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Adams, R. (2008) ‘The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia’, Popular Music and Society, 31(4), pp. 469–488. doi: 10.1080/03007760802053104.
Adelt, U. (2008) ‘Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness'’, Popular Music and Society, 31(4), pp. 433–452. doi: 10.1080/03007760802052809.
Albiez, S. (2003) ‘Know History!: John Lydon, Cultural Capital and the Prog/punk Dialectic’, Popular Music, 22(3), pp. 357–374. doi: 10.1017/S0261143003003234.
Anderton, C. (2010) ‘A Many-Headed Beast: Progressive Rock as European Meta-Genre’, Popular Music, 29(03), pp. 417–435. doi: 10.1017/S0261143010000450.
Auner, J. (2003) ‘“Sing it for Me”: Posthuman Ventriloquism in Recent Popular Music’, Journal of the Royal Musical Association, 128(1), pp. 98–122. doi: 10.1093/jrma/fkg004.
Bennett, A. (2001a) Cultures of Popular Music. Buckingham [England]: Open University Press.
Bennett, A. (2001b) Cultures of Popular Music. Buckingham: Open University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780335230716.
Bennett, A. and Stratton, J. (2010a) Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate.
Bennett, A. and Stratton, J. (2010b) Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate. Available at: http://lib.myilibrary.com?id=270141.
Blake, A. (1999) Living Through Pop. Routledge.
Bowman, R. (1995) ‘The Stax Sound: A Musicological Analysis’, Popular Music, 14(03). doi: 10.1017/S0261143000007753.
Braziel, J. E. (2004) ‘"Bye, Bye Baby”: Race, Bisexuality, and the Blues in the Music of Bessie Smith and Janis Joplin’, Popular Music and Society, 27(1), pp. 3–26. doi: 10.1080/0300776032000144896.
Brown, A. (2012) ‘“She Isn”t Whoring Herself Out Like a Lot of Other Girls We See’: Identification and "Authentic” American Girlhood on Taylor Swift Fan Forums’, Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 5(1). Available at: http://ojs.meccsa.org.uk/index.php/netknow/article/view/252.
Burns, L., Woods, A. and Lafrance, M. (2015) ‘The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009)’, Twentieth-Century Music, 12(01), pp. 3–35. doi: 10.1017/S1478572214000176.
Calvert, D. (2015) ‘Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’s Summit Conference of Cool’, Popular Music, 34(01), pp. 1–21. doi: 10.1017/S0261143014000701.
Cambridge Companions Complete Collection (2009) The Cambridge Companion to the Beatles. Edited by K. Womack. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521869652.
Cateforis, T. (2011) ‘Chapter 2: “The Second British Invasion and its Aftermath: From New Pop to Modern Rock”’, in Are We Not New Wave? University of Michigan Press, pp. 45–71.
Click, M. A., Lee, H. and Holladay, H. W. (2013) ‘Making Monsters: Lady Gaga, Fan Identification, and Social Media’, Popular Music and Society, 36(3), pp. 360–379. doi: 10.1080/03007766.2013.798546.
Cloonan, M. (1997) ‘State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s’, Popular Music and Society, 21(2), pp. 47–70. doi: 10.1080/03007769708591667.
Covach, J. and Boone, G. M. (1997) Understanding Rock: Essays in Musical Analysis. New York: Oxford University Press.
Cunningham, D. (2010) ‘Kraftwerk and the Image of the Modern’, in Kraftwerk: music non-stop. New York: Continuum, pp. 44–62.
Danielsen, A. (2006a) Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press.
Danielsen, A. (2006b) Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, CT: Wesleyan University Press. Available at: http://hdl.handle.net/2027/heb.31678.
Dettmar, K. J. H. (2009a) The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press.
Dettmar, K. J. H. (ed.) (2009b) The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886949.
Dibben, N. