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The Bastard Instrument. A Cultural History of the Electric Bass by Brian F. Wright (2024)

The electric bass, an instrument that first received considerable recognition with the introduction of the “Precision Bass” by American company Fender in 1951, has left its mark on the history of popular music. That instrument, approaching the scene only very tardily and sporadically with country and jazz bands of the post WWII years in basically […]

Representations of Working-Class Masculinities in Post-War British Culture: The Left Behind by Matth...

When considering his main subjects, author Matthew Crowley emphasizes that there are many different ways to live a certain working-class masculinity, as there never was just one single “traditional” experience or one simple, unified path that would lead to such an experience for every English male working-class person in the mid-20th century. In his study […]

From Flappers to Rappers: The Origins, Evolution, and Demise of Youth Culture by Marcel Danesi (2018...

Even if there already are some titles informing about this “feature” of modernity (youth cultures), the title at hand by Marcel Danesi convinces with a solid introduction of what “the youth,” (“a youth,” “a teenager,” or a person in its “adolescence”) actually is and how the “species” was first, well, discovered by sociologists and how, […]

Vinyl Records and Analog Culture in the Digital Age: Pressing Matters by Paul E. Winters (2016)

Not just the die-hard fans and collectors of vinyl recordings will be interested in this new book by Paul E. Winters. Since actually the whole idea of conserving the products of popular culture (which includes recorded sound and music) is carefully examined here. This goes along with analysis of the marketing ideas and promises used […]

Rock ‘N’ Film. Cinema’s Dance With Popular Music by David E. James (2016)

While already in the 1940s the Hollywood musical artistically integrated film, acting, dancing and singing, it also had another very important feature. “With sound, the movies had become the major means of disseminating popular songs, both those composed for Broadway musicals that were subsequently filmed and those written by the studio’s own teams of lyricists.” […]