In Geek Rock: An Exploration of Music and Subculture, I wrote the chapter on They Might Be Giants, entitled â€œThey Might Be Lacanian: They Might Be Giants, Jacques Lacan, and the Rhetoric of Geek Rock.â€ I am a long time fan of TMBG, and in many ways, I could credit them with inspiring our book. After all, I originally pitched the idea of a geek rock panel to Alex DiBlasi in large part because I wanted to write about They Might Be Giants. I found it strange, to say the least, that in all the writing on music, there was no scholarship addressing TMBG, or, as we found out, geek rock as a genre. That, of course, is now no longer the case.
For They Might be Giants in particular, it also now no longer the case because the 33 â…“ series has recently published their book on Flood, written by S. Alexander Reed and Philip Sandifer. The pros of the book are many.The writers take a cultural studies lens in order to explore 1990, geek identity, and the idea of excess: aesthetic excess, creative excess, and excess of meaning. Â Reed and Sandifer are clearly fans, and not just because they say so–their writing demonstrates a level of familiarity with TMBG that belongs to the long-time listener. I was also very pleased to find that Reed and Sandifer constructed geek identity as more of a process, a way of interacting with the world, then a collection of sci-fi references and t-shirts. The history of the band was traced a little more extensively than the beginning led me to believe, where the authors claimed they would not be providing â€œbiographical analysisâ€ (2) and then proceeded to fill the next 25 pages with band biography. Technically, I suppose, the authors donâ€™t really analyze the biography, but the disconnect was a little jarring.
To give a synopsis of the book: the biography of the band covers the first three chapters â€œWho Might Be Giants?,â€ â€œLincoln,â€ and â€œBrooklynâ€™s Ambassadors of Love,â€ while the next chapter, â€œAmerica,â€ places the band within a more global context. â€œFloodingâ€ focuses on the idea of excess, while â€œChildhoodâ€ explores TMBGâ€™s return to themes of childhood in their music. â€œChildhoodâ€ was, in my opinion, the least convincing and weakest chapter, and I found many arguments here a little too reductive. I suspect that the authors were limited by space, and I wish they had a larger book to flesh out these ideas more. â€œMedialityâ€ focuses on tech, a la Marshal McLuhan, and is an excellent chapter, which I would frankly like to see turned into a book in its own right (however, as a rhetorician who specializes in delivery, that could just be me). The chaptersâ€œGeek Cultureâ€ and â€œPost-Coolnessâ€ were larger discussions of the evolution(s) of geek culture and geek identity, and the discussions were interesting enough that I could almost forgive the easy theoretical out of â€œpostâ€ in â€œpost-coolâ€ (which I realize is an academic fad at the moment, but I think categorizing what is supposed to be beyond category with â€œpost-â€ is silly enough that we should just think of something new instead of just having â€œpost-â€ thing). These chapters are particularly valuable in their contributions to defining the geek in the rock.
However, in addition to the pros of this book, there some cons. The flooding metaphor becomes repetitive and is punned a little too often. While no human with ears and a heart in the TMBG fandom could write about the Johns without punning, itâ€™s a little, well, excessive. Â The rigor is surprisingly lacking for two such robust scholars. The lack of a bibliography, or any provided references, is glaring, especially since sources are mentioned throughout the text. Iâ€™m assuming this a publisher mandated lack, since the authors have clearly done their research. The audience, then, appears to be dictated by the publisher, rather than authors. While the authors appear to conducting research, the publisher appears to marketing to a general audience that it believes isnâ€™t ready for â€œrealâ€ research–the kind that comes with a bibliography. These flaws are, in my opinion, more due to the 33 â…“ series, which really has yet to decide if it is fan-based or scholarship based, and which tends to, in my opinion, underestimate their readers. I think Reed and Sandifer did a pretty great job, especially considering the overall constraints of the 33 â…“ series: books should be general, academic (but not scholarly), and short.
Overall, Reed and Sandiferâ€™s Flood is a neat book. Itâ€™s worth reading,not only if youâ€™re a fan of TMBG and/or Flood, but also if youâ€™re interested in geek culture and geek rock. If youâ€™re looking for a scholarly treatment of any of those topics, however, this isnâ€™t it, which is a little disappointing if thatâ€™s what youâ€™re expecting. But donâ€™t let that dissuade you. There are quite a few delightful tidbits in here, and I hope this book (and mine and Alexâ€™s!) is only the start of a much larger foray into geekdom, and a continuing spread of geekdom into the mainstream. The reclamation of geekiness and the spread of geekdom has been inspiring. But thatâ€™s just how geeks are, I suppose. We get knocked down, and we get up again.
And then we take over the world with our robot army.
Thanks for reading. See you next week!