Music History Archives - Not Even Past

Sky Pilot, How High Can You Fly

I started going to camp in 1968. We were still just children, but we already had Vietnam to think about. The evening news was a body count. At camp, we didn’t see the news, but we listened to Eric Burdon and the Animals’ Sky Pilot while doing our beadwork with Father Pekarski.

Pekarski looked like Grandpa from The Munsters. He was bald with a scowl and a growl, wearing shorts and an official camp tee shirt over his pot belly. The local legend was that at night, before going out to do his vampire thing, he would come in and mix up your beads so that the red ones were in the blue box, and the black ones were in the white box. Then, he would twist the thread on your bead loom a hundred and twenty times so that it would be impossible to work with the next day. And laugh. In fact, he was as nice a guy as you could ever want to know.

Back then, bead-craft might have seemed like a sort of “feminine” thing to be doing at a boys’ camp. We considered it an Indian thing to do. Of course, we didn’t know squat about real Native Americans, but for little boys in the sixties, “the Indians” were the quintessential embodiment of manly courage, righteous rebellion, and strength, so we wanted to be like them in every way. Our camp counselors thought bead-craft was a good way to get rowdy boys to sit still in the shade for thirty-five minutes on a July afternoon in the Hill Country. We accepted. Besides, George did bead-craft with us, and George was cool.

George was one of our counselors. He was almost eligible for the draft and he had a girlfriend. That made him a serious hero for little boys. While he worked, he would comment on the war. Or get quiet and turn the radio up when KTSA played the Sky Pilot.

Soon there’ll be blood, and many will die
Mothers and fathers back home they will cry.

The Sky Pilot was seven and a half minutes, two sides of a 45-rpm single, complete with war noises and patriotic bagpipes, surreptitiously recorded at a solemn military funeral.

Eric Burdon had done his homework. But his song was from another time and another war. His sky pilot was Icarus in a biplane, you’ll never, ever, ever reach the sky. But for us, it was all about Vietnam. It was becoming impossible to rescue gallantry and honor from that quagmire. The Sky Pilot, and George’s reverence for it, had taught us the unthinkable: to question patriotism, religion, and long, hot afternoons hanging with the boys at the rifle range. Trying to keep a steady hand. Trying desperately to earn all the coveted NRA marksmanship medals so that we, too, could become soldiers, one day. But, was that even a good thing, anymore?

You’re soldiers of God, you must understand
The fate of your country is in your young hands

Eric Burdon was on the edge. He had a bad boy image. Not the shirtless mayhem of the ‘80’s; not the wanton outpouring of staged violence that turned the crowd comfortably numb. Eric still wore the coat and tie that you would expect to see on any of his polite contemporaries, but, on him, they looked rough, as if it were the first time he had ever gotten dressed up. Eric was on the edge, but not over the edge. Not numbed or comfortable, we were possessed, spellbound, and impassioned.

Eric Burdon & the Animals in 1967. Foreground: Eric Burdon Background (L–R): Danny McCulloch, John Weider (in striped shirt), Vic Briggs and Barry Jenkins (via Wikimedia)

We learned everything we needed to know on KTSA. When we were ten, it made us wonder. When we turned thirteen, it made our hands tremble and our hearts pound. That was AM radio, back when broadcast meant broad. You could hear KTSA loud and clear anywhere in South Texas, especially, after dark. The songs on the radio called on us to step up.

Our consciousness of what a real man was, and what he ought to think, came from our counselors, Kurt and George, that first summer when we were only ten. Kurt was seventeen and already a cancer survivor. He had lost one to the silent beast, but he had more balls than all of us put together. George was only sixteen, but already dark and wise. He would sweat through the chest and pits of his tee-shirt pretty early in the day. We thought that was cool. He had lots of black wavy hair, a wisp of a beard and a deep gaze. To us, Kurt and George were titans.

They were just kids, really, not even old enough to vote but almost old enough to line up at boot camp and die in Vietnam. The draft was on everyone’s mind. Vietnam was the first-ever televised war. We could see bodies like our own, bodies like we wanted ours to be, mangled for reasons we couldn’t understand. We even saw the massacre at My Lai, and we learned to doubt that Americans were always the good guys.

