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Lets git it on
Lets git it on




Green Times The New Statesman’s weekly environment email on the politics, business and culture of the climate and nature crises - in your inbox every Thursday. The New Statesman Daily The best of the New Statesman, delivered to your inbox every weekday morning. World Review The New Statesman’s global affairs newsletter, every Monday and Friday. Morning Call Quick and essential guide to domestic and global politics from the New Statesman's politics team. The Crash A weekly newsletter helping you fit together the pieces of the global economic slowdown. Sign up for The New Statesman’s newsletters Tick the boxes of the newsletters you would like to receive. When, three years later, The Billboard, a monthly magazine that had initially been “devoted to the interests of advertisers, poster printers, bill posters… and secretaries of fairs”, began writing about popular music, the record industry began to gain momentum. Stanley begins his story in 1901, when Columbia Records switched from using wax cylinders to ten-inch shellac discs which span at 78 revolutions per minute, a format that would survive into the rock’n’roll era. In his new book, Let’s Do It, he turns his attention to the first half of the 20th century, a time when records were largely bought by adults and popular music meant ragtime, jazz, blues or swing. If anything could be said to hold that mammoth 800-page narrative together, it is teenagers: their culture is Stanley’s primary theme. Step forward Bob Stanley, the writer and musician whose 2014 book, Yeah Yeah Yeah, achieved the seemingly impossible task of assembling an accessible history of pop music from 1950 to the 2010s. With nothing but the capacious but disordered resource of the internet to help us make sense of the vast array of music at our fingertips, what we need is a comprehensive handbook, a text that provides contextual depth to 120 years of recorded sound. That could never have happened during the vinyl age, when one look at the haircuts on the record sleeve would immediately tell you that the Who and the Sex Pistols came from different eras of pop. A young fan of guitar rock, coming across “My Generation” and “Pretty Vacant” for the first time on a playlist, might imagine they came from the same period. Stars that peaked decades apart seem close to one another, like the constellations in the night sky.

lets git it on

The streaming of music offers us a two-dimensional view of pop.






Lets git it on