Contains fifty-eight articles that provide information about various forms, genres, or themes of popular culture, and includes illustrations, photo essays, a chronological survey of each topic's history, and a comprehensive index.

This handbook seeks to assemble in one place the basic bibliographical data needed to begin the study of most of the major areas of popular culture. Each chapter provides a brief chronological survey of the development of the medium or topic; a critical guide in essay form to the standard reference works, bibliographies, histories, critical studies, and journals; a description of research centers and collections of primary and secondary materials; and a bibliography of works cited in the text. The revised edition includes new material and chapters on topics such as business, catalogs, computers, dance, fashion, gardening, and graffiti. ISBN 0-313-25406-0 (set: lib. bdg.) $150.00 (For use only in the library).

This 17th volume from the series of bibliographies of the 18th century is divided into sections on: printing and bibliographic studies; historical, social and economic studies; philosophy, science and religion; the fine arts; literary studies; and individual authors.

Features annotations for more than 6,200 works in the main volume (2007), and more than 2,400 new titles in three annual supplements published 2008 through 2010. New coverage of biographies, art, sports, Islam, the Middle East, cultural diversity, and other contemporary topics keeps your library's collection as current as today's headlines.

In the World War II era, big bands and swing music reached the heights of popularity with soldiers as well as friends and loved ones back home. Many entertainers such as Glenn Miller also served in the military, or supported the war effort with bond drives and entertaining the troops at home and abroad. In addition to big band and swing music, musicals, jazz, blues, gospel and country music were also popular. Chapters on each, along with an analysis of the evolution of record companies, records, radios, and television are included here, for students, historians, and fans of the era. Includes a timeline of the music of the era, an appendix of the Broadway and Hollywood Musicals, 1939-1945, and an appendix of Songs, Composers, and lyricists, 1939-1945. An extensive discography and bibliography, along with approximately 35 black and white photos, complete the volume.

After Pearl Harbor, Tin Pan Alley songwriters rushed to write the Great American War Song—an "Over There" for World War II. The most popular songs, however, continued to be romantic ballads, escapist tunes, or novelty songs. To remedy the situation, the federal government created the National Wartime Music Committee, an advisory group of the Office of War Information (OWI), which outlined "proper" war songs, along with tips on how and what to write. The music business also formed its own Music War Committee to promote war songs. Neither group succeeded. The OWI hoped that Tin Pan Alley could be converted from manufacturing love songs to manufacturing war songs just as automobile plants had retooled to assemble planes and tanks. But the OWI failed to comprehend the large extent by which the war effort would be defined by advertisers and merchandisers. Selling merchandise was the first priority of Tin Pan Alley, and the OWI never swayed them from this course. Kathleen E.R. Smith concludes the government's fears of faltering morale did not materialize. Americans did not need such war songs as "Goodbye, Mama, I'm Off To Yokohama", "There Are No Wings On a Foxhole", or even "The Sun Will Soon Be Setting On The Land Of The Rising Sun" to convince them to support the war. The crusade for a "proper" war song was misguided from the beginning, and the music business, then and now, continues to make huge profits selling love—not war—songs.