Tim Anderson

Ph.D. in Radio/Television/Film, Northwestern University, (1998)

M.A. in Radio/Television/Film, Northwestern University, (1993)

B.A. in Philosophy, The University of Arizona, (1991)

Research Interests

Popular music industry and culture; media history; film and popular music; television and popular music; popular music and technology

Articles

Anderson, T. (2013). From Background Music to Above-the-Line Actor: The Rise of the Music Supervisor in Converging Televisual Environments. Journal of Popular Music Studies 25 (3) , pp. 371-388.

Anderson, T. (2011). To Flood the Basin with Beethoven: The Promethean Aesthetics of Post World War II FM Concert Station in the United States. Popular Music History 5 (2).

Anderson, T. (2009). “A Skip in the Record of Media Studies: Why The Failure to Better Understand Popular Music as Media Matters So Much Today” . The Velvet Light Trap, A Critical Journal of Film and Television (64).

Anderson, T. (2008). “As if history were merely a record: The Pathology of Nostalgia and the Figure of the Recording in Contemporary Popular Cinema” . Music, Sound and the Moving Image 2 (1).

Anderson, T. (2006). “Could You Feel Like They Feel?: Music Games, Listening and Fantasies of Identification.” . Flo, Volume 5, Issue 8.

Anderson, T. (2006). “Passion is No Ordinary Word” . Flo Special Conference Issue.

Anderson, T. (2006). “At the End of the Day We're all 'End Users'". Flo 4 (9).

Anderson, T. (2006). “’New Media’? Please Define” . Flo 4 (5).

Anderson, T. (2006). “Let's Get Small: The Year When the Record Industry Broke and Listeners Became Crazy, Mixed Up, Downloading, File-Sharing Freaks” . Flo 3 (9).

Anderson, T. (2005). “Television and the Work of Mourning” . Flo 3 (5).

Anderson, T. (2005). "How Much Do I Love myTunes? Allow Me to List the Ways...” . Flo 3 (1).

Anderson, T. (2004). “Buried Under the Fecundity of His Own Creations: Rethinking The Stockpile, The Standing Reserve and the Recording Bans of the American Federation of Musician, 1942 to 1944 and 1948” . American Music.

Anderson, T. (1997). “Reforming ‘Jackass Music’: The Problematic Aesthetics of Early Film Music Accompaniment,". Cinema Journal 37 (1).

Anderson, T. (1997). “Which Voice Best Becomes the Property?: Tie-Ups, Intertexts and Versioning in the Production of My Fair Lady" . Spectator: The University of California Journal of Film and Television Criticism 17 (2).

Anderson, T. (1995). “Thou Shall Not Steal Television: Signal Theft in the Age of Information". The Velvet Light Trap: A Critical Journal of Film and Television (36).

Anderson, T. (1993). “What Are We Listening To? What Are We Talking About?: Recorded Sound as an Object of Interdisciplinary Study” . Stanford Humanities Review 3 (2).

Books

Anderson, T. (2006). Making Easy Listening: Material Culture and Postwar American Recording. University of Minnesota Press.

Book Chapters

Anderson, T. and Loft, A. (2013). Unions, Musicians The Grove Dictionary of American Music, Second Edition Oxford: Oxford University Press.

Anderson, T. (2013). Lost in Transition: Popular Music, Adolescence and the Melodramatic Mode of Sofia Coppola Popular Music and the Post-MTV Auteur: Visionary Filmmakers after MTV Oxford: Oxford University Press.

Anderson, T. (2010). Uneasy Listening: Music, Sound, and Criticizing Camelot in Mad Men Mad Men: Dream Come True TV (pp. 72-85) London: I.B. Tauris.

Anderson, T. (2006). “The Rise of the Radio Disk Jockey” (pp. 947-948) Bloomington, Indiana: Indiana University Press.

Anderson, T. (2006). “For the Record: Interdisciplinarity, Cultural Studies and the Search for Method in Popular Music Studies,” Oxford: Blackwell Publishing Professional.

Anderson, T. (2003). “Reforming ‘Jackass Music’: The Problematic Aesthetics of Early Film Music Accompaniment” London: Routledge.

Presentations

Anderson, T. (March 9, 2007). Networking the Scene: What Popular Music Scenes Can Teach Us About ‘New Media’ and ‘Social Networks’ Chicago, IL.

Anderson, T. (October , 2006). Consumers, Recording, and Playback in the Television and Recording Industries Roundtable Flo Conference Austin, TX.

Anderson, T. (March 31, 2005). Space, The Pliable Frontier: The New Spatial Palette of Post World War II Audio London, England.

Anderson, T. (March 5, 2005). Tracks on the Margin and Tracks of Tradition: Soul Train in the early 1970s Over the Waves: Music In/And Broadcasting, An International Conference Hamilton, Ontario, Canada.

