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Works by
Ned Sublette
(Musician, Writer)
[1951 - ]

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Profile created March 2, 2008
Audio
Books
Non-fiction
  • The World That Made New Orleans: From Spanish Silver to Congo Square (2008)
    Offering a new perspective on the unique cultural influences of New Orleans, this entertaining history captures the soul of the city and reveals its impact on the rest of the nation. Focused on New Orleans’ first century of existence, a comprehensive, chronological narrative of the political, cultural, and musical development of Louisiana’s early years is presented. This innovative history tracks the important roots of American music back to the swamp town, making clear the effects of centuries-long struggles among France, Spain, and England on the city’s unique culture. The origins of jazz and the city’s eclectic musical influences, including the role of the slave trade, are also revealed. Featuring little known facts about the cultural development of New Orleans—such as the real significance of gumbo, the origins of the tango, and the first appearance of the words vaudeville and voodoo—this rich historical narrative explains how New Orleans’ colonial influences shape the city still today.

  • Cuba and Its Music: From the First Drums to the Mambo (2004)
    This entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdés, Arsenio Rodríguez, Benny Moré, and Pérez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making a case for Cuba as fundamental to the evolution of music in the New World. Revealed are how the music of black slaves transformed 16th-century Europe, how the claves appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues. Music lovers will follow this journey from Andalucía, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santería, Palo, Abakuá, Vodú, and much more.

  • A Discography of Hispanic Music in the Fine Arts Library of the University of New Mexico -- Sources, No. One (1978)

Music

Other

  • Indeterminate Activity of Resultant Masses (2007)
    Includes Glenn Branca (Composer), Spoken Word (Composer), Glen Cortese (Conductor), Stephan Wischerth (Performer), New York Chamber Symphony (Performer), Barbara Ess (Performer), Craig Bromberg (Performer), David Rosenboom (Performer), Jeffrey Glenn (Performer), Lee Ranaldo (Performer), Mark Bingham (Performer), Ned Sublette (Performer), Sue Hanel (Performer), Thurston Moore (Performer)

  • Die Donnergotter (2006)
    Includes Conrad Kinard (Performer), Michael Brown (Performer), Rhys Chatham (Composer), Rhys Chatham (Conductor, Performer), Anton Fier (Performer), David Linton (Performer), Art Becofski (Performer), Ben Neill (Performer), Bill Brovold (Performer), Chris Komar (Performer), Joe Dizney (Performer), Joseph Lennon (Performer), Karen Haglof (Performer), Karole Armitage (Performer), Mitch Salmen (Performer), Ned Sublette (Performer), Nina Canal (Performer), Robert Poss (Performer), Tim Schellenbaum (Performer)

  • From The Kitchen Archives - New Music New York 1979 (2004)
    Arthur Stidfole (Performer), David Behrman (Composer), Barbara Benary (Composer), Joel Chadabe (Composer), Tony Conrad (Composer), Jon Gibson (Composer), Philip Glass (Composer), Tom Johnson (Composer), George E. Lewis (Composer), Garrett List (Composer), Meredith Monk (Composer), Charlie Morrow (Composer), Gordon Mumma (Composer), Phill Niblock (Composer), Michael Nyman (Composer), Pauline Oliveros (Composer), Charlemagne Palestine (Composer), Steve Reich (Composer), David Van Tieghem (Performer), Gary Schall (Performer)

  • Lesson No. 1 (2004)
    Includes Glenn Branca (Artist), Jeffrey Glenn (Artist), F.L. Schroder (Artist), Stephan Wischerth (Artist), David Rosenbloom (Artist), Lee Ranaldo (Artist), Ned Sublette (Artist), Thurston Moore (Artist), Anthony Coleman (Artist)

  • Angel Moves Too Fast to See: Selected Works 1971-1989 (2003)
    Includes works by Conrad Kinard (Performer), Ernie Brooks (Performer), Michael Brown (Performer), Rhys Chatham (Composer), Rhys Chatham (Conductor), Anton Fier (Performer), David Linton (Performer), Jonathan Kane (Performer), Les 100 Guitars (Performer), Art Becofski (Performer), Ben Neill (Performer), Bill Brovold (Performer), Chris Komar (Performer), Joe Dizney (Performer), Joseph Lennon (Performer), Karen Haglof (Performer), Karole Armitage (Performer), Mitch Salmen (Performer), Ned Sublette (Performer), Nina Canal (Performer)

  • Branca (1998)
    Includes Glenn Branca (Composer), Stephan Wischerth (Performer), Margot Zvaleko (Performer), Craig Bromberg (Performer), Ned Sublette (Performer), Robert Harrison [guitars] (Performer), Ann Demarinis (Performer), Wharton Tiers (Performer), Richard Edson (Performer)

  • Ships at Sea, Sailors and Shoes (1993)
    Cassette
    Includes works by Ned Sublette, Lawrence Weiner, The Persuasions

See also:
  • Listen Again (2007), Eric Weisbard, ed.
    Arguing that pop music turns on moments rather than movements, the essays in Listen Again pinpoint magic moments from a century of pop eclecticism, looking at artists who fall between genre lines, songs that sponge up influences from everywhere, and studio accidents with unforeseen consequences. Listen Again collects some of the finest presentations from the celebrated Experience Music Project Pop Conference, where journalists, musicians, academics, and other culturemongers come together once each year to stretch the boundaries of pop music culture, criticism, and scholarship.

    Building a history of pop music out of unexpected instances, critics and musicians delve into topics from the early-twentieth-century black performer Bert Williams’s use of blackface, to the invention of the Delta blues category by a forgotten record collector named James McKune, to an ER cast member’s performance as the Germs’ front man Darby Crash at a Germs reunion show. Cuban music historian Ned Sublette zeroes in on the signature riff of the garage-band staple “Louie, Louie.” David Thomas of the pioneering punk band Pere Ubu honors one of his forebears: Ghoulardi, a late-night monster-movie host on Cleveland-area TV in the 1960s. Benjamin Melendez discusses playing in a band, the Ghetto Brothers, that Latinized the Beatles, while leading a South Bronx gang, also called the Ghetto Brothers. Michaelangelo Matos traces the lineage of the hip-hop sample “Apache” to a Burt Lancaster film. Whether reflecting on the ringing freedom of an E chord or the significance of Bill Tate, who performed once in 1981 as Buddy Holocaust and was never heard from again, the essays reveal why Robert Christgau, a founder of rock criticism, has called the EMP Pop Conference “the best thing that’s ever happened to serious consideration of pop music.”

    Contributors. David Brackett, Franklin Bruno, Daphne Carr, Henry Chalfant, Jeff Chang, Drew Daniel, Robert Fink, Holly George-Warren, Lavinia Greenlaw, Marybeth Hamilton,

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