New Books in Performing Arts

In 1982, the Institute held a multi day discussion of censorship. In this session from the Vault, sociologist Richard Sennett talks about Jean Jacques Rousseau’s ideas about censorship in the arts.

The discussion is moderated by Aryeh Neier, and includes Sidney Morgenbesser, Susan Sontag, Joseph Brodskey, Richard Gillman, Frances Fitzgerald, Karen Kennerly, Hans Magnus Enzensberger, and Michael Scammell.

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William Shakespeare, who lived in England from 1564 to 1616, is one of the world’s most popular and most captivating authors. Even four hundred years after his death, his plays still attract audiences around the globe. Why is that? In this course, you’ll learn who Shakespeare was, what kinds of plays he wrote, and what makes his body of work perhaps the greatest work of art ever created. In Episodes Two and Three, Professor Smith offers a tour through Shakespeare’s moment in history and through Shakespeare’s life. You’ll learn about the key historical, religious, and cultural changes that shaped the era in which Shakespeare wrote, including the Renaissance, the Protestant Reformation, and the opening of the first ever public theaters in London. Next comes Shakespeare’s own life, with an explanation of why some people have questioned whether William Shakespeare really wrote the plays, and why the particular Renaissance education he received prepared him so well to be a playwright.

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The Moog synthesizer ‘bent the course of music forever’ Rolling Stone declared.

Bob Moog, the man who did that bending, was a lovable geek with Einstein hair and pocket protectors. He walked into history in 1964 when his homemade contraption unexpectedly became a sensation---suddenly everyone wanted a Moog. The Beatles, The Doors, The Byrds, and Stevie Wonder discovered his synthesizer, and it came to be featured in seminal film scores including Apocalypse Now and A Clockwork Orange. The Moog's game-changing sounds saturated 60's counterculture and burst into the disco party in the 70's to set off the electronic dance music movement. Bob had singlehandedly founded the synth industry and become a star in the process.

But he was also going broke. Imitators copied his technology, the musicians' union accused him of replacing live players, and Japanese competitors started overtaking his work. He struggled to hang on to his inventions, his business, and his very name. Bob's story upends our notions of success and wealth, showing that the two don't always go together.

In Switched On: Bob Moog and the Synthesizer Revolution (Oxford UP, 2022), author Albert Glinsky draws on exclusive access to Bob Moog's personal archives and his probing interviews with Bob's family and a multitude of associates, for this first complete biography of the man and his work. Switched On takes the reader on a roller coaster ride at turns triumphant, heart-breaking, and frequently laugh out loud absurd---a nuanced trip through the public and private worlds of this legendary inventor who altered the course of music.”

Nathan Smith is a PhD Student in Music Theory at Yale University. He can be reached at [email protected].

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In 1956, Alfred Hitchcock focused his lens on an issue that cuts to the heart of our criminal justice system: the risk of wrongful conviction. The result was The Wrong Man, a bracing drama based on the real-life false arrest of Queens musician Christopher “Manny” Balestrero. Manny's ordeal is part of a larger story of other miscarriages of justice in the first half of the twentieth century. 

In Nothing to Fear: Alfred Hitchcock and the Wrong Men (Fayetteville Mafia Press, 2023), attorney Jason Isralowitz tells this story in a revelatory book that situates both the Balestrero case and its cinematic counterpart in their historical context. Drawing from archival records, Isralowitz delivers a gripping account of Manny’ s trial and new insights into an errant prosecution. He then examines how Hitchcock’ s film bears witness to issues that animate the contemporary innocence movement. Given the hundreds of exonerations of the wrongfully convicted in recent years, this genre-bending work of true crime and film history is a must-read.

Jason Isralowitz is a partner in the New York office of Hogan Lovells. A Queens native, Jason graduated from Boston University’s College of Communication with a bachelor’s in journalism and holds a J.D. from the University of Pennsylvania Law School. He has practiced law in Manhattan since 1993. Jason lives in Summit, New Jersey with his wife, Jennifer.

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, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm.

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Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France.

Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France’s most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France’s assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others.

In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice.

Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi’i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com.

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Rebecca Binn's Gee Vaucher: Beyond Punk, Feminism and the Avante Garde (Manchester University Press, 2022) is the first book-length work dedicated to the life and career of Vaucher. As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognized the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. The book explores how her life has shaped her output, with particular focus on the open-house collective at Dial House in Essex, a centre for radical creativity.

Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.

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William Shakespeare, who lived in England from 1564 to 1616, is one of the world’s most popular and most captivating authors. Even four hundred years after his death, his plays still attract audiences around the globe. Why is that? In this course, you’ll learn who Shakespeare was, what kinds of plays he wrote, and what makes his body of work perhaps the greatest work of art ever created. In Episode One, Emma Smith, Professor of Shakespeare Studies at the University of Oxford, tackles the question, Why read Shakespeare? You’ll learn what makes Shakespeare newly relevant for each new generation of audiences and discover what is unique about Shakespeare’s approach to writing--an approach that lets us not only watch but actually take part in his plays. 

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A special bonus episode in honor of the 93rd Academy Awards on April 25, 2021! One of the most-nominated films at this year's Oscars is "Nomadland," adapted from a book of the same name by journalist Jessica Bruder. "Nomadland" is about a 21st-century American phenomenon - the post-2008 increase in (mostly elderly) people who practice "vandwelling," living in vans, trucks, or other mobile housing and traveling the country in search of seasonal jobs. This episode talks about the characteristics of this nomadic community, how they adhere to an anthropological definition of the term "nomad," and nomadism in US history.

Desert City by Kevin MacLeod. License.

All other sounds courtesy of the BBC Sound Archive.

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In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros’ Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies.

The Influencing Machine, Aaron Moulton’s exhibition and book traces the network’s history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form’s development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies.

Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory.

The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders?

Aaron Moulton speaks to Pierre d’Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way.

Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost.

Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.

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Jonathan Fessenden and I talk about two movies, Martin Scorsese’s Silence (2016) and Jerry London’s The Scarlet and the Black (1983) and what they say about how to confront evil in terrible times—seventeenth-century Tokugawa Japan in one film, and 1943 Nazi-occupied Rome in the other—how to face our shortcomings and lean on God even when He is hard to find. We also talk about Jonathan’s article about continuous prayer and his life and journey.

Jonathan Fessenden is a Catholic writer, composer, and teacher of theology. He has written about movies and worked in the industry as a composer, and continues to write music for film.

Note: In this episode we refer to my earlier conversation with Makoto Fujimura about his work on the film Silence and other topics: Almost Good Catholics, Episode 14.

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