US Army helicopters pour machine-gun fire into the tree line to cover the advance of ground troops (via BBC)

My first summer at camp, Kurt and George were absolutely in charge of us for two whole weeks. There was no adult interference and so, no reason to distrust or suspect. When you were ten, adults were the enemy. They always had a hidden agenda, something they wanted and ways to get it. Adults could blackmail you. They would stop at nothing to gain absolute control of little boys’ thoughts and impulses. And, they swore that what they wanted was good for you.

For fourteen days that summer, we were free. Ours was an ideal world, even if it was only temporary. The influence that Kurt and George had on who we were and who we wanted to be was virtually unlimited. We worshipped them. We would have gone anywhere with them. We would have done anything to please them. We would have given everything to wear what they wore, to smell how they smelled, to know all the mysterious things they knew, and to move through the world as they did, fearless, tall and strong.

One afternoon at rest period, Kurt and George came into the bunkhouse and asked for silence. That was unusual. We were all in our underwear and we listened carefully. Rest period was on your bunk in your underwear. You didn’t have to sleep but you had to be quiet and horizontal. That was when we devoured our DC Comics and our Mad Magazines. Fruit of the Loom was the appropriate attire because it kept you inside, it cooled you down and, most importantly, it gave your favorite clothes an hour to air out.

Sky Pilot cover shows two planes in the air — Sky Pilot cover (via Wikimedia)

Kurt had found a nearly perfect flint spearhead at an Indian mound back in the hills, probably a Comanche artifact. We were in their hunting grounds, their sacred space, where they talked to eagles and buried their ancestors. Kurt’s spearhead was in his sock drawer, by his bunk, which was next to mine. We all knew about it, we all knew where he kept it and we were all proud of it. It was our spearhead. Kurt and George came to tell us that the spearhead had been stolen, and they knew who had done it. They were going to leave us alone during rest period that day, to give the boy who had stolen it a chance to put it back. If he did, there would be no questions asked. If he didn’t, he would be sent home in disgrace.

He did. It was (…). I saw him do it. My bunk was right there. He got up, supposedly to go to the bathroom, but he made a quick, unmistakable stop at Kurt’s sock drawer. It’s hard to hide a spearhead on your person when all you have on is your tidy whities, but it was really the stop that gave him away.

The repentant thief was careful, though, and no one saw him but me. Why he had taken it, we never knew. Insecure, I guess. Afraid that, unless he stole it, he would never acquire the power, the unspoken secret energy that could only be yours if you waited for it, the dynamism would most certainly elude you if you tried to take it by force instead of earning it.

No questions were asked. Kurt and George had practiced compassion to teach instead of punish. We did wonder whether they really knew who it was, or if their bet had been a gamble. We think they did know. When they explained the conditions of our impending ordeal, they were too calm to have been bluffing. When it was over, we would have followed them into battle. We would have followed them onto the streets to protest the war.

Vietnam was the inescapable quandary constantly ringing in our ears. We heard about it on KTSA. Dylan told us the answer was blowing in the wind. Peter, Paul and Mary railed against the cruel war raging; and Johnny having to fight. They taught us how to sing and why. They taught us to demand, with childlike innocence, where had all the flowers gone.

In the 60’s, not all of it was committed protest music. There was a lot of romantic pop, too, but it all came to smell of the war. There were songs about young couples that missed each other, songs that made every GI remember the girl he had left behind. Or, the girl he thought had left him behind. Ruby, are you contemplating going out somewhere? That was the anxiety. If a guy wasn’t around, she would find someone else. If he came home crippled, she might still love him as a friend, but she wouldn’t want him. Yes, it’s true that I’m not the man I used to be. Oh, Ruby, I still need some company. There was more than one way to get your manhood blown off.

Veterans protest and carry a sign that reads "We won't fight another rich man's war" — Veterans Protest (via Zinn Education Project)

The GI anthem, though, was the one written by 16-year-old Michael Brown of The Left Banke. It reached number 5 on the charts in ‘66. Just walk away, Renée; You won’t see me follow you back home. They called it Baroque rock, because of the orchestral arrangement and the long, lonely flute solo. The empty sidewalks on my block are not the same; You’re not to blame. Michael and the boys had a sultry mumbling way about them that gave flesh to the burning a priori adolescent male resentment for adult manipulation, the secret decisions made in smoky rooms that made old men rich and young men die. That was a common feeling back in ‘68. It was generational. We were angry about Indochina. It was killing us.

