100 books like Don't Need No Thought Control

This is another book that drew me in with the title. I appreciated how McLellan fought the stereotype, advanced by some of her academic peers, of sexual repressiveness in East Germany. Though public discussions of sexuality were tightly controlled by the state, McLellan deftly shows that East Germany experienced a sexual revolution of its own.

Maybe not a revolution as loud and proud as in the West, challenging gender norms and sexual identities, but divorce rates soared as did birth rates outside marriage, nudism became a state-sanctioned activity, and erotica became increasingly available to the public and found in private collections.

McLellan’s narrative is fascinating, illuminating, and at times humorous, drawing on interviews, magazine publications, heterosexual and queer photography collections, films, and state-sponsored information guides and handbooks.  

Sometimes, I’m drawn to a book for its title, and this title sold me immediately. I was intrigued by the idea that local institutions and people could come together despite, or in spite of, waning faith in East German communism and the flagging legitimacy of the centralized regime. 

I loved the idea that Leipzig’s population and local officials worked to save and renew their city during the last days of the communist regime by building a bowling alley, nearly synonymous with the American working class in the late twentieth century, as a shared public space.

Given the title I selected for this list, including this book was a bit of a cheat since it addresses Poland through most of the twentieth century. But, in many ways, I wish I had written this book or one like it. 

Stańczyk brilliantly narrates the history of modern Poland through the lens of comic books. Across the political transformations of the Polish state since its re-formation after the First World War, Stańczyk discusses the state’s approach to imported Western comics and translation, the development of a domestic comic book industry, and the post-communist boom in Japanese manga to dissect Poland’s self-image in relation to the Western world, especially the United States, the East, democracy, and communism.

I love books that explore the Soviet Bloc through its development of consumer culture. Much as they were in the West, in the East, cars were symbolic of progress and modernity. Unlike the West, production and distribution problems created a car culture focused on access. 

Still, the regimes struggled to control the excesses of consumer impulse more than they did the abuses of authority. This volume is fascinating as it asserts that the Soviet Bloc states were consumer-driven societies, given the same desires and demands as the West, despite their communist ideology.

Cars were political, and acquiring one may demand demonstrations of loyalty to the system. On the other hand, owning a car allowed for a perceived freedom from the regime, socialism, and social norms.

1980s Berlin is famous for two things: a wild counterculture and the sudden demise of the Wall. In recalling the outsize personalities he got to know on both sides of the Wall, Paul Hockenos brings the two strands of history as close together as can be done. The music and party scene, the communes and the squats, arose during this quiet lull in the Cold War, as political, musical, and sexual misfits found their niche in the dead zones along the Wall. Most of us living in Berlin in the 80s enjoyed the peace and quiet. This book shows what most of us were missing out on.

This book looks at the ways the pop culture of 1974 reverberated throughout history. I must admit that one of the reasons I love it is that I was born in 1974. Another is that I am enamored of the culture of the ‘70s, which might be evidenced by this list.

Brownstein, a political reporter for The Atlantic and a commentator for CNN, takes pop culture seriously here, and I cannot help but be excited by that. In this book, he looks at the ways that movies, music, TV, and politics interacted in this critical year, and my favorite thing about it is the way he brings them all together.

Brownstein makes the case that this was the year when conservatives lost the culture war and have been playing catch-up ever since.

Southerners rarely spoke of "the South" until slavery began to be threatened in the 1840s; slavery made the South. The North was far more fragmented--until an anti-slavery culture took hold in the 1850s. Brooke is highly sensitive to the role of popular culture in forging that consensus--not just Uncle Tom's Cabin, the most influential novel in American history, but local theatricals and the poetry of John Greenleaf Whittier. Here was the original, unbridgeable division between red and blue states.

I am recommending this book, because it is the first edited volume, and, really, the first academic book to directly engage black popular culture as a field of study. It was avant-garde. It gave a name to cultural productions that, at that time, during my first semester of graduate school in 1997, I had no idea had a collective name. I love this book, because I encountered it simultaneously to learning concepts like “high” and “low” art. The book, in my opinion, made a compelling argument for why the popular, the folk, the vernacular, and so-called “low” art matters.

When I realised that brands and advertising campaigns are much more like hit records, blockbuster movies and celebrities than we usually admit, I wondered what makes some famous and others (mostly) not?

Thompson’s book is the best single answer I’ve found so far and shows that fame doesn’t automatically follow the best song, book, or advert – you have to work at being popular, distinctive, and talked about. Lessons all ad agencies should learn.

The sociologist Joshua Gamson was among the first to analyze the effects of television on our image of celebrityhood.

In Claims to Fame, he rebels against the democratization of fame and is nostalgic for the days before fame was divorced from merit.

He cites Clifford Geertz’s classic The Interpretation of Cultures to make the point that celebrities are “a powerless elite” with high status and visibility but literally no power of any kind over audiences.

And now, of course, in the age of social media, these discrepancies are magnified.