A01=Eric Weisbard
america
american
artists
audience
Author_Eric Weisbard
biographical
biography
Category=AVL
Category=NHK
charts
city
class
contemporary
cultural
culture
dolly parton
elton john
eq_art-fashion-photography
eq_bestseller
eq_history
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eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
gender
genre
hip hop
historical
history
identity
industry
isley brothers
label
mainstream
modern
music
musical
musicians
popular
race
radio
record company
religion
rivals
rock
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stations
united states
urban
usa
well known
Product details
- ISBN 9780226896182
- Weight: 482g
- Dimensions: 17 x 23mm
- Publication Date: 20 Nov 2014
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Paperback
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If you drive into any American city with the car stereo blasting, you'll undoubtedly find radio stations representing R&D/hip-hop, country, Top 40, adult contemporary, rock, and Latin, each playing hit after hit within that musical format. American music has created an array of rival mainstreams, complete with charts in multiple categories. Love it or hate it, the world that radio made has steered popular music and provided the soundtrack of American life for more than half a century. In Top 40 Democracy, Eric Weisbard studies the evolution of this multicentered pop landscape, along the way telling the stories of the Isley Brothers, Dolly Parton, A&M Records, and Elton John, among others. He sheds new light on the upheavals in the music industry over the past fifteen years and their implications for the audiences the industry has shaped. Weisbard focuses in particular on formats-constructed mainstreams designed to appeal to distinct populations-showing how taste became intertwined with class, race, gender, and region.
While many historians and music critics have criticized the segmentation of pop radio, Weisbard finds that the creation of multiple formats allowed different subgroups to attain a kind of separate majority status - for example, even in its most mainstream form, the R&B of the Isley Brothers helped to create a sphere where black identity was nourished. Music formats became the one reliable place where different groups of Americans could listen to modern life unfold from their distinct perspectives. The centers of pop, it turns out, were as complicated, diverse, and surprising as the cultural margins. Weisbard's stimulating book is a tour de force, shaking up our ideas about the mainstream music industry in order to tease out the cultural importance of all performers and songs.
Eric Weisbard is assistant professor of American studies at the University of Alabama and associate editor of the Journal of Popular Music Studies.