More by Nathan Stone:
Romero
José and His Brothers
Three-year-olds on the world stage

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“London is Drowning and I, I Live by the River”: The Clash’s London Calling at 40
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Legacies of the Vietnam War

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Turbo-folk: Pop Music in the Crucible of Balkan History

Kicking off our new series on digital history projects, Dr. Vladislav Beronja, a professor in the UT Department of Slavic and Eurasian Studies, tells us about a class project to build a website on Balkan pop music.

By Vladislav Beronja

Turbo-folk—a mixture of pounding electronic beats and trilled vocals—can be heard blasting from cafés, taxis, and dance clubs across the former Yugoslavia. Despite its ubiquity in the region, this Balkan pop phenomenon has been a hotspot of political and cultural controversy due to historical associations with Slobodan Milosevic’s nationalist regime in Serbia of the 1990s. The genre has been accused of valorizing patriarchal values, crass materialism, gangster lifestyle, and—more seriously—war crimes. A closer look at turbo-folk, however, reveals that it has undergone significant transformations in the last few decades.

This spring my students examined turbo-folk as well as the accompanying controversies in the context of an undergraduate seminar, “Punks and Divas in Southeastern Europe: Popular Music and Cultural Identity in the Balkans.” The result is a website titled Old Beats, New Verses: 21 Newly Composed Essays on Turbo-folk, which the class collectively created with help from the European Studies Librarian, Ian Goodale.

Old Beats, New Verses: 21 Newly Composed Essays on Turbo-Folk (via Old Beats, New Verses)

In many ways, “Old Beats, New Verses” is a companion piece to a similar website on punk music, “Yugoslav Punk,” the soundtrack of the last Yugoslav generation characterized by playful rebellion, liberal orientation, and irony typical of late socialism. Turbo-folk, on the other hand, represents for many the soundtrack to Serbian militant nationalism, which stoked the flames of war that ultimately engulfed and destroyed multiethnic Yugoslavia in the early 1990s. Drawing on recent scholarship and the wealth of materials available on the Internet, the student essays address different aspects of turbo-folk, from its most prominent divas to representations of gender and national identity to global influences. Many if not all of the contributions challenge the assumptions and stereotypes connected to turbo-folk while still maintaining a critical outlook.

Turbo-folk stands at the complex intersection of the various highly politicized identities in the former Yugoslavia, such as nationality, gender, sexuality, and class. This complex cultural location has been the case from the genre’s inception in newly composed folk or neofolk music. Emerging in 1960s Yugoslavia, neofolk coincided with rapid industrialization and expansion of the urban working class in the fledgling socialist state. The new-fangled genre combined elements of Balkan folk music, strongly inflected by Ottoman colonial legacy in the region, with western pop structures and modern electric instruments. Like its primary audience of recently urbanized peasants, neofolk was almost immediately received with ridicule and scorn by the Yugoslav cultural establishment, even as the communist authorities continued to strategically utilize the genre’s wide appeal. Frequently derided as overly crass, kitschy, and even foreign, neofolk nevertheless occupied a dominant position in Yugoslav socialist culture as its unacknowledged pleasure-filled underbelly.

Tanja Savić-Prostakuša (Bad Woman), 2017 (via Old Beats, New Verses)

Reflecting on this history, many student contributions examine the afterlife of neofolk—and of Yugoslavia—in contemporary turbo-folk. The career of Lepa Brena, the neofolk singer who rose to spectacular fame in the early 1980s, is especially interesting in this respect. Several students examine Brena’s music as a vehicle of contemporary Yugonostalgia—a collective longing for the former socialist homeland that is often mediated through music, cinema, and other products of pop culture. Born into a Bosnian Muslim family, but a longtime resident of Belgrade and married to a Serb, Brena in many ways breaks the stereotype of both the neofolk/turbo-folk performers and audiences as overly nationalistic. Moreover, positive references to socialist Yugoslavia in contemporary turbo-folk, as well as the genre’s popularity across national lines have arguably made it an expression of “identity beyond borders,” as one student essay puts it.

