Here are 100 books that Decomposed fans have personally recommended if you like
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I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
Cassette tapes of Muslim sermons played by taxi drivers in Cairoset the stage for this profound investigation of the intersection of sound, spiritualism, and technology. The tapes, Hirschkind argues, are not mechanisms for social control as much as jumping-off points for Muslims to find their way towards ethical self-improvement.
Charles Hirschkind's unique study explores how a popular Islamic media form--the cassette sermon--has profoundly transformed the political geography of the Middle East over the last three decades. An essential aspect of what is now called the Islamic Revival, the cassette sermon has become omnipresent in most Middle Eastern cities, punctuating the daily routines of many men and women. Hirschkind shows how sermon tapes have provided one of the means by which Islamic ethical traditions have been recalibrated to a modern political and technological order--to its noise and forms of pleasure and boredom, but also to its political incitements and call…
A moving story of love, betrayal, and the enduring power of hope in the face of darkness.
German pianist Hedda Schlagel's world collapsed when her fiancé, Fritz, vanished after being sent to an enemy alien camp in the United States during the Great War. Fifteen years later, in 1932, Hedda…
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
Sterne explores the cultural history of how and why Americans developed technologies that reproduced and transmitted sound. It is a surprising story that takes us through the Civil War and ideas about death, deaf children and their teachers, the discipline of medicine, and the practice of folklore. It turns out that cultural shifts encouraged the preservation of sound, and those machines we developed in turn changed the ways we listen.
The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and…
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
This book understands ideas about citizenship as entangled with language, sound, and voice. It traces the ways that exclusion and a politics of second-class citizenship arose in Colombia, as a result of specific ideas about how people should speak and sound. It is at once an intellectual history and historical anthropology of the ways the aural has been foundational to ideas of citizenship and belonging.
In this audacious book, Ana Maria Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's…
Delve into this internationally best-selling series, now complete! A fast paced laugh-out-loud mix of Urban Fantasy and Mystery.
I can tell when you’re lying. Every. Single. Time. I’m Jinx, a PI hired to find a missing university student, I hope to find her propped up at a bar–yet my gut…
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
The author points to the ways American media designated sound as “black” or “white” even as “colorblindness” became the dominant paradigm for liberal attitudes towards race. While Americans claimed that they didn’t “see race”, they were exposed to an increasingly segregated soundscape and media environment. Stoever opens up new ways for us to listen to familiar voices, such as those of WEB du Bois, Lena Horne, Lead Belly, Richard Wright, and many more.
The unheard history of how race and racism are constructed from sound and maintained through the listening ear.
Race is a visual phenomenon, the ability to see "difference." At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear-voices, musical taste, volume-as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only…
I wrote Leaving the Beach because I was once bulimic and music-obsessed. After seeking help and recovering, I realized I wanted to write a realistic book about a bulimic woman; it was critical that I didn’t unintentionally romanticize any aspects of this insidious, potentially fatal disease.
This is the only nonfiction selection on my list. If you live in the Boston area and love music, you’ve probably read Brett Milano’s music reviews in the Boston Globe, Boston Herald, or Phoenix.He’s also written numerous books—both fiction and nonfiction—about various types of music. Vinyl Junkies is a wonderful read, even if you’re not particularly interested in music, because although many people featured in it are well-known in the music and art worlds (Peter Buck, Robert Crumb), on a higher level, the book’s really about collecting and collectors in general. Why do people collect? What’s the difference between simply accumulating stuff and curating a collection? And where does one draw the line?
