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The piano accordion experienced a roller coaster ride of popularity--rise to fame on the airwaves, stage and silver screen, then a deathly decline, followed by a pop culture resurgence. Squeeze This! rolls out a history of the squeezebox with the first book-length study of its fascinating role in twentieth-century American music and culture.
Focusing on key moments of transition, ethnomusicologist and accordion enthusiast Marion Jacobson shows how the instrument came to be celebrated by ethnic musical communities and mainstream fans alike. She also explores the accordion's rebirth in contemporary music, from the parodies of "Weird Al" Yankovic to geek rock legends They Might Be Giants to accordion-wielding superstars like Bruce Springsteen and Sheryl Crow.
Loaded with images of gorgeous instruments, virtuoso performers, and rabid fans, Squeeze This! presents the untold story of America's rich accordion culture.
- Sales Rank: #884060 in eBooks
- Published on: 2012-03-15
- Released on: 2012-03-15
- Format: Kindle eBook
Review
"A serious work of musical and cultural history."--Shelf Awareness
"Using meticulous research, Jacobson not only touches on how topics as diverse as immigration, movies, war, and feminism have influenced the accordion's popularity, but she also finds time to drop in countless little known pop culture nuggets about great accordionists."--Publishers Weekly
"A fascinating cultural history of the most underestimated of instruments."--Booklist
"Wunnerful, wunnerful. . . . A delightful and illuminating surprise."--The Wall Street Journal
"An illuminating and occasionally whimsical account, in keeping with the instrument itself."--Library Journal
"Ethnographically rich, compellingly written, and resting on a solid theoretical and methodological foundation, Marion Jacobson's cultural history of the accordion is a welcome addition to the extant literature on popular music, free-reed instruments, and cultural and diaspora studies."--Italian American Review About the Author
Marion Jacobson holds a Ph.D. in music and ethnomusicology from New York University. An accordionist herself, she has performed with klezmer bands and accordion bands, and in old-timey jam sessions, but her favorite spot for gigs is the New York City subway.
Most helpful customer reviews
13 of 14 people found the following review helpful.
"Accordion Industrial Complex"
By K. Morrow
I owe it to the author for sharing that hilarious phrase because, speaking as someone who grew up in the Fifties--in the middle of the accordion boom--it really seemed like almost every other household had a child taking accordion lessons. My own husband talks about being dragged off of his chair as a seven year old by the rapidly falling bellows. Actually, I have only recently become infatuated with this darn instrument, and the comprehensive nature of this book has filled me in on about as much accordion history and context as I can handle. It's well written and colorfully illustrated, and overall its content is more survey than encyclopedia, to address another reviewer's complaint. The attention devoted to modern incarnations of accordion bands and festivals is helpful real-time because, hey, I might just want to check out those events in Texas or Sonoma County, California.
11 of 12 people found the following review helpful.
an overview of the (mostly) piano accordion
By Zighi
While I am v. pleased to see a new book on the accordion, I was a little disappointed in its contemporary emphasis on what I would categorize as the amateur world of squeezing. I realize that the author is an ethnomusiciologist but it seemed that the s/heroic musicians who forged the accordion's existence were relegated to little more than lists of names; whereas, some of the more 'in your face' performers and 'novelty acts' may have been given an inordinate emphasis. Still, she managed to include virtually everyone! Some references seemed inaccurate; Misspellings and incorrect information appeared throughout including typos (probably needed a better copy editor). Still, the accordion world should welcome this addition; it will serve to fill in the gaps in its history. I appreciate the tribute to some of the major players (some glaring omissions!) who did raise awareness, demonstrated the accordion's special qualities, and greatly contributed to the accordion's presence in world music. It is an enjoyable (not too technical) read, but even some of the mechanical (interior) changes were addressed to show how its evolution ultimately resulted in a superior instrument. Thank you, Sheri
10 of 11 people found the following review helpful.
Hippest Instrument in Musical History
By GintGotham
A friend recently sent me a public-radio interview in which Professor Marion Jacobson discusses her fascinating book "Squeeze This! A Cultural History of the Accordion in America." After hearing the broadcast, in which audio samples portray the "scrappy squeezebox" as "most ridiculed" and "kitschy," I asked myself: "Why have I been pumping this infernal `stomach Steinway' (or `navel Novachord') three hours a day for almost sixty-five years?" To answer that question, I ordered the book from Amazon.
Growing up Polish in Chicago during the 1940s, when a salesman from Wilkins School of Music visited us on April 25, 1949, I already knew what an accordion was. With my approval, my dad bought into the concept, and my first lesson was on May 9, 1949. The rest is history--jamming with the likes of the Duke and Gerry; working for Gatemouth, and Fred Wesley. But after reading Ms. Jacobson's scholarly prose, I'm still not sure I can come up with an answer.
Her academic style impresses me, along with the numerous anecdotes and endnotes, colorfully illustrated photographs, humor, and information and links about the history and marketing of the accordion (except for "old-timey jam sessions," she defines concepts I've wondered about for years). However, as well-researched as the story appears to be, Ms. Jacobson relates only a tiny piece of a much larger picture. What I found disappointing was her lack of sensitivity toward my axe, comparing it to the guitar, and perpetuating myths that serious accordionists have been trying to bury for years. She allots inordinate space to talented entertainers like Contino, Welk, and the two Yankovics, while those who made the accordion one of the hippest instruments in musical history are innocently ignored. I can understand the author's fascination with "the amateur world of squeezing" (as one reviewer puts it); the accordion is very difficult to master. But she leaves out the accordionists who motivate us to become what Joshua Camp calls those "serious-chops" guys (or gals).
Fortunately, most of the following artists--living and dead--who are conspicuously absent from this treatise can be heard with a click of the mouse: Nick Ariondo, Wolmer Beltrami, Joe Burke, Lanny Di Jay, Milton DeLugg, Ernie Felice, Gordie Fleming, Richard Galliano, Julie Gardner, Tommy Gumina, Alice Hall, Pete Jolly, Kato Kanako, Gorni Kramer, Mat Mathews, Johnny Meijer, Russ Messina, Mie Miki, Eddie Monteiro (his comments appear on the frontispiece), Joe Natoli, Cory Pesaturo, Leon Sash, George Shearing, Cornell Smelser, Reno Tondelli, Joe Vito, and others too numerous to mention; but they are part of the answer as to why one plays an accordion. To slight these people would be like writing a history of the Republican Party, and omitting Medill, Greeley or Lincoln. For those who know nothing about the accordion, oversights of this kind create a disservice. I feel this book is frightfully lopsided and demonstrates a shortcoming inherent in a lot of academic writing by those with scholarly credentials: it can appear credible to neophytes. There's more to the accordion than "Lady of Spain" or "Who Stole the Keeshka?"
Hopefully, when the sequel to "Squeeze This!" is published, Marion Jacobson will fill us in on the rest of the narrative, because she writes well; but the accordion is more than just "Wunnerful, wunnerful." It's spectacular to us serious-chops guys!
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