If neofolk is representative of socialist Yugoslavia (and its contradictions), then turbo-folk has become symbolic of its violent dissolution. In the 1990s, turbo-folk became an extension of Slobodan Milosevic’s authoritarian regime in Serbia, when the genre flooded the airwaves, pushing out any oppositional musical voices and subcultures. In this vein, the category of “kitsch” has been widely applied to turbo-folk to describe its aesthetically and politically regressive qualities. Offering a creative reading of Viki Miljković’s 1994 hit “Coca Cola, Marlboro, Suzuki,” an essay by Luis Martinez shows how the kitschy, commodity-filled surfaces of turbo-folk music videos should not be seen as mere escapism, but as unwitting mediators of traumatic and perplexing historical changes in the region.

Since the 1990s, the genre has become largely autonomous from regime politics, although the controversies around turbo-folk divas and their fans continue to linger. Many essays demonstrate that turbo-folk has significantly evolved in the 21^st century by reflecting more socially progressive themes. For instance, the genre has started incorporating proto-feminist values and queer aesthetics. An essay by McKenna Gessner argues that contemporary turbo-folk divas challenge normative ideas of femininity and female sexuality. The essay draws examples from Jelena Karleuša and Nikolija’s music videos, featuring dramatic reversals of gendered power dynamics and outrageous “femme” looks. Other contributions are less celebratory, such as Gabriella Velasco’s essay on queer embodiment (or the lack thereof) in turbo-folk. All the essays, however, acknowledge that the nods and winks of turbo-folk divas to their female and queer audiences have become more open and explicit, despite the continued presence of patriarchal and homophobic attitudes in Balkan societies.

Lepa Brena. “Jugoslovenka.”1989 (via YouTube)

The section on turbo-folk and cultural and national identity is the most extensive, and for good reason. Like identity in the Balkans, turbo-folk has always been full of ambiguities and contradictions, which makes it a fascinating object of study. For instance, the influence of Ottoman colonial legacy on contemporary Balkan popular music still remains largely unacknowledged even when it is playfully evoked. Turbo-folk not only adopts Orientalist melodies and themes, but it blatantly copies pop songs from Turkey and the Middle East, simply translating the original texts to bring them closer to former Yugoslav audiences. As Milena Đorđević-Kisačanin’s essay shows, Serbian turbo-folk singers will frequently borrow from Greek pop music to escape charges of “Turkishness.” The same is true of the wider appropriations of Romani music. Roma culture is used to symbolize the unfettered spirit of the Balkans as a whole, even as the Roma themselves remain one of the most marginalized and oppressed group in the region.

The student enthusiasm and the consistently high quality of research during this project have convinced me of the advantages of doing a collective assignment with a strong digital and public-facing component. Together these student essays show the value of intercultural contact, original research, and guided on-line engagement in an undergraduate seminar setting. They also successfully break the surface of the stereotypes of Balkan popular culture to reveal a more complex, layered, and historical image of the region. In this sense, the project can perform the critical work of scholarship beyond the university classroom.

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“London is Drowning and I, I Live by the River”: The Clash’s London Calling at 40

By Edward Watson

On February 7, Seattle’s non-profit broadcaster KEXP headed to London for their seventh annual International Clash Day. In celebration of The Clash’s London Calling turning 40 in December 2019, KEXP organized a 4-day live broadcast in Seattle and London, featuring performances from contemporary bands and covers of The Clash’s songs. Their intention was to highlight the “enduring influence” of The Clash’s music as well as their “human rights message.” Released in the UK in December 1979 and in the US in January 1980, London Calling is widely recognized as one of the most influential albums of the twentieth century. Rolling Stone listed it as the eighth best album of all time, Q Magazine listed it at number 20, and the NME placed it at number 39.

The Clash are tied to punk’s emergence in 1976. After the band made its live debut supporting the Sex Pistols in Sheffield in 1976, The Clash became one of the key players in London’s punk scene. By January the following year, The Clash had signed with CBS Records for £100,000 and in April they released their self-titled debut album. The record deal was considered an astronomical fee by the music press and fans alike. Mark Perry, founder of influential punk fanzine Sniffin’ Glue, claimed, “punk died the day The Clash signed to CBS.” Nonetheless, The Clash’s debut record was still recognizably a punk record. London Calling, however, reflected the band’s exploration into styles of music that transcended their punk origins, such as rock and roll, reggae, and ska. In spite of their substantial record deal, The Clash struggled financially. By 1979, The Clash was largely in debt and they were at war with their record company. They needed a commercial success and fast. London Calling delivered, selling around two million copies upon its release. In the UK, it was certified gold in December 1979 and in the US it peaked at number 27 on the Billboard Pop Albums chart.