Not too far away from the flea markets, dusty attics, cluttered used record stores and Ebay is the world of the vinyl junkies. Brett Milano dives deep into the piles of old vinyl to uncover the subculture of record collecting. A vinyl junkie is not the person who has a few old 45s shoved in the cuboard from their days in high school. Vinyl Junkies are the people who will travel over 3,000 miles to hear a rare b-side by a German band that has only recorded two songs since 1962, vinyl junkies are the people who own every copy…
I’ve long had an ambivalent relationship with airports. They have been the starting point for my adventures, but I have also known well the discomfort, boredom, stress, surveillance, bad food, and other unpleasantries that often define airport experiences. Despite my ambivalence, I’ve found airports to be fascinating places where differently situated people (travelers and workers) encounter one another. I’ve learned that those encounters, as well as airport operations and design, tell us something about the places where they are located and the broader societies in which we live. I’ve since become aware that reading (and writing) about airports are also great ways to gain such insights.
This account of how LAX shaped its surrounding environment usefully affirmed my own decision to focus on a particular place. Its careful focus on how jet noise catalyzed relationships among a wide array of people and social forces in Los Angeles helped me understand better how such relationships had developed about 400 miles to the north.
Beyond all of that, this book has a lot of smart things to say about how noise more generally shapes our urban environments and attunes us to them.
In Atmospheric Noise, Marina Peterson traces entanglements of environmental noise, atmosphere, sense, and matter that cohere in and through encounters with airport noise since the 1960s. Exploring spaces shaped by noise around Los Angeles International Airport (LAX), she shows how noise is a way of attuning toward the atmospheric: through noise we learn to listen to the sky and imagine the permeability of bodies and matter, sensing and conceiving that which is diffuse, indefinite, vague, and unformed. In her account, the "atmospheric" encompasses the physicality of the ephemeral, dynamic assemblages of matter as well as a logic of indeterminacy. It…
On the morning of December 26, 2004, an undersea earthquake struck off the coast of Sumatra in the Indian Ocean. The resulting tsunami killed an estimated 230,000 people across fourteen countries, from Indonesia to Sri Lanka to Thailand to the Maldives to India and all the way to East Africa.…
Hi there, I’m Lucie and I’m a writer (allegedly) but before that I’m a human and I know how hard it is to be a human. It’s a constant battle with yourself, the people around you, the world, and it’s exhausting and sometimes it can be too much but we find ways to keep going and books help me do that (as well as crying, screaming, potatoes). I find life absurd most of the time so I have to laugh about it or I’d go insane. And I’m still alive, despite constantly being in a fight with my brain, so I think I’ve got this.
A beautiful book by one of my favourite comics about one man’s mental breakdown and how music and the people who made it saved him from the worst year of his life. It’s funny and tender and all the music he references was made by people going through their own shit and about how they used their music to save themselves. It’s a book about how we fall apart and how we put ourselves back together and you don’t have to know about music to be moved by it.
The brand new memoir from James Acaster: cult comedian, bestselling author of Classic Scrapes, undercover cop, receiver of cabbages.
PERFECT SOUND WHATEVER is a love letter to the healing power of music, and how one man's obsessive quest saw him defeat the bullshit of one year with the beauty of another. Because that one man is James Acaster, it also includes tales of befouling himself in a Los Angeles steakhouse, stealing a cookie from Clint Eastwood, and giving drunk, unsolicited pep talks to urinating strangers.
January, 2017 James Acaster wakes up heartbroken and alone in New…
Richard Niles was born in Hollywood but grew up in London where his 50-year professional career as a composer, arranger, record producer led to work with some of the most acclaimed artists of our time, including Paul McCartney, Ray Charles, James Brown, Tina Turner, Cher and jazz icon Pat Metheny. He has worked on 20 Gold and 28 Platinum records. He has published many books on music including The Pat Metheny Interviews, The Invisible Artist, From Dreaming to Gigging, Piano Grooves, Songwriting – The 11-Point Plan, Adventures in Arranging, Adventures in Jazz Composition, What is Melody?, and How to be an Employable Musician. Dr. Niles' PhD is from Brunel University and he has lectured internationally.
Known as ‘the man who invented the ‘80s’, Trevor Horn is considered one of the most innovative producers of modern pop.
