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For two decades after rock music emerged in the 1940s, the American Federation of Musicians (AFM), the oldest and largest labor union representing professional musicians in the United States and Canada, refused to recognize rock 'n' roll as legitimate music or its performers as skilled musicians. The AFM never actively organized rock 'n' roll musicians, although recruiting them would have been in the union's economic interest. In Tell Tchaikovsky the News, Michael James Roberts argues that the reasons that the union failed to act in its own interest lay in its culture, in the opinions of its leadership and elite rank-and-file members. Explaining the bias of union members—most of whom were classical or jazz music performers—against rock music and musicians, Roberts addresses issues of race and class, questions of what qualified someone as a skilled or professional musician, and the threat that records, central to rock 'n' roll, posed to AFM members, who had long privileged live performances. Roberts contends that by rejecting rock 'n' rollers for two decades, the once formidable American Federation of Musicians lost their clout within the music industry.
- Sales Rank: #1050614 in Books
- Published on: 2014-03-03
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.00" w x .75" l, .0 pounds
- Binding: Paperback
- 280 pages
Review
"In this book Michael James Roberts has succeeded in breaking down the categories of labor studies and aesthetics. Not only has he written a superb account of how the Musicians Union lost its bargaining power with the record industry. He shows that its refusal to recognize the musical value of popular music of the past forty years led to its narrowing and ultimate reduction of influence over the most vital section of the music industry. The book is vividly written, conceptually strong and instructive about the growing complexity of labor relations in the entertainment industry." (Stanley Aronowitz, author of Taking It Big: C. Wright Mills and the Making of Political Intellectuals)
"In this lively study of the remarkable victories and disheartening failures of the American Federation of Musicians, Michael James Roberts presents a strong case that union culture played a central role in the decline of the U.S. labor movement. Focusing on the union's dismissal of rock 'n' roll, Tell Tchaikovsky the News explores how class cleavages—conflicts over what count as culture, taste, talent, skill, and proper expressions of working-class resistance—undermined solidarity among workers. This wonderfully engaging analysis of the class textures of popular music and the cultural politics of the labor movement is a must-read." (Kathi Weeks, author of The Problem with Work: Feminism, Marxism, Antiwork Politics, and Postwork Imaginaries)
"Both a compelling labor history . . . and a music history . . . Roberts supplies fascinating views into struggles within the AFM over a developing music industry and about a music revolution." (R.A. Batch Choice)
"Michael James Roberts outlines the American Federation of Musicians’ systematic marginalization of rock and roll musicians in the 1950s and 1960s largely due to advancing recording technologies, shifting recording industries, morphing U.S. labor laws, and an idiomatic elitism." (Kathryn Metz ARSC Journal)
"A good look at rock music’s impact and power in its earliest phases." (Kenneth Bindas Journal of American History)
“Roberts … has produced a work that offers many insights. … [I]t provides an excellent interdisciplinary approach to the subject at hand and comes with a comprehensive bibliography that a wide array of readers will relish.” (Michael T. Bertrand Register of the Kentucky Historical Society)
“Music history buffs this book, by Michael James Roberts, is for you. … Roberts has written an interesting, well researched work that in retrospect is quite surprising to the average music listener.” (Leanne Weymans M/C Reviews)
“Surpassing a simple account of class domination, working class resistance, or binary conflict, Tell Tchaikovsky the News weaves a historically rich tale of contradiction, cultural and economic intersection, and unexpected turns.”
(William G. Roy American Journal of Sociology)
About the Author
Michael James Roberts is Associate Professor of Sociology at San Diego State University.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Music's labor aristocracy
By Ryan M. Moore
This superb book examines considers the conflicted relationships between the musicians’ unions and rock ‘n’ roll. Roberts shows how the American Federation of Musicians (AFM) ultimately undermined itself by attempting to exclude popular musicians and emerging forms of popular music between the 1940s and the 1960s. During World War II, the AFM had been in an unparalleled position of strength as it maintained a ban on recording music, which threatened to displace live musicians who played jazz or classical music. Yet the AFM was founded as a craft union with an exclusionary attitude of the sort that Lenin once derided as a “labor aristocracy.” Invoking aesthetic arguments about the superiority of their musical skills, the AFM aggressively excluded popular musicians in ways that betrayed interrelated prejudices of class and race.
