New Review in ‘Gender, Place, and Culture’

9781479817863_fullJust checking in to you let you all know that I just had a new review published in the Feminist Geography journal Gender, Place, and Culture. I had the opportunity to write about Roshanak Kheshti’s challenging and very interesting book Modernity’s Ear: Listening to Race and Gender in World Music. 

You can read my review here, where you can also find information about where to order the book.

Citation:

Tyler Sonnichsen (2017): Modernity’s ear: listening to race and gender in world music, Gender, Place & Culture, DOI:10.1080/0966369X.2016.1275112.

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Did Alexis de Tocqueville Predict the Internet?

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Did Alexis de Tocqueville anticipate the internet in 1835?

Long answer, “no” with a “but.” Short answer, “yes” with an “if you think about the internet more conceptually and we’re talking about the metaphysical and social dynamics rather than literal mechanics, sure.”

Anyway, I was looking for some quotable quotes in the late-70’s abridged edition of Democracy in America, which I recently purchased in my favorite bookstore on the planet (Capitol Hill Books), landed on this, and thought “wow, that’s pretty much where we are today.”

The artisan readily understands these passions, for he himself partakes in them: in an aristocracy, he would seek to sell his worksmanship at a high price to the few; he now conceives that the more expeditious way of getting rich is to sell them at a low price to all (p. 170).
In America, parties do not write books to combat each other’s opinions, but pamphlets, which are circulated for a day with incredible rapidity, and then expire.
In the midst of all these obscure productions of the human brain appear the more remarkable works of a small number of authors, whose names are, or ought to be, known to Europeans (p. 173).
Who said we ever needed the internet to have internet culture?
Seriously, if you’re ever in DC, visit Capitol Hill Books before doing anything else at all. Well, maybe get hydrated first because it’s a sauna there, but then visit this store. It will make you love books even more than you already thought you did, and the gentrification/development going on in Eastern Market is making me worried, and all those museums and monuments up the street aren’t going anywhere.

A Note on ‘Sounds French’ by Jonathyne Briggs and Non-English Punk

Cultural forms, particularly popular music, offer a utopian possibility of unity through a shared cultural expression. The examples of [Johnny] Hallyday and the Fête [de la musique, every June 21st] mirror the dichotomy between the two. One could observe that the French rocker creates a unified audience for his music through a homogenization of sounds and styles and that the Fête stresses the diversity of musical cultures while combining cultures… The paradox between these positions is that music (and other forms of culture) can serve to promote singularity and plurality.

The above quote comes from page 7 of Jonathyne Briggs’ Sounds French: Globalization, Cultural Communities, and Pop Music, 1958 – 1980This book is one of the best synopses of any nation-state’s popular culture I’ve read, and is absolutely essential for anyone interested in learning about the development of pop music in France. It’s already been incredibly helpful in my understanding of the framing of punk music against France’s popular and sociopolitical culture as I work on going through my recordings and notes from this summer.

Of course, there are so many avenues through which to explore this. The companion site to Briggs’ book provide links to various songs he alludes to, such as “Rock and Roll Mops” by Henri Cording (Salvador) and his Original Rock n’ Roll Boys (1956), largely credited as the first proper French “rock n’ roll” single. As Briggs writes, Henri Salvador did not take rock n’ roll seriously, and made a novelty song aimed at capitalizing on what he thought was a trend (not completely unlike Bill Haley did with “Rock Around the Clock”), but the song did begin a (protracted) slippery slope of rock n’ roll legitimacy in the French language. The first thing I thought of while reading this was how Plastic Bertrand provided the same type of parodic cornerstone for French-language punk music with “Ça plane pour moi” (1977). Granted, Bertrand’s song was more tongue-in-cheek, but it remains one of the most recognizable French-language songs in the Anglo-Saxon world. Tell me I’m wrong.

While I have yet to publish anything on it (academically or on here), I will encourage a greater focus on non-Anglo-Saxon punk culture, because it would afford us a more nuanced understanding on the conditions that spread it, as well as (very importantly) challenge a long-held single-story that particular socio-political environments were necessary for it to grow. More to come.

R.A.S. show ends in violence as Neo-Nazis infiltrate the crowd, 1984. Photo courtesy of Philippe Roizes, all rights reserved.

One of the final R.A.S. shows ends in violence as Neo-Nazis infiltrate the crowd. Paris, 1984. (Photo courtesy of Philippe Roizes, all rights reserved)