The celebration of Damien Chazelle's La La Land was short-lived. Multiple awards won, Oscar retracted, viewers and critics swiftly decided it was actually not that good. Ryan Gosling's character, jazz musician Sebastian, was no romantic dreamboat but like every worst date she'd ever had, according to Guardian columnist Hadley Freeman, while in London's Camden Town the gleeful dancing figures of the film's poster were parodied as Theresa May waltzing with Donald Trump under the title Lie-lie Land. Worse yet, some admitted its two stars could not sing or dance well. To be fair, they never pretended they could. Rather than the escapism offered by musical films in the mid-twentieth century, with their polished, professional performances by figures such as Gene Kelly or Carol Channing, La La Land was, for Will Brooker, a film for the age: 'reality-show-standard song and dance routines are perfectly suited to this new era, when a mediocre business man and second-rate television celebrity can become Commander-in-Chief [. .. ] Our current culture doesn't just excuse amateurs, it elevates them to the highest roles.' 1 The elevation of amateurism intersects with understanding the technological mediation of voice as exemplified by the two books under review, both of which deal with types that do not comply with certain conventions of technique or artistry. Jennifer Fleeger travels from late nineteenth-century fiction via films and cartoons to twenty-first-century television talent shows in search of the 'mismatched women' of her title-those whose voices do not synchronize convincingly with their bodies. Allison McCracken focuses on a mismatch of masculine bodies and voices through her history of the crooner, a singer who also subverted stylistic and social norms of vocal delivery. Both Fleeger and McCracken are open about their personal motivations for their projects. McCracken acknowledges the resonance of the crooner for her childhood group of friends-'nascent feminist, gay, and queer-coded "theater" kids like us' (ix). Fleeger introduces her