Books like Hot Stuff — picked by fans

DIY. Do-it-yourself. An ethos that seems simple enough now, but it was a revolution that started in underground music and eventually changed popular culture.

These in-the-trenches perspectives by bands that were immensely influential spoke directly to the eco-system of clubs, stores, bands, labels, and artists that I later tapped into with my label.

An almost inadvertent “How-To” primer for someone like me, who was disinterested in what the arbiters of popular culture were trying to sell.

Before getting to radio, alternative scenes came together in the 1970s and 1980s through informal networks of shared tapes, backyard concerts, and zines. These scenes had politics all to themselves, which revolved around concepts of “authenticity.”

Duncombe’s book not only captures the range and meaning of zines in all their forms, but it unravels the deeper meaning of these DIY publications. As he writes, “Zinesters believe that authenticity can be found only in a person unshackled by the contrivances of society.” Zines thus offered the purest expressions of self, in theory, but soon, the zine scene developed its own codes of conduct and traditions – practices though that would inform the sound and practice of college radio.

What I love about this book is that it delves into theory (zinesters were like Rousseau? Who knew?!) but remains accessible, using the theory only to enlighten underappreciated aspects of zine culture.

Before delving into the business and culture of college radio, I had to think through the complicated relationships between universities and their surrounding communities. Davarian Baldwin helped me do just that.

The FM signals emanating from inside the walls of the ivory tower occupied the public’s airwaves, and so surrounding residents not affiliated with institutions had legitimate claims to these signals, which usually operated on licensed signals requiring public service and educational functions. While these signals often did provide valuable culture and information for wide and diverse communities, they sometimes replicated the more complicated politics of these institutions and the destructive role they played in communities.

Baldwin’s engaging and enraging exploration of town and gown provides a critical lens to use when thinking through the relationship between universities, nearby music scenes, cultural service, and radio.

No one combines the business of indie scenes – from production to labels to distribution – better than Holly Kruse. In this accessible yet rich book, she details the complicated structure of the alternative system that Azerrad nods to in his history of the bands that occupied the airwaves and whose products circulated through these systems.

To say that these independent music labels and distributors operated completely absent of the corporate music industry from the beginning is a canard, as Kruse demonstrates, but she also reveals the personal and particular practices that shaped these emerging commercial relationships and consumption patterns that undergirded music fans’ ability to participate in music scenes locally, as well as to access sounds from across the nation, and indeed the world. 

David’s book came out while I was still searching for the truth about Uncle Lev, and it provided a useful and entertaining overview of the effort to censor comic books—catching Lev directly in its cross-hairs—and the industry code that was implemented as a result. Ultimately, David argues, “the generation of comic-book creators whose work died with the Comics Code helped give birth to the popular culture of the postwar era.”

I’m a fan of history. A storyline that revolves around such a long-term contract intrigued me. This one is set back in the 1960s, with scenes that jump back to World War II and then the fifties.

Griffin’s style was smooth. She brought me along in the story, giving me little hints as to what was really going on. There are secrets galore here and plenty of surprises. The characters are well-drawn. The timeframe of the story works perfectly with some of the twists.

This book is packed with the history of Chinese warrior heroines and spies. From Hua Mulan to Soong Ching-ling, the book resonates with connections across the centuries, as well as modern differences.

All too often the fate of these brave and outstanding women was to die for their cause, a theme that I think is so important for many heroines in history. Edwards is adept at identifying how her heroines challenge and defy their position in society. She also reveals the gendered position that heroines occupy as fighters, and in particular, the challenge that it poses to women’s transnational traditional place as gendered feminine carers and life-givers. 

Born in 1979, I’m part of the final gasp of Generation X. Klosterman uses pop culture trends and the rise of the internet and cellphones as framing for understanding how Generation X formed its view of the world and its place in it.

A fun musing on the profound changes to society and communication that took place over the decade of the 1990s, The Nineties reminds us that it wasn’t all that long ago that we got most of our news from the TV, magazines, or the newspaper, and that the 90s shaped my generation in a multitude of ways.

Culture critic Chuck Klosterman is essentially the next-gen Hunter S. Thompson. This book is a stream of consciousness foray into contemporary pop culture, ranging from essays on sports to music to reality TV. It’s an odd, brilliant, self-indulgent take on the American zeitgeist. Feel smart and have a laugh at the same time.

Although many critical thinking texts include some analysis of bits from popular culture, I wanted to include this book on my list because, as its title indicates, it focuses on popular culture­—which is good because most of us immerse ourselves in popular culture and so it influences our thinking in a huge way. There's a whole chapter. There's a whole chapter dedicated to "Analyzing American Television," another dedicated to "American Advertising and the Subtle Art of Manipulation," and one dedicated to "Popular Culture in Speeches."