New Books in Music

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions.

Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement.

A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard.

Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville.

Erin Osmon’s website and Instagram.

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 first large number of Chinese immigrants began arriving in the United States in the 1840s, and Chinese opera troupes were not far behind. In Inside Chinese Theater: Community and Artistry in Nineteenth Century California and Beyond (U Illinois Press, 2025), Nancy Yunhwa Rao writes the story of the flourishing and resiliency of Chinese opera in America. Chinese opera troupes brought with them an important cultural reminder of China that helped immigrants to build community and maintain connections with their old home in their new one. At the same time, anti-Chinese violence, legislation, and prejudice was a constant and growing threat to Chinese immigrants and Chinese theater. As Chinese theater became part of California and San Francisco culture, popular Chinese actors advocated for their art alongside appeals for civil rights. Rao draws on personal accounts and artifacts to place theater within the everyday lives of Chinese people. She also describes the costumes, singing, staging, and storytelling that impacted mainstream reception and influenced how Chinese communities saw themselves. Rao makes a convincing argument that more attention to the transpacific connections between the US and Asia is vital to telling the true story of America.
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Robyn Hitchcock's second memoir, Stranded in the Future
(Akashic Books, 2026), explores the formation of his seminal 1970s band
the Soft Boys, and the obsessions that fueled his early creative
output. Stranded in the Future is a kind of dystopian
self-portrait. It's about obsession, and obsessive behavior. Spanning
from 1968 to 1978, it takes in the mythology surrounding Pink Floyd's
Syd Barrett (though it doesn't name him) and hinges on Robyn Hitchcock's
teenage girlfriend (she isn't named either). The book explores the way
that Hitchcock, in his own head, linked these two figures to each other,
although they never actually met. On the way, the story mines the
incremental hangover of the 1970s as Hitchcock begins to play live,
teaches himself to write songs, and eventually forms the Soft Boys.
There's a side order of trolleybuses too! Hitchcock's beautiful prose
will resonate far beyond the fans of his music, and build on the
literary following he established with his first book, 1967: How I Got There and Why I Never Left.
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Most of the Yiddish songs we know today were created in the first half of the 20th century and distributed through commercial channels such as sheet music, concerts, radio broadcasts, records and CDs, theater stages, and more recently through songbooks produced in educational settings around the world. Our discussion focuses on lesser-known songs – Eastern Yiddish musical folklore, which emerged over a period of approximately four hundred years preceding the formation of the “popular” repertoire. Although we lack transcriptions of melodies or lyrics from before the end of the 19th century, a comparative study of documentation collected from then until the middle of the 20th century reveals that older layers of this musical-poetic creativity had been preserved over long periods of time. I refer to this older repertoire as the "musical pripetshik." Similar to the traditional combined home-heat-generating cooking oven known as the pripetshik, this old song repertoire was an integral part of Jewish culture, evolving in meaning and function over time. While for many, the image of the pripetshik corresponds to the nostalgic song by Mark Varshavski of 1901, this lecture will explore the earlier history of this and other poetic and musical images to offer an appreciation of their significance.

This lecture originally took place on July 23, 2024.
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The Military Entertainment Complex: Chimurenga Afrosonic Making of Zimbabwe (MIT Press, 2026) by Dr. Mhoze Chikowero is the story of the making of post-independence Zimbabwe from the sounds and songs born of the country’s armed liberation wars, waged against British Rhodesian white settler rule since the 1890s.The war from 1896 through the twentieth century to resist the initial colonization, as well as the one waged to reclaim land from the colonial farmers in the 2000s, is known as Chimurenga, and the music it produced is thus called Chimurenga music. The sounds and music were Afrosonic—that is, deeply grounded in the ideology of the 1960s–70s war, spawning the cultural liberation of a people whose self-expression the colonial system had criminalized and oppressed for close to a century.The living labs of the liberation war, Chimurenga, powered not just military but also cultural rearmament, thereby producing cultural blueprints for a confident, regenerative public consciousness and expressiveness as independence. The open-access title captures the sounds of self-liberation, framing a state of militant audibility in public cultural expressiveness, public policy propagation, and contestation. It invites readers to imagine, see, hear, and feel self-liberation war redeployed as popular entertainment in the service of state making.

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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