Synopses & Reviews
If you drive into any American city with the car stereo blasting, youand#8217;ll undoubtedly find radio stations representing RandB/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.
Inand#160;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, AandM 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 formatsand#151;constructed mainstreams designed to appeal to distinct populationsand#151;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 statusand#151;for example, even in its most mainstream form, the RandB of the Isley Brothers helped to create a sphere where black identity was nourished. and#160;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. Weisbardand#8217;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 ofand#160;alland#160;performers and songs.
Review
and#8220;Combining a close attention to sound, money, demographics, and the ties that bound them together in an ever-shifting constellation of radio formats since the 1970s, Weisbard brilliantly rewrites pop music as we know it. Weisbard is one of our top pop music scribes, and Top 40 Democracy is the best kind of revisionist history. It takes something familiar and makes it strange again. It enables us to listen with fresh ears and find beauty and meaning in music too often dismissed for lacking both. I wanted to turn it up and sing along at the top of my lungs.and#8221;
Review
and#8220;Weisbard was a smart music journalist and is an even smarter music academic. I used to read his reviews and feel compelled to listen to music I didnand#8217;t know. Reading this book compelled me to rethink music I thought I knew only too well. Weisbardand#8217;s history of the mainstreams of American popular music and his analysis of the surprising complexities of American format radio is persuasive and entertainingly detailed. As an account of the cultural and political effects of the kind of commercial pop music that is usually taken for granted, Top 40 Democracy shows eloquently and exuberantly why pop music must be central to our understanding of social history.and#8221;
Review
"Forget the canonical version of pop's past and learn to think like a radio, that surprisingly persistent force in shaping our listening lives. It can tame and it can maim, but it adds a jostling vitality that crackles with the tensions of history. Weisbard is a wide-viewed, big-eared, provocative analyst of how it's all worked via fickle formats, tuned-in stars who've never received such smart critical attention (Dolly! Elton! The Isleys! Herb Alpert!), and#8216;record men,and#8217; meathead rock jocks, and more. There's a fact or insight on every page that will spin your dial. So you better do as you are told: you better read about your radio."
Review
and#8220;This spin around the radio dial is an engrossing, unpredictable tour of the multiplicity of imagined communities inhabiting the pop mainstream, and Weisbardand#8217;s innovative theorizing of format as an alternative to genre logic transforms the idea of a Top 40 democracy from a utopian metaphor into a material political economy. It's a book for everyone who takes music seriously and every auto executive who would consider producing a car without a radio receiver.and#8221;
Review
and#8220;A brilliantly expansive tour of American pop radio, in all its sleaze and conflict, as a fantasy republic that stretches through the nation. Eric Weisbard, a true scholar and a true fan, masterfully follows the yellow brick road through the boomtowns and wastelands of American culture, from Vegas to Dollywood, with revelatory and challenging insights about how these competing musical visions both unite and divide.and#8221;
Review
andldquo;Smart but not inaccessibly so. . . . In Weisbardandrsquo;s view, Top 40 isnandrsquo;t simply the place where Rick Dees and Casey Kasemandrsquo;s voices oozed from transistors, but a vast virtual stage for Elton John to import a brash British pop sensibility to American rock audiences, queering the top of the pop charts long before he was out of the closet.andrdquo;
Review
andldquo;[A] sharp, detailed history. . .andrdquo;
Review
andldquo;Consistently provocative and engaging. Compared with record producers, broadcasters have been shown limited respect by both scholars and critics, and Weisbardandrsquo;s book deserves much praise simply for taking them seriously. His pointed business narrative gives a fascinating look at how programming decisions actually get made, and unmade.andrdquo;
Review
andldquo;Weisbard wrote not just for fellow critics and scholars, but for serious music fans wishing to go deeper.andrdquo;
Review
andldquo;Top 40 Democracy is not only smart and interesting and fun, but insightful, and done in such a way that makes how much you learn from it feel as surprising as discovering Doritos-flavored broccoli.andrdquo;
Review
andldquo;Inventively researched and subtly argued.andrdquo;
Synopsis
A capacious and stimulating tour de force of the mainstream music industry that reveals the cultural import of even the most deliberately banal performers and songs. Weisbard finds depths in our cultureand#8217;s shallows as he investigates and articulates the cultural construction of such phenomena as Dolly Parton, Elton John, the Isley Brothers, AandM Records, and the rise of radio populism. He further sheds new light on the upheavals in the music industry over the last fifteen years and the implications of them for the audiences the industry has shaped. Each chapter brings us to see afresh precisely that music and those musicians that have become the most familiar and overexposed, by delving into the minutiae of how pop stars and their music were made and framed for repeated consumption in the era dominated by radio.
About the Author
Eric Weisbard�is assistant professor of American studies at the University of Alabama and associate editor of the�Journal of Popular Music Studies.
Table of Contents
Introduction
Chapter 1. Itand#8217;s Whose Thing?: The Isley Brothers and Rhythm and Blues
Chapter 2. Duets with Modernity: Dolly Parton and Country
Chapter 3. Contemporary Adults: AandM Records and Middle of the Road
Chapter 4. Madman across the Water: Elton John and Top 40
Chapter 5. The Wrath of the Buzzard: WMMS and Rock
Chapter 6. This Generationand#8217;s Radio: Music Formats in the Early 2000s
Acknowledgments
Notes
Index