New Books in Music

Nicholas Tochka analyzes the role of rock music in the life of Charles Manson, the Family, and the August 1969 Tate-LaBianca killings, which also gives larger insight into Sixties counterculture.

Failed singer-songwriter. Devious cult leader. A rock Pied Piper. The product of a sick society. Just another dime-a-dozen singing hippy mystic. Did the guitar-playing guru personify the violence that the rock counterculture inflicted on America? Or did his music diagnose the dehumanizing effects of that society's broken institutions?

For over five decades, commentators have debated the meaning of Charles Manson and the Tate-LaBianca killings. Rock music links their narratives: from the acid drenched singalongs at the Spahn Movie Ranch, to a bizarre theology centered on Beatles songs, to his commune's alleged links with Hollywood's elite, to an album, LIE: The Love and Terror Cult (1970). In this first comprehensive examination of the Manson Family's music, Nicholas Tochka writes with, against, and alongside the many authors-true-crime hacks, gonzo journalists, conspiracy theorists, and rock critics alike-who have told and retold the story of "the Manson murders." Playing the truth games that these postwar Americans helped invent, The Musical Lives of Charles Manson: The Beatles, the Beach Boys, and the Invention of the Sixties (Bloomsbury, 2026) presents a new take on the story of the commune-and on rock's role in fracturing the possibility of writing trustworthy histories after the Sixties.

"They are afraid of it, because it tells the truth," Manson once claimed, describing his music. Just what truths did the Manson Family's music-making tell?

Nicholas Tochka is Associate Professor of Music (Ethnomusicology) at the University of Melbourne, Australia, and the author of several books including Rocking In the Free World: Music and the Politics of Freedom in Postwar America and Audible States: Socialist Politics and Popular Music in Albania. His work examines the politics of music-making in the postwar world.

Nicholas on the University of Melbourne’s website.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival.

Bradley on Facebook and Bluesky.
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The Museum of Imaginary Musical Instruments (Reaktion, 2026) by Dr. Deirdre Loughridge & Dr. Thomas Patteson is a guided tour through centuries of instruments that never existed. From ancient myths to futuristic media, these imagined devices appear in literature, theory, video games and art, at times echoing real instruments, other times pushing far beyond the bounds of technology. This book presents a wide-ranging collection of such creations, showing how they reflect changing ideas about sound, invention and the limits of the possible. At once a cultural history and a study of creative thought, it uncovers unexpected links between music, design and the human urge to make meaning through sound. These are not just fictional artefacts – they are windows into what music might mean, even when it cannot be played.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.
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Histories of Black-Jewish cultural interaction often focus on how Jews adopted and adapted Black vernacular music—ragtime, jazz, swing, R&B, blues—as performers, promoters, managers, club owners, and record labels. The phenomenon of African American musicians who performed Yiddish and cantorial music in and for the Jewish community in theaters, on record, on radio, and in concert between the World Wars deserves such scholarly inquiry. This talk will honor the memory of now forgotten Black cantors – Mendele der Shvartser Khazn, Reb Dovid Kalistrita, Abraham Ben Benjamin Franklin, Thomas LaRue Jones, and Goldye di Shvartse Khaznte, the first known Black woman cantor. This talk by award winning producer, author, and ethnomusicologist Henry Sapoznik will feature dozens of historic graphics, translations of period Yiddish newspaper previews, ads, and reviews, and the playing of the one known 1923 Yiddish and Hebrew recording of Thomas Jones LaRue.

This lecture originally took place on June 15, 2021.
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U2 is a band from the north side of Dublin that became a global phenomenon-and while its four members have traveled the world over for almost fifty years, some of the most critical points on their journey have been in Southern California.

The Joshua Tree is the best-known example of U2's artistic immersion in the Golden State, but the band began drawing inspiration from California's landscape as early as 1981 during their first arrival in the U.S. for the Boy tour.

From deserts to beaches to urban streets, Southern California features dozens of sites that are both sacred and significant to U2 history. For the first time, these sites are documented and categorized in a single resource to inform and support the Southern California pilgrimages of U2 fans. I Go There With You (2026) provides the information U2 fans need before embarking on such a quest, whether individually or in groups. Each site has a story, and this book tells those stories-along with must-have details for trips that require extra planning and foresight.

In addition to essential information on each site's place in U2 history, author Brook W. Flagg aims to inspire U2's most devoted followers with anecdotes and scrapbooked images. Just as Bono, The Edge, Adam Clayton, and Larry Mullen Jr. traveled through Southern California along the road from innocence to experience, their fans can find catharsis and healing by going into the mystic portals of the past-places where, over the decades, U2 found pieces of what they were looking for.

Brook Flagg on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival.

Bradley on Facebook and Bluesky.
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In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons’ unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman’s lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings.

Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny.

This lecture originally took place on July 9, 2020.
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