{"title":"History \u0026 Criticism","description":"\u003cp\u003eMusic: History \u0026amp; Criticism. 39 titles; authors including Abdurraqib, Hanif, Debarge, Bunny, Questlove; series including Wooden Books North America Editions and Little Histories.\u003c\/p\u003e\u003cp\u003ePaperback and Hardcover from $8.95 to $97.99. Free shipping on orders over $50.\u003c\/p\u003e","products":[{"product_id":"the-hours-are-long-but-the-pay-is-low-a-curious-life-in-independent-music","title":"The Hours Are Long, But the Pay Is Low: A Curious Life in Independent Music","description":"\"The music business is not a meritocracy: it is a crapshoot taking place in a septic tank balanced on the prow of the Titanic, a venal snake pit where innovation, creativity, and honest business practices are actively discouraged.\" \u003cp\u003e\u003c\/p\u003eRob Miller arrived in Chicago wanting to escape the music industry. 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For decades, the cliche has been that it initially only sold 10,000 copies, though everyone who bought it supposedly started a band. It is the definition of a record whose influence outstrips its mass popularity. But what if the opposite had transpired? What if instead of selling 10,000 copies, it had sold...10 million copies? What if it had sold 100 million copies? What would have happened if the Velvet Underground had inexplicably become the biggest group in the history of popular music, and everything about the rest of the 20th century was merely a footnote to that phenomenon? \u003cp\u003e\u003c\/p\u003eWhatever answer you imagine is an infinitesimal splinter, at least when compared to \u003ci\u003eRock*\u003c\/i\u003e. Chuck Klosterman has generated a fictitious universe where almost everything is different, except for the songs. The songs remain the same--the difference is how they are heard and what they now mean. Lou Reed is a messiah, reversing the monoculture and dictating the outcome of presidential elections. The Beatles disappear, though they never break up. The Rolling Stones collapse while Led Zeppelin goes bankrupt. Punk rock fills stadiums, undermined only by insouciant radicals like Boston and Van Halen. Disco is destroyed. Hip-hop becomes country. The 1980s are defined by disposable pop icons (like G.G. Allin) and Christian revivalists (like Madonna). Lenny Kravitz lets love rule, Oasis collides with a wonderwall, and the terrorist attacks of 9\/11 are somehow blamed on the Strokes. \u003cp\u003e\u003c\/p\u003ePresented like \u003ci\u003eThe Rolling Stone History of Rock \u0026amp; Roll\u003c\/i\u003e if written by Philip K. 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Comparing the divergent trajectories of jazz pianist Elmo Hope with country singer Johnny Cash, Asher examines how violent and discriminatory policing stifled Hope's career and led to the creation of his album \u003cem\u003eSounds from Rikers Island\u003c\/em\u003e (1963), while forgiveness and lenience brought us Cash's masterpiece \u003cem\u003eAt San Quentin\u003c\/em\u003e (1969).\u003c\/p\u003e\u003cp\u003eWith keen musical analysis and sociological insight, \u003cem\u003eThe Midnight Special\u003c\/em\u003e examines key themes in culture and criminal justice, from the movement for prison reform that allowed soul musician Ike White to stage thrilling concerts while locked up and record his album \u003cem\u003eChangin' Times\u003c\/em\u003e (1977), to the crushing cultural weight of mass incarceration a generation later. 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