The Reviews
“Everybody’s Doin’ It exposes the interracial and underworld origins of popular song and dance in the United States. Cockrell takes us into the sensual confines of the nineteenth-century concert saloons, cabarets, dives and dance halls propagating a new cultural genre: American popular music.” — Timothy J. Gilfoyle, author of City of Eros
“Another scintillating gem from one of the rock stars of American musicology. Cockrell draws on sources we didn’t know existed to draw conclusions we couldn’t have foreseen. He not only illuminates the music of the title’s time period but also puts jazz scholarship on a different footing. Everybody should be readin’ it!” — Robert Walser, author of Running with the Devil
“Cockrell takes us on a bawdy trip back to the dives and concert saloons of old New York. His book is one hell of a ride into the past, and a complicated one: he reminds us of the tragic fact that prostitution, ubiquitous at the time—after all, what options did women then have to survive?—was an integral part of New York’s rollicking music scene.” — Alice Sparberg Alexiou, author of Devil's Mile
“Dale Cockrell tells the stories of cellar clubs and what he calls the ‘discord of the dives.’ He scrapes the bottom of the archives to scour reports by police, tabloids, and moral reformers. Cockrell reads this neglected evidence with exuberant skepticism. Racy scholarship does the Grizzly Bear here with theoretical rigor.” — William Lhamon, author of Raising Cain
“In this brilliant and important study, Dale Cockrell reveals the conditions within which black and white artists forged the idioms of American popular music. You'll never listen to ragtime the same way again!” — Susan McClary, author of Feminine Endings
“I devoured this book and had to keep reminding myself that Dale Cockrell couldn’t have actually been there in person! His keen archivist’s gaze has once again opened a new world for readers, showing us how much has changed and how much has stayed the same, from backroom saloons of the 1870s to Studio 54 in the 1970s.” — Daniel Goldmark, director, Center for Popular Music Studies