Anderson, T. (March 6, 2004). Tracks on the Margin and Tracks of Tradition: UHF, Syndication and Soul Train in the Early 1970s Atlanta, GA.

Anderson, T. (September 19, 2003). 'To flood the basin with Beethoven and other Good Music’: FM and the promise of a popular 'genteel concert aesthetic' in post-World War II American radio Los Angeles, CA.

Anderson, T. (July 5, 2003). Catching the Train: The Case of ‘Soul Train’ 12th biennial International Association for the Study of Popular Music-International Conference Montreal, Canada.

Anderson, T. (April 11, 2003). Catching the Train: The Case of Soul Train in Post Civil Rights African American Popular Media and Music Seattle, WA.

Anderson, T. (October 12, 2002). It’s On The Flipside Cleveland, Ohio.

Anderson, T. (May , 2002). Abusing Mnemonic Machinery: The Pathology of Nostalgia and the Figure of the Recording in Contemporary Popular Cinema Conference for the Society of Cinema Studies Denver.

Anderson, T. (October 23, 2001). The American Federation of Musicians and their Recording Bans: Rethinking their Purpose, Focus and Effects on Postwar American Mass Media Denison University Faculty Lunch Program Granville, Ohio.

Anderson, T. (July , 2001). The Problem of Interdisciplinarity in Popular Music Studies 11th Biannual IASPM Conference, “Looking Back, Looking Ahead: Popular Music Studies 20 Years Later” Turku, Finland.

Anderson, T. (May , 2001). Teaching Transnational Media: A Forum of Pedagogical Approaches Conference for the Society of Cinema Studies Washington, DC.

Anderson, T. (March 9, 2000). Missing the Train: Critical Lacunae in Television Studies and the Case of Soul Train Conference for the Society of Cinema Studies Chicago, IL.

Anderson, T. (April 18, 1999). Reproduce, Repackage, and Repeat!: The Logic of Media Catalogues from the Perspective of the Music Industry Conference for the Society of Cinema Studies West Palm Beach.

Anderson, T. (April 3, 1999). Cinema and the Popular Space for Music: Fantasia, Fantasound and the Audible Pleasures of Modern Life Cinema and Popular Song Conference Iowa City.

Anderson, T. (October 23, 1998). Voice as Property: Versioning My Fair Lady Media Arts Colloquium Tucson.

Anderson, T. (October 17, 1998). No, But I Have Heard The Soundtrack: Popular Music and Film Studies Conference for the International Association for the Study of Popular Music – U.S. Division Los Angeles, CA.

Anderson, T. (March 6, 1998). Which Voice Best Becomes the Property: Tie-Ups, Intertexts and Versioning in the Production of My Fair Lady Chicago Film Seminar Chicago.

Anderson, T. (October 23, 1997). Buried Under the Fecundity of His Own Creations: Rethinking the Recording Bans Conference for the International Association for the Study of Popular Music – U.S. Division Pittsburgh.

Anderson, T. (July 27, 1997). On Becoming a DJ The Style Conference Bowling Green, Ohio.

Anderson, T. (March 23, 1997). From the Music Hall to the Theater: The Reformation of the Early American Film Music Northwestern English Graduate Student Association Proseminar .

Anderson, T. (April 26, 1996). A Sassy Attitude and a Promiscuous Tone: Sassy, a Case Study in Affective Arenas and Progressive Politics Console-ing Passions Conference Madison, Wisconsin.

Anderson, T. (March 8, 1996). Reforming ‘Jackass Music’: The Problematic Aesthetics of Early American Film Music Accompaniment Conference for the Society of Cinema Studies Dallas.

Anderson, T. (April 7, 1995). Give Me Body: The Return of the Repressed in Virtual Reality Remote Controls: The (Re)Construction of Authority and Identity in Cyberspace Columbus, Ohio.

Anderson, T. (April 4, 1994). It’s Like, You Know, She’s Speaking With Us: Sassy Tones and Affective Politics Center for Interdisciplinary Research in the Arts Conference for Graduate Studies Northwestern University.

Anderson, T. (March 4, 1994). Thou Shall Not Steal Television: Signal Theft in the Age of Information Conference for the Society of Cinema Studies New York.

Anderson, T. (December 3, 1992). The Early Development of the Long Play Record as a Cultural Product Department of Radio/Television/Film Graduate Student Conference Northwestern University.

• 2007: Certificate of Merit , 2007 Association for Recorded Sound Collections (ARSC) Awards for Excellence in Historical Recorded Sound Research
• 1996: First Place, Society for Cinema Studies Student Writing Award
• 1996: One-Year Fellowship for Graduate Studies, Northwestern University
• 1992: Minority Fellowship for Graduate Studies, Northwestern University
• 1987: Baird Scholarship for Undergraduate Studies, University of Arizona