Songs of the Factory: Pop Culture, and Resistance. By Marek Korczynski. Ithaca, NY: Cornell University Press, 2014. [x, 223 p. ISBN 9780801451546 (hardcover), $75; ISBN 9780801479977 (paperback), $24.95.] Illustrations, appendix, bibliography, index. [Workers'] desire to be back at work did not reflect joy in the work but rather an intuited sense that their culture, which they so valued, was rooted in the process of (p. 86). A simple statement out of context, but Marek Korczynski thoroughly demonstrates how rich a claim it is. Scholars and students in both music and labor studies will find this volume a welcome contribution. Korczynski's work stands in stark contrast with the dated yet persistent demonization of popular music heard on the radio. This demonization often reinforces divisions between high and low, urban and rural, historical and contemporary, or between corporate manufactured pseudo-individualistic music versus traditional music of an authentic folk or rebellious working class. Such views can be traced throughout scholarship on popular music, finding its most acerbic and devastating expression in Adorno's On Popular (Theodor Adorno, On Popular Music, Studies in Philosophy and Social Science 9 [January 1941]: 17-48). Usually, such work lacks actual empirical data on how people use popular music. Korczynski's Songs of the Factory provides a much needed complication of such views. Through detailed ethnographic research, the author demonstrates how workers in the most tedious of workplaces used music, movement, humor, and friendship to enrich their daily grind. The setting was McTells, a blinds factory in England where shift workers filled sporadic custom orders. Workers were given hourly quotas, and managers had to ensure these quotas were met. McTells, Korczynski argues, was a Taylorized workplace in which workers focus on small repetitive jobs executed over and over again. Though workers constructed blinds via a fairly rigid routine, the sporadic placement of orders created an unpredictable pace of general labor. Two areas of tension emerged in this setting: that between the workers and their monotonous labor and that between workers and managers. Alienation, that familiar specter of Taylorism, thus shaped the working lives of the individuals in Korczynski's study. Employing music, humor, movement, and acts of resistance, workers participated in a Stayin' Alive culture meant to keep alienation at bay. Korczynski's use of the 1977 Bee Gees hit to theorize workers' responses to alienation foregrounds music as part of a culture of happiness found on the shop-room floor (p. 32). By worked Korczynski means that laborers themselves created the Stayin' Alive culture in daily response to the nature of their working lives. heard from radios throughout the factory, was their principal tool in this construction. Over the course of five chapters, Korczynski explores workers' relationships with music. Musical content oscillated between older and more contemporaneous pop and rock hits. Korczynski draws on Thomas Turino and Christopher Small to demonstrate how workers, especially specific cultural instigators, created participatory fields of musicking to build a sense of community among themselves (Thomas Turino, Music as Social Life [Chicago: University of Chicago Press, 2008]; Christopher Small, Musicking [Middletown, CT: Wesleyan University Press, 1998]). Managers never participated in this musicking, and were vocal in their opposition to it. Music in this setting served primarily to help workers feel human. Pop songs created spaces for witty banter, dancing, and communal singing. With music, the routinized gestures of blind construction could become an opportunity for improvised dance-like movements. Korczynski uses two films, Charlie Chaplin's Working Times and Saturday Night Fever, to contrast how workers incorporated music to make the monotonous gestures of blind construction into fun dances (Modern Times, dir. âŠ
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