Gina Mahalek: What was the Manhattan Musical Marketplace that you discuss in your book?
David Gilbert: This is a term that I coined to explain the historical formation of New York City as the center of American popular culture at the turn of the twentieth century. I think that many music fans, musicians, and scholars kind of take for granted that NYC has always been America’s capital of popular entertainment, and I wanted to tell the story about how this came to be. Rather than assume Broadway Theater and Tin Pan Alley song publishing just naturally developed into leading culture industries, I want to call attention to the moment in which these spaces—and their connotations—developed. And I want to emphasize African Americans’ roles in creating both New York’s unique culture markets and important facets of American popular culture.
The reason social critics and entertainers still point out white appropriation when they see it is because the American public, and its leaders, have not matured the way black music and culture have. Even though millions of whites may profess to love and respect black music, their daily decisions—and those of their elected and institutional leaders—indicate that they do not love black people.
It is certainly an interesting time for the creation, selling, and distribution of popular music (not to mention less-popular music, like jazz and classical, which encounter even more drastic dilemmas, as recently pointed out at Salon.com). Many of the artists taking a stand against the new status quo in recorded music allude to the history of music making in the United States, often referring back to earlier eras wherein musicians received unfair deals from recording companies and large majorities of performers struggled to make a living, even as a “top 1%” of musicians dominated sales and marketing. This look back to history makes sense.