Table Of ContentI’m Not Like Everybody Else
series editors · Marco Abel and Roland Végső
Something in the world forces us to think.
— Gilles Deleuze
The world provokes thought. Thinking is nothing
but the human response to this provocation. Thus,
the very nature of thought is to be the product of a
provocation. This is why a genuine act of provoca-
tion cannot be the empty rhetorical gesture of the
contrarian. It must be an experimental response to
the historical necessity to act. Unlike the contrarian,
we refuse to reduce provocation to a passive noun
or a state of being. We believe that real moments of
provocation are constituted by a series of actions that
are best defined by verbs or even infinitives—v erbs in
a modality of potentiality, of the promise of action. To
provoke is to intervene in the present by invoking an
as yet undecided future radically different from what
is declared to be possible in the present and, in so
doing, to arouse the desire for bringing about change.
By publishing short books from multiple disciplinary
perspectives that are closer to the genres of the man-
ifesto, the polemical essay, the intervention, and the
pamphlet than to traditional scholarly monographs,
“Provocations” hopes to serve as a forum for the kind
of theoretical experimentation that we consider to be
the very essence of thought.
www .provocationsbooks. com
I’m Not Like
Everybody Else
Biopolitics, Neoliberalism, and
American Popular Music
jeffrey t. nealon
university of nebraska press · lincoln and london
© 2018 by the Board of Regents of
the University of Nebraska
All rights reserved
Manufactured in the United States of America
The series editors would like to thank James
Brunton, Daniel Clausen, Robert Lipscomb,
Dillon Rockrohr, Jessica Tebo, and Colten
White for their work on the manuscript.
Library of Congress Cataloging-
in- Publication Data
Names: Nealon, Jeffrey T.
(Jeffrey Thomas) author.
Title: I’m not like everybody else:
biopolitics, neoliberalism, and American
popular music / Jeffrey T. Nealon.
Description: Lincoln: University of Nebraska
Press, [2018]. | Series: Provocations
Identifiers: lccn 2017056179
isbn 9781496208651 (pbk.: alk. paper)
isbn 9781496210951 (epub)
isbn 9781496210968 (mobi)
isbn 9781496210975 (pdf)
Subjects: lcsh: Popular music— Political
aspects— United States. | Neoliberalism—
United States. | Biopolitics— United States.
Classification: lcc ml3917.u6 n43 2018 |
ddc 781.640973— dc23 lc record available
at https:// lccn .loc .gov /2017056179
Set in Sorts Mill Goudy by Mikala R Kolander.
Designed by N. Putens.
contents
Acknowledgments vii
Provocations ix
Introduction 1
1. Biopower Blues 11
2. Steal Your Face 21
3. Not for Sale 27
4. A Genealogy of Popular Music and Authenticity;
or, You Can Fake the Funk 35
5. Good Rockin’ Tonite 43
6. Musical Community, from In- to Excorporation 55
7. Capitalism, from Meaning to Usage 73
8. In the Mood 85
9. Will There Be Music? 95
10. Bourdieu, Bourdon’t 99
11. Everywhere, All the Time 107
Notes 121
acknowledgments
More than anything else I’ve written, this book owes a large
number of debts spread out over a long time span. To the press
questionnaire’s query, “What special qualifications do you have
to write this book?” I have to admit I simply answered, “I’ve been
intently listening to American popular music my entire life.”
Some of my earliest memories are of listening to eight- track
tapes in my parents’ car (Eddy Arnold’s Greatest Hits and a lot of
Glen Campbell). My sister would routinely buy me 45s (Helen
Reddy’s “I Am Woman” was probably the most memorable),
while my soon- to- be brother- in- law assured me that the group
Aliotta Haynes Jeremiah was the future of American music.
Those family members are all gone now, but they live on in
and around the music.
My musical tastes began to take shape in high school. I still
see my group of friends from that time and keep listening to
new music with them (though a lot of oldies do get played at
that yearly get- together). I especially recall seeing an epic Jeff
Beck show with Rich Babjak, James Brown at Summerfest in
Milwaukee with Mike Maicke, the Allman Brothers with George
Carens, Talking Heads with Greg Roman, and Sippie Wallace
with Thane Bauz. Those long discussions and listening hours in
various friends’ basements laid the groundwork for this book.
vii
In college and grad school I most intensely remember seeing
the Pogues on Saint Patrick’s Day with Ann Gunkel, Cat Power
with Joe Sullivan, and Fred Frith with Murray Coffey, between
stops at the Green Mill with Sherry Brennan to see Von Free-
man. I very keenly remember seeing Eric (Blowtorch) Beaumont
play several times. I’m pretty sure I went to some Grateful Dead
shows with Tim White, Margaret Sullivan, Jennifer Fettig, and
Mark Nadeau, but I can’t be positive. While I never made it to
a Dead show with Michael Naas, we did get to see Godspeed
You! Black Emperor, and that’s pretty close.
I owe a major debt of gratitude to the Penn State students
who took the graduate and undergraduate courses that I offered
in the lead- up to this writing. I’d also like to thank my theory
colleagues Frida Beckman, Kevin DeLuca, Rich Doyle, Grant
Farred, Gregg Flaxman, Aaron Jaffe, Gregg Lambert, Ulf Olsson,
and Cary Wolfe, to whom I’ve prattled on about these topics for
the past few years. Likewise, a special thank you to the editors
of the Provocations series, Marco Abel (with whom I have a
friendly ongoing musical taste war) and Roland Végső (who
played me some delightfully unlistenable Hungarian music at
his house very late one night).
Finally, Leisha and I took in our first show together in Chi-
cago, Marc Ribot y Los Cubanos Postizos. Several years later
we took an in-u tero Bram to his first show, the Flaming Lips,
on New Year’s Eve 2000, and Dash and I have been to several
memorable experimental music nights here in State College.
My family continues to suffer my complete monopolizing of
music in the household, so while this book is a sort of concept
album that’s meant for everyone, in the end it’s dedicated to
Leisha, Bram, and Dash.
viii · Acknowledgments
provocations
The Music (Discourse) Must Change!
The ways that we think about popular music haven’t changed
substantially since Adorno and Benjamin set the terms for these
popular- culture debates in the 1930s: either popular music is a
standardized, sold-o ut commodity leading to mass conformity,
or popular music (or more accurately, some benighted music that
rises above the commodified fray) can offer a kind of authentic
individual identity or resistant group reaction against those very
dictates of consumption capitalism. Trying to think beyond
that cultural studies dead end, this book holds the following
truths to be (nearly) self- evident:
Resist Musical Authenticity Discourse!
A norm- busting musical authenticity discourse no longer func-
tions against the grain of our neoliberal, biopolitical world.
Ironically, that’s the case not because music has finally and com-
pletely been co-o pted by the capitalist Man. Rather biopolitical
capitalism has in recent decades found an organizing use for val-
ues of musical authenticity, a neoliberal world where my musical
tastes help demonstrate that “I’m Not Like Everybody Else.”
ix