Cover of the first edition of Sniffin’ Glue (via Wikipedia)

In addition to its diverse range of musical influences, London Calling’s success derived from its sociopolitical content. In the album’s title track, Joe Strummer declared, “we ain’t got no swing, ‘cept for the ring of that truncheon thing.” Strummer was referring to the collapse of what Time had labeled “Swinging” London in the 1960s, evoking police truncheons and riots in the city to elucidate a growing sense of turmoil in the 1970s. After the optimism of the 1960s, London seemed culturally and politically stagnant. But these changes were not just limited to the city of London. London Calling was released at a critical moment in Britain’s post-war history: unemployment was on the rise; there were frequent trade union strikes in 1973 and 1974; the British government sought a loan from the IMF in 1976; and ongoing disputes between James Callaghan’s Labour government and trade unions during the coldest winter for 16 years was dubbed the “Winter of Discontent” in 1978 and early 1979. Britain, once a manufacturing and imperial powerhouse on the global stage, was perceived to be in sociopolitical disarray. The overarching sense of doom and disorder was a large factor in Thatcher’s election in May 1979. Not only this, but the punk movement seemed to have lost its early momentum as an articulation of political and cultural discontent. “Phony Beatlemania” Strummer dubbed it, had “bitten the dust.”

Even though historians such as Jim Tomlinson and Andy Beckett have argued that the doom and gloom of the 1970s tends to be exaggerated, The Clash spoke to genuine political discontent and a seemingly desolate socioeconomic climate. Their earliest songs were particularly scathing about the state of the world. “White Riot” expressed exasperation at the lack of white working-class struggle, claiming “all the power’s in the hands, of people rich enough to buy it, while we walk the street, too chicken to even try it.” “London’s Burning” reflected on cultural stagnation and crippling boredom and “I’m so Bored with the U.S.A.” critiqued American imperialism: “Yankee dollar talk, to the dictators of the world, in fact it’s giving orders, and they can’t afford to miss a word.” The Clash was one of the more overtly political punk bands, using punk’s fast-paced, urgent, and aggressive style to critique 1970s society from the left.

London Calling continued in this vein, with most of its songs predictably centered on London. “Jimmy Jazz” and “Guns of Brixton” tell the stories of fictional characters in the city’s criminal underbelly. “Rudie Can’t Fail,” a heavily ska-influenced song, documents how young first-generation immigrant men, known as “rude boys,” were often subject to scorn from the British white middle class. The Clash also described how young people often neglect their idealism and political views once they get older and more comfortable in “Clampdown.” In “Spanish Bombs” the band drew comparisons between the Spanish Civil War in the 1930s and the rhetoric of Basque nationalists of the late 1970s. “Lost in the Supermarket,” offers a critique of consumerism as a key reason for political apathy and “Lovers Rock” endorses safe sex and family planning. Finally, the title track and album opener depicts a scene of rising unemployment, racial tensions, and drug use. London Calling is a scathing sociocultural commentary of the 1970s. This was reflected on International Clash Day when KEXP spotlighted various social justice organizations “because The Clash was anti-racist, anti-fear, pro-solidarity, pro-unity, pro-inclusion.”

But questions about whether The Clash had sold out never went away. To some, these doubts undermined the legacy of London Calling with regard to its political message. Others see a more complex history. American artist and activist, Mark Vallen, argued in 2002 that even though The Clash had sold out by allowing Jaguar to use “London Calling” to advertise cars, its original composition had been in keeping with the punk ethos. “When The Clash released London Calling,” he claimed, “the song was one of the band’s most chilling works. Ominous and dark, it foretold of the Western world collapsing in a spasm of war and out of control technologies, it addressed our fears of government repression.” Although some people in the punk movement believed The Clash had already sold out by this point, the initial excitement that London Calling generated was contingent on the authenticity of its political message.

London Calling’s continued popularity is largely down to a careful balancing act. The album could be called the greatest punk rock record of the era or it could be said that it is not a punk rock record at all. From a musical perspective, it is an amalgamation of various styles. Particularly, it pays homage to rock and roll. The album cover captures bassist Paul Simonon smashing his bass guitar on stage. This rock cliché is anchored by a logotype referencing Elvis Presley’s 1956 debut album. Musically, it was a nod to the past while incorporating an eclectic blend of contemporary styles. The three cover songs on the album emphasize this: “Wrong ‘em Boyo” and “Revolution Rock” were first recorded by reggae artists and the other was “Brand New Cadillac,” originally a rock and roll song from 1959. All three sound at home on the album next to the Clash’s original compositions.

