100 books like The Grande Ballroom

Detroit is a city shaped by social movements. Even in the city’s darkest times of violent uprisings, outmigration, and bankruptcy, ordinary Detroiters remained committed to transformative change - banding together to challenge issues of racial injustice, housing access, food sovereignty, workers’ rights, and accountable governance. A People’s Atlas of Detroit is community-based scholar-activism at its best.

The brilliantly illustrated collection of maps, essays, photographs, poetry, and interviews is the outcome of a multi-year project involving over fifty residents from all walks of life who are at the forefront of local social justice initiatives. Through its combination of radical cartography, historical perspectives, and firsthand reflections, A People’s Atlas elevates the voices of the underrecognized people who are actively charting courses for a more equitable urban future. 

If one were to travel in a time machine back to the early 1700s, to the French colony of Detroit, they’d arrive at a village inhabited by mixed French-indigenous families, where women were power-brokers and family ties were the basis for structuring business relationships. The village would be totally unrecognizable to those of us who have been taught to envision French colonial Detroit as a male-dominated outpost, where European soldiers and fur traders operated in the service of the Crown. Historian Karen Marrero digs deep into the archives to assemble an account that completely reorients our understandings of the cultural landscape and gender dynamics of early Detroit.

Drawing on a vast array of sources – from colonial records and oral histories to songs and indigenous stories – Detroit’s Hidden Channels is a remarkably inclusive history that unearths the enduring role French women and indigenous people played in the city’s development,… show more.

Slavery and its legacy is a northern problem too. Detroiters were slaveholders, but that is a fact that we’ve collectively spent decades, if not centuries, denying and neglecting. Tiya Miles’ gripping history of slavery and freedom reveals the stories of the enslaved Native and African American people who were present in Detroit since the city’s initial decades of European colonization. Her historical narratives, crafted from meticulous archival research, reintroduce readers to the long-forgotten people whose coerced labor laid the foundation for the city’s physical infrastructure and scaffolded the livelihoods of its free residents. The Dawn of Detroit is a stark reminder of how the roots of contemporary inequities run deep through the city’s history.  

Detroit 1967 is a compilation of twenty essays and reflections about the racially-charged uprising that began on July 23, 1967 and was, at the time, the deadliest civil disturbance in United States history. Until this volume was published during the uprising’s 50th anniversary year, there were few, if any, attempts by scholars to confront the falsehoods that confused understandings of the events and their lasting consequences. Fifty years on, there is no consensus about exactly how the uprising started. In fact, we’re not even at a point of agreement on what to call the events. The terms “rebellion”, “riot”, “uprising”, “disturbance”, and “insurrection” are used differentially, often according to one’s race, age, and place of residence. Detroit 1967 is one of the first conversations about the uprising to cross racial and generational lines, and to recognize the experiences of those involved on both sides. The volume is a critical… show more.

Not many books are written about bands that labor in the trenches for over thirty years with little success. The Fleshtones formed in New York City in the mid 1970s, one of many new wave/punk bands seeking to fulfill their rock-‘n’-roll dream. Today, they are still looking to achieve that dream. Since 1982, they have released over 20 albums, none achieving commercial success. With just the right combination of humor and seriousness (like The Fleshtones themselves), Sweat documents the band’s bad luck, bad management, bad record contracts, bad decisions, and self-destructive behaviors. Always on the brink of breaking through, “The Fleshtones,” as lead-signer Peter Zaremba put it, “have stared in the face of success and laughed.”

One of the most legendary producers in music history, Visconti enabled the talent and genius of ground-breaking artists such as David Bowie, Iggy Pop, T Rex, Thin Lizzy, Wings, and U2.

This is an insider’s view from a brilliant musician and arranger, an intimate view from a man whose talent earned the trust of the talented. The book is filled with fascinating personal tales of his work, and photos from his private collection.

It’s not an easy task to convey the carnal intensity and animal abandon of a performer whose default mode has always been unadulterated excess, but Paul Trynka’s masterful study of Iggy Pop hit the motherlode. Trynka went the extra mile and then some, tracking down hundreds of key witnesses to, and victims of, Pop’s creative chaos, and even attending his high school reunion (which is more than Iggy did). Jaw-dropping anecdotes were legion (taking a mid-gig dump behind the speakers, anyone?) and Trynka captured the driven essence of this brittle soul, perennially fighting the world while never even knowing why.

I love this book for its deep dive into the music and time period of the 1960s and 1970s. It’s a wonderful discovery of the bands that made this era of music so wonderful and how Laurel Canyon was in the center of it.

There are great behind-the-scenes stories and interviews with the people who were there, in the industry and making the music. It’s a great glimpse into the vision, values, and freedom of the time and how it all got funneled into that fantastic music I so love.

That’s right; it’s an entire book of musical notation. Like I said, this list is for players, not civilians.

I love that every note on every original Beatles record is transcribed here, right down to Ringo’s drum fills on “You Won’t See Me” and the guy saying “number nine” a hundred times on “Revolution 9.”

I love sitting down with my kid, who plays guitar, and discovering exactly how to recreate the parts we can’t work out by ear. I love seeing how the Beatles fit the gears together to make the wheels turn on these songs and how they used chords and notes that I have on the piano at my house, too.

I cannot explain why, but this book is the book I will always find some reason to recommend. Krit is my original book boyfriend, and Blythe is, if I had to pick, the character I would bring to life to be friends with. Krit calls Blythe “Love,” which always makes me smile.

I loved how simple it was to call her that, but it's not necessarily something we hear often in the United States. It was an endearment that wasn't overtly sexual–sometimes, he would call her that, and it was only to calm or comfort her. I also think it was perfect for the character of Blythe, who unfortunately hadn't felt loved by anyone before Krit.