: Lou Reed: Caught between the twisted stars–An annotated bibliography

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Smithsonian Collections Object: The Sony TPS-L2 “Walkman” Cassette Player, National Museum of American History

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