London Calling undeniably helped bridge the divide between punk as music and punk as a historical moment. It normalized punk as a credible genre of music while articulating the sociopolitical grievances that British punks were reacting to: high unemployment, racial politics, and the sense that society around them was falling apart. The album has the feeling of a party during the apocalypse. From a historical perspective, even though The Clash had signed to a record label – a cardinal sin for a 70s punk rock band – their wide-ranging sociopolitical commentary encapsulated the cynical mood of the late 1970s. At the end of the title track there is a message in Morse code, created using Mick Jones’ guitar pickups, that spells out S-O-S. Amidst political crises in Westminster, London Calling’s apocalyptic tone is as relevant to Britain in 2019 as it was in the winter of 1979.

Our History Mixtape: Embracing Music in the Classroom

By Eyal Weinberg and Blake Scott

It’s midway through the semester and you’ve slogged through one of the infamous central Texas morning monsoons to make it to class. You’re soaked and so are the students starting to arrive. And you’re all a bit stressed from the commute and all the other work still floating in your head. You organize your lecture notes. More students start to come in. Some sit quietly. Some stare at you. Some are glued to their mobile devices. There are still about 10 minutes before class begins. We call it the awkward pre-lesson moment. You could warm up the wet early birds with some tough words of inspiration, or you could do what we tried this semester: lure the students into history with the power of music.

Today’s subject is the Great Depression and the New Deal. In the time that ticks off before class, as your clothes dry and you review your notes, Bing Crosby sings “Brother can you spare me a dime?” The song is a sad anthem of the early 1930s. It’s as if Crosby were singing not only to an earlier generation, but also to your rain-drenched grumpy students. In between lyrics, you remind the class to also review their notes.

Next is a more upbeat song by Louis Armstrong, “WPA,” released in 1940. Armstrong sings, “The WPA, WPA…. Three letters that make life OKAY, the WPA.” When the song ends, you start class, asking “so what exactly was the WPA and how did it fit into the New Deal’s efforts to relieve the stresses of the Great Depression?” Discussion has begun and, with melody replacing drudgery, you’re ready to tackle some difficult historical topics – the melancholy of depression and the changing role of the federal government. Music has set the mood.

The Works Progress Administration’s music project employed
musicians as instrumentalists, singers, concert performers, and music teachers during the Great Depression. Via Library of Congress.

We are not specialists in music history, but we value what music can do in the classroom. Every Friday last Fall semester, we facilitated discussion sections with approximately 30 students each. As teaching assistants, we offered supplemental instruction for Dr. Megan Seaholm’s 300-person lecture on the history of the United States from 1865 to the present. On Fridays, in smaller groups, we discussed course material and, in particular, encouraged students to think about questions of ethics in relationship to historical events. The seminar meetings fulfilled UT’s “Ethics and Leadership Flag,” which is designed to equip students with “the tools necessary for making ethical decisions in your adult and professional life.” When discussing the period of Reconstruction, for example, we examined differing visions of “freedom.” We analyzed primary source documents written by newly freed slaves, white southerners, and northern Republicans. How did different social groups conceive of freedom, and how did their values clash and in turn, shape post-war U.S. society?

Music, we soon realized, could be an effective prompt for encouraging students to think creatively and critically about material that at times felt historically distant. Playing and then thinking about music had a broad classroom appeal. It allowed us to consider experiences from an earlier era in a very direct and affective way. Getting students to listen closely, and reflect on historical attitudes, was smoother and even enjoyable. This was certainly useful when teaching history to students from different majors who admittedly took the course only because it was a requirement. At the beginning of the semester, we heard more than enough talk about how “I’ve never been very good at history.” That only motivated us more…

