Adam Schenck

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Book cover for Listening for the Future: Popular Music for Europe
Europop’s futurism was deeply melancholy, suggesting that the truly new world it proffered was a mirage, the ghostly residue of promises irreparably broken.
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Jane Leavy
“Ruth had three more games to outdo himself. Number fifty-seven was a grand slam off Lefty Grove in Philadelphia. Numbers fifty-eight and fifty-nine came at home against the Washington Senators. The record-tying home run—a grand slam!—came off a rookie pitcher, Paul Hopkins, making his major-league debut. His catcher told him to throw only curves, so that’s what he did. The one Ruth hit, Hopkins told Sports Illustrated in 1998, was “so slow Ruth started to swing and then hesitated, hitched on it and brought the bat back. And then he swung, breaking his wrists as he came through it. What a great eye he had! He hit it at the right second. Put everything behind it.”
Jane Leavy, The Big Fella: Babe Ruth and the World He Created

“Europop’s futurism was deeply melancholy, suggesting that the truly new world it proffered was a mirage, the ghostly residue of promises irreparably broken.”
Charlie Bertsch, Listening for the Future: Popular Music for Europe

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