New Books in Performing Arts

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist.

As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language.

Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism.

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In Part 3, Professor Tiffany Stern offers close-readings of some of the play’s most significant speeches. You’ll discover the surprising biblical resonances in a speech by the foolish Bottom and see how the epilogue shifts the play from a story about magic to a magic spell placed on the audience itself. Speeches and Performers: Titania, 2.1, “Set your heart at rest: The Fairyland buys not the child …” (Amanda Harris) Bottom, 4.1, “When my cue comes, call me …” (Dame Harriet Walter) Oberon, 5.1, “Now, until the break of day …” and Puck, “If we shadows have offended …” (Kelly Hunter, MBE)

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Song & Dance Man is an established classic, available again for Dylan fans and scholars alike on the 50th Anniversary of the original edition. The work in these three volumes has been called “Monumental, endlessly illuminating.” (Rolling Stone) “Probably the greatest book about the work of a single popular musician ever to have been published.” (London Review Bookshop) and "The definitive critical work." (Evening Standard).

Author Michael Gray is recognized as a world authority on the work and career of Bob Dylan; he was the first to consider Dylan’s writing as worthy of treatment as serious art. As author K G Miles said: “People forget that the road to the Nobel Prize was very long, took many years, and began with that book; it began with Michael Gray.”

Song & Dance Man is unique in its scope, integrating biographical, literary and musical contexts into a powerful scrutiny of Dylan as songwriter and performer.

This first volume contains the foundational and timeless analysis that made this book a classic - looking at how Dylan's writing and performance set in the folk and literary traditions and how it compared to other efforts to write rock and pop songs. It deeply inspects and discusses Dylan's use of language, both his early bursts of complexity and his later move towards simplicity.

Included is a special review of the song 'Lay Down Your Weary Tune' which Gray finds particularly effective and impressive, and an over 100-page chapter detailed Dylan's fascination with and use of the pre-war blues.

Michael Gray is a critic, writer, public speaker & broadcaster recognised as a world authority on the work of Bob Dylan, and as an expert on rock’n’roll history. He also has a special interest in pre-war blues, and in travel.

Song & Dance Man on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter.

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Part 2 addresses the play's central questions about comedy, tragedy, and passion by examining its language and plot motifs. Professor Tiffany Stern will guide you through the play’s sometimes dark, sometimes humorous, but always honest exploration of love — where it comes from and why it doesn’t always make sense. You’ll also discover how A Midsummer Night’s Dream reflects the way that Shakespeare’s own company performed his plays, and why that knowledge can help you become a better reader of Shakespeare.

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Boogie Down Predictions: Hip-Hop, Time, and Afrofuturism (MIT Press, 2022), edited by Roy Christopher, is a moment. It is the deconstructed sample, the researched lyrical metaphors, the aha moment on the way to hip-hop enlightenment. Hip-hop permeates our world, and yet it is continually misunderstood. Hip-hop's intersections with Afrofuturism and science fiction provide fascinating touchpoints that enable us to see our todays and tomorrows. This book can be, for the curious, a window into a hip-hop-infused Alter Destiny--a journey whose spaceship you embarked on some time ago. Are you engaging this work from the gaze of the future? Are you the data thief sailing into the past to U-turn to the now? Or are you the unborn child prepping to build the next universe? No, you're the superhero. Enjoy the journey.--from the introduction by Ytasha L. Womack

Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large. Introduced by Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, this book explores these temporalities, possible pasts, and further futures from a diverse, multilayered, interdisciplinary perspective.

Alex Kuchma is an MA student in history at York University. He has have researching hip-hop actively and collecting oral histories for more than a decade.

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A Midsummer Night’s Dream is one of Shakespeare’s most popular romantic comedies. At the same time, it’s a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey’s head. In this course, you’ll learn the story of A Midsummer Night’s Dream, discover how the play’s fantastical elements actually represent universal issues in our everyday lives, and hear the play’s key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you’ll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play’s context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others’ weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean. 

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What are the latest developments in the sociology of the arts? In Sociology of the Arts in Action: New Perspectives on Creation, Production, and Reception (Palgrave MacMillan, 2023), Arturo Rodríguez Morató, a Professor of Sociology and current Director of the CECUPS (Center for the Study of Culture, Politics and Society) at the University of Barcelona, and Alvaro Santana-Acuña, an Associate Professor of Sociology at Whitman College, bring together 12 leading researchers to present new empirical and theoretical breakthroughs within the field. The book has a huge range of case studies and approaches, from architectural competitions and graffiti to The Beatles, opera, and football shirts. Drawing on Spanish-speaking scholarship, the book broadens the global basis for the sociology of art, and is essential reading across the humanities and social sciences.

Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield.

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The story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album.

When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. “When something’s not right, it’s wrong,” as Dylan puts it in “You’re Going to Make Me Lonesome When You Go”—and something about that original recording led him to a studio in his native Minnesota to re-record five of the songs on that landmark album, including “Idiot Wind” and “Tangled Up in Blue.” Six Minnesota musicians sat in on that two-night recording session at Sound 80, bringing their unique sound to some of Dylan’s best-known songs—only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, of the musicians who gave the album so much of its ultimate form and sound, and of their decades-long fight for recognition.

Paul Metsa and Rick Shefchik's book Blood in the Tracks: The Minnesota Musicians Behind Dylan's Masterpiece (U Minnesota Press, 2023) takes readers behind the scenes with these “mystery” Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan’s until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work it took to finally get the official credit that was their due.

A rare look at the making—or remaking—of an all-time-great album, and a long overdue acknowledgment of the musicians who helped make it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players.

Paul Metsa is a musician and songwriter with twelve original records to his credit, as well as an autobiography, Blue Guitar Highway, also published by University of Minnesota Press. He has played more than five thousand professional gigs—including at Farm Aid V in Dallas in 1992, the Tribute to Woody Guthrie at the Rock and Roll Hall of Fame in 1996, and the Million Mom March in Washington, D.C., in 1999—and has received seven Minnesota Music Awards. His self-published Alphabet Jazz: Poetry, Prose, Stories, and Songs was released in September of 2022.

Rick Shefchik spent almost thirty years in daily journalism, mostly as a critic, reporter, and columnist for the St. Paul Pioneer Press. He is author of several books, including Everybody’s Heard about the Bird: The True Story of 1960s Rock ’n’ Roll in Minnesota (Minnesota, 2015).

Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics and on Twitter @15MinFilm.

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In this conversation, we discuss Haleh Liza Gafori's masterful new translations of poetry by Rumi, the 13th-century Persian mystic and poet. Rumi's work is well-known in the West, but has often been encountered through the work of translators without direct knowledge of Persian language or culture. Haleh Liza Gafori's intimate knowledge of both, as well as her singer's knack for the sound of language, lends these translations both authoritativeness and beauty. The poems in Gold (New York Review of Books, 2022) are about ecstatic love, both of God and of our fellow human beings. Newcomers to Rumi will discover a new favorite poet, while longtime fans will encounter this major voice of world literature anew. 

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts.

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In 1983, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone's "Last Great Independent Radio" stations. The station projected a philosophy that prioritized such independence--the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people.

In The Future of Rock and Roll: 97X WOXY and the Fight for True Independence (UNC Press, 2023), philosopher Robin James uses WOXY's story to argue against a corporate vision of independence--in which everyone fends for themselves--and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of "modern rock," James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

Robin James is a writer, editor, and philosopher. She is the author of four books including Resilience & Melancholy and The Sonic Episteme. Robin on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter.

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