To remind students that the issue of race was central to the era of Reconstruction (1865 to 1876), we paused discussion and played Pete Seeger’s version of “John Brown’s Body.” It was a chance to consider the causes and effects of the Civil War and its continuing affect on U.S. society. The song led to an anecdote: After Union Troops burned Atlanta in November 1864, they marched out of the city singing, “John Brown’s body lies a-mouldering in the grave… but his soul goes marching on.” It became a favorite song among General Sherman’s troops as they marched to the sea from Atlanta to Savannah, Georgia. The song also encouraged us to explore the controversial legacy of the abolitionist John Brown. Ralph Waldo Emerson claimed that “[John Brown] will make the gallows glorious like the Cross.” Thoreau also wrote a eulogy for Brown, explaining that in death: “He is more alive than ever he was.” The point of this brief genealogical thread about a man and a song was to acknowledge that the Civil War was fundamentally about slavery. After the war, the legacy of racism would continue to shape the debate about the meaning of freedom.

Later in the semester, to guide a discussion about the Civil Rights Movement, we played Nina Simone’s “Mississippi Goddam.” Hearing Simone sing, with anger and passion, “Alabama’s gotten me so upset, Tennessee’s made me lose my rest, and everybody knows about Mississippi goddam,” reminded students to seriously contemplate the violence that occurred in the U.S. South in the 1960s. The song opened a discussion about the KKK’s terrorist bombing in Birmingham, which Simone refers to, and in contrast, the early Civil Rights Movement’s commitment to nonviolent protest.

Martin Luther King Jr. and Civil Rights activists singing Freedom
songs on the Selma to Montgomery March in 1965. Via Jacobin magazine.

Music served as primary source material to think about the time and to feel something of the era. We asked students to imagine the power of John Brown’s song being sung by Union soldiers marching through Georgia, and later, to reflect on the violence and injustice swirling around civil rights activists marching from Selma to Montgomery. These are powerful images to consider with an equally powerful soundtrack to hear and feel. With story and song together, students were forced to reckon with the material and its importance to U.S. history.

As we soon learned, however, not all classroom experiences have to be so tightly scripted. Music as pedagogical tool can take on a more implicit role as well. It can literally “set the mood” for the class and help foster a space for dialogue. As our experience this semester taught us, music can be a way to hear and feel history, to jump start conversation or frame a question, and most importantly, to bring people together. Even if students are not asked to analyze a song’s lyrics or the story of its production, music can still affect a student’s reception of history. Songs can also work in mysterious ways.

Woody Guthrie’s famous guitar slogan, “This machine kills
fascists.”. Via Wikipedia

If you appreciate music and recognize that songs can also serve as an important resource for teaching history, we encourage you to share your own musical selection down below in the comments. What songs would you play in a post-civil war US survey? Here is our own highly subjective “History Mixtape” to start the exchange. We hope to hear and learn from your recommendations. Keep the music playing…

Our History Mixtape:

John Brown’s Body by Peter Seeger
The Battle is Over (But the War Goes On) by Brownie McGhee & Sonny Terry
This Land is Your Land by Woody Guthrie
Fire in the Hole by Hazel Dickens
Brother can you spare me a dime? by Bing Crosby
WPA by Louis Armstrong
Everyday by Buddy Holly
Mississippi Goddamn by Nina Simone
Fortunate Son by Creedence Clearwater Revival
I-Feel-Like-I’m-Fixin’-To-Die Rag by Country Joe McDonald

We are always keen to build our playlist so please send us your recommendations via the comments section on our facebook page.

Sound Maps: The New Archive (No. 6)

By Henry Wiencek

In the study of history, it’s easy to fall back on national identities: “Irish music,” an “English accent,” “American Exceptionalism” are just a few examples. But a closer examination of the local cultures—music, dialects, history—that exist within nations demonstrates how misleading those generalizations can be. Just look through one of the British Library’s “Sound Maps” and you’ll be convinced. This remarkable site takes many of the library’s 50,000 recordings of music, regional accents, and oral histories and arranges them geographically on Google Maps. The project is at once global and local—each sound map is an aural window into a unique part of the world. You can hear birds chirping in Algarve, Portugal, a folksinger perform in Carlistrane, Ireland, or the local dialect in Morton, Mississippi.

One of the most fascinating—and addictive—features on the site is “Your Accents,” a global map of the world’s seemingly endless variety of dialects. The map features recordings of people from across the globe reading the same English phrases, allowing listeners to discern how each locality articulates “scone,” “garage” and “schedule” among other richly pronounceable words. The most immediate differences are apparent along national lines, as English, Indian, American, and various other accents contour the words in unique ways. But the map goes even deeper—revealing the astonishing regional differences that exist within those nations. Although people from Brighton and Leeds ostensibly share an “English” accent, the sonic differences between them are vast.