He revolutionized production from his group The Buggles Video Killed the Radio Star to Band Aid’s Do they Know It’s Christmas?, to hits for Frankie Goes to Hollywood, ABC, Yes, Rod Stewart, and Seal. I can tell you this book is the real deal because I worked with him on hits for The Pet Shop Boys, Grace Jones, Frankie, and ABC.
This book takes you inside his unique process, and reveals his production concept - at once mind-blowing and surprisingly down-to-earth.
As a renowned recording-studio maven, Trevor Horn has been dubbed 'the man who invented the '80s'.
His production work since the glory days of ZTT represents a veritable 'who's who' of intelligent modern pop, including the likes of ABC, Frankie Goes to Hollywood, Paul McCartney, Rod Stewart, Pet Shop Boys, Seal, Simple Minds, Grace Jones and Yes - among many others.
This book is Trevor's story in his own words, as told through the prism of twenty-three of his most important songs - from the ones that inspired him to the ones that defined…
My interest in political economy dates back to my student years where I combined the study of the history of political economy, economics, and philosophy. Whether apologists or critics of capitalism, both groups appreciate the centrality of economic exchange among people who live in communities where absolute autonomy and self-sufficiency are unattainable. My concern with reframing political economy is also informed by the all too hushed scandal of capitalism, namely, the reliance on slavery for the accumulation of wealth for more than a century after the establishment of the USA. The reckoning with this atrocity animates much of my present thinking about political economy in general and capitalism in particular.
With numerous examples that range from comedy clubs, football strategies, recipes, and the fashion industry, this book explains how the myth of copyright protection as the hallmark of market capitalism makes no sense. Instead of the argument that the only way to incentivize people to invent and create, what this book outlines is the many cases in which not only this is not the case but instead a robust competitive environment thrives without capitalist ways of thinking. Notions of creative cooperation make up for ruthless competition, and the expectation of legal protection only shows that without regulatory powers market forces cannot function.
From the shopping mall to the corner bistro, knockoffs are everywhere in today's marketplace. Conventional wisdom holds that copying kills creativity, and that laws that protect against copies are essential to innovation-and economic success. But are copyrights and patents always necessary? In The Knockoff Economy, Kal Raustiala and Christopher Sprigman provocatively argue that creativity can not only survive in the face of copying, but can thrive.
The Knockoff Economy approaches the question of incentives and innovation in a wholly new way-by exploring creative fields where copying is generally legal, such as fashion, food, and even professional football. By uncovering these…
Nelson West, a former Chicago homicide detective, is hired by wealthy heir Lionel Bing to discreetly help “fix” scandals and legal problems for his father’s wealthy friends.
Bing, a brilliant but troubled investigator, suffers from PTSD symptoms as a result of being kidnapped and witnessing the murder of his mother…
I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
I wasn’t expecting this! One of the most gifted and quirky songsmiths of the age, the lead singer of art pop band The Talking Heads no less, turns his attention to the technological evolution of music.
I found profound insight and erudition on every page, but it’s not preachy or overly auto-biographical. Instead, Byrne limns out the changing shapes of music and how it comes into being in composition, performance, and education. He is as much at ease with Hume and Adorno as he is with scales, harmonies, and DJ culture, and the payoff is enormous.
Whenever I pick this book up, which is regularly, it takes me on unexpected journeys and provokes new ideas. My favorite quote on the creative process: “The idea is to allow the chthonic material the freedom it needs to gurgle up.”
How Music Works is David Byrne's buoyant celebration of a subject he has spent a lifetime thinking about.
Equal parts historian and anthropologist, raconteur and social scientist, Byrne draws on his own work over the years with Talking Heads, Brian Eno, and his myriad collaborators - along with journeys to Wagnerian opera houses, African villages, and anywhere music exists - to show that music-making is not just the act of a solitary composer in a studio, but rather a logical, populist, and beautiful result of cultural circumstance.
A brainy, irresistible adventure, How Music Works is an impassioned argument about music's…