The history of the musicians’ union and its response to radio and recording is presented in the introduction and first chapter, which are exhaustively researched. In my view, the best part of the book is the chapter 2, which offers the best class-based analysis of rhythm & blues and rock ‘n’ roll I have read since George Lipsitz’s A Rainbow at Midnight. Like Lipsitz, Roberts situates these musical developments within the class conflicts of post-war America, and he begins by emphasizing the unique “jump blues” style of Louis Jordan. The class conflicts of this time were expressed in music through affirmations of leisure and resistance to work, as millions of black and white Americans had migrated to industrial cities during and after World War II. Roberts demonstrates that resistance to the work ethic also animated the rockabilly of Carl Perkins, Johnny Cash, and Elvis Presley as well as honky-tonk musicians like Hank Williams. This chapter incorporates style as well as music, offering a fine analysis of zoot suits and the racist riots they provoked. As his analysis eventually evolves from rhythm & blues to rock ‘n’ roll, Roberts offers an illuminating perspective on the significance of musicians like Wynonie Harris, T-Bone Walker, Little Richard, Fats Domino, and Jerry Lee Lewis. He is especially good at demonstrating how Richard, Domino, and Lewis embodied resistance to bourgeois norms in their transgressive use of the piano. Chapter 2 ends with a fine discussion of Chuck Berry and the proto-feminism of Wanda Jackson.
Chapters 3 and 4 return to the book’s focus on the AFM and its response to these emerging forms of popular music. Ironically, bebop musicians who had once been shunned by the establishment, including Dizzy Gillespie and Charles Mingus, were among those who led the charge against rhythm & blues and rock ‘n’ roll. By 1964, the union was undertaking a hopeless and ultimately suicidal campaign to try to block the Beatles from coming to the United States. This campaign failed miserably, but they did manage to ban the Kinks from the U.S. from 1965 to 1969 following a scuffle between Ray Davies and a union representative at the Cow Palace in San Francisco. In a sense, the efforts to ban the British Invasion bands paralleled a larger conflict which erupted during the 1960s between conservative elements of the working-class and the hippie counterculture. The inability to find common ground ultimately led to the undoing of the labor movement. Cultural conservatives in the working-class turned to the Republican Party, who proceeded to reverse their achievements and dismantle their power in the ensuing decades. In sum, Tell Tchaikovsky the News is not simply a history of the musicians’ union but a microcosm of the labor movement’s demise.
1 of 2 people found the following review helpful.
great history on labor, culture, and rock'n'roll
By randalman
For once-upon-a-punks like me, the clash between corporate culture and rock‘n’roll crested in December 1977 with Elvis Costello’s Saturday Night Live appearance, when his band launched into the acerbic “Radio Radio” and sent Lorne Michaels into fits. Michael J. Roberts’ splendid Tell Tchaikovsky the News sets me to rights, though, on the long-standing conflicts and complexity of labor, music, and technology in the US. In a tidy 200 pages, Roberts deftly uses the American Federation of Musicians (AFM) as a case study to examine how union leadership in the not-too-distant past established and maintained leverage in negotiations with media outlets and won concessions with long-term implications, for industrial laborers, musicians, and listeners alike.
That victory, though, as Roberts explains in solid detail (from a solidly working-class standpoint), was undone over time by the cultural hierarchies sustained by the AFM, which required for membership a test of reading music. This test excluded musicians of the oral tradition, be it blues, jump blues, hillbilly, or country. The privilege of composition over interpretation, of music for listening over music for dancing, corresponded to class differences across racial lines: jazz musicians such as Dizzy Gillespie and Charles Mingus sustained the ethos of W.E.B. Dubois’ “talented tenth” in their disdain for the jump blues of Louis Jordan, most notably. Roberts does an excellent job of giving shape to the cause that spurred culture-and-class rebels like Jordan, who found a lively audience for his spirited tunes during the war years, especially, when in 1943 alone 72% of job turnover was the result of voluntary departures. If the names changed, the conflict continued apace through the 1950s, and involved odd articulations between juvenile delinquency, communism, and moral panics over race mixing.
Roberts takes the reader on a rich history of radio and labor through the age of the baby boomers, and adds a great meditation on immigration policy, protectionism, and the British Invasion in his chapter on the 1960s. He even uncovers the affinities of Detroit dissident rockers The MC5 for AFM Local 5 in Detroit, and wonders where musicians and industrial workers might be now had “culture”—in all its various forms—been a mode for solidarity rather than difference.
With affection (and understandable frustration), Roberts’ musical history tour takes the reader from the fine points of lyrical innuendo to the battering-ram delicacy of Cold War hysteria. Strongly recommended for anyone interested in labor, leisure, and rockin’ out!
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