Other sound maps use the same technology to tell far more sobering stories. “Jewish Survivors of the Holocaust” archives oral histories of that traumatic epoch. Again using Google Maps, the page arranges survival stories based on geographic origins: individuals from France, England, Germany, Poland and even Azerbaijan are all represented. These unique and deeply affecting histories underscore the striking heterogeneity of the Holocaust’s victims and survivors. They were rich and poor; came from big cities and small towns; and identified as religiously devout and irreligious. By mapping their oral histories, the British Library visually captures that geographic and experiential diversity. And by letting them speak, reinforces the kinds of variations that get flattened out or even erased when reading text on a page.

The British Library’s “Sound Maps” is an invaluable tool for anyone interested in hearing what the world sounds like. Cultural historians and preservationists will take particular interest in the collections of music and dialects—time capsules of old folkways quietly vanishing in a globalizing world. Readers may note the site’s emphasis on English speaking regions, especially the UK, but the geographic breadth of its collection remains deeply impressive. These maps do not just capture the sounds of the world, they capture its most compelling minutiae: the small town pubs, the remote jungles, and the fascinating people.

Explore the latest finds in the NEW ARCHIVE:

Charley Binkow on iTunes’s salute to Black History Month

And Henry Wiencek finds a new way of looking at Emancipation

Photo Credits:

Screenshot from “Your Accents” sound map (Image courtesy of the British Library)

Screenshot from “Jewish Survivors Of The Holocaust” sound map (Image courtesy of the British Library)

Quebecois lumbermen making music with a violin and sticks, 1943 (Image courtesy of National Film Board of Canada)

Great Books on Early Twentieth-Century Popular Music

by Karl Hagstrom Miller

Recent years have seen a real flowering of scholarship about the popular music of the early twentieth century. Here are a few of my favorites—and a little something extra.

David Suisman, Selling Sounds: The Commercial Revolution in American Music (2009).

An essential book for anyone interested in the history of popular music in the United States, Selling Sounds charts the emergence of a cohesive—and ubiquitous—music industry in the late nineteenth and early twentieth century. The fascinating characters that populate Suisman’s story are no lovers of music. They are savvy business men who learned how to transform disembodied sound (whether on sheet music or phonograph records) into hard cash. They also set the template for how music would be marketed for the next 100 years. No book tells the story better.

Elena Razlogova, The Listener’s Voice: Early Radio and the American Public (2011).

Radios became common in American homes during the 1920s. They brought the world into the family room in unprecedented ways. While much of scholarship on radio focuses on the establishment of major national broadcasting networks, The Listener’s Voice reveals the rollicking world of US radio before the majors seized control. Early radio often depended on its listeners to provide content. Through phone calls and letters, listeners created thriving participatory communities over the air. It was more akin to the vibrant world of early internet forums than to the homogenizing, on-way transmissions of later radio and television networks.

John W. Troutman, Indian Blues: American Indians and the Politics of Music, 1879-1934 (2009).

This wonderful book addresses some of the themes I explore in Segregating Sound—music, race, folklore, and money—from a different angle. Indian Blues tells the fascinating story of the struggle over music and musical meaning between government officials, teachers, and Native Americans in the early twentieth century. While government sponsored programs on reservations and in Indian boarding schools used music as a means to suppress Native resistance and collective memory, many Native Americans used music—be it traditional, new commercial pop styles, or combinations of both—to assert Native autonomy, escape the confines of government proscriptions, and get paid. Fresh, innovative, and well told, Indian Blues offers a story you won’t find anywhere else.

Carl Wilson, Celine Dion’s Let’s Talk About Love: A Journey to the End of Taste (2007).

This is a slim book about pop diva Celine Dion’s top-selling album featuring “My Heart Will Go On,” better known as the theme from the movie Titanic. It is also one of the best pieces of music writing I have read in years. Wilson, the pop music critic for the Toronto Globe and Mail, admits he is not a Dion fan. He then systematically explores her global appeal to discover what he might be missing. The result is brilliant meditation on aesthetics, taste, cultural politics, and pop music history. At times touching and often hilarious, this beautifully written book changed the way I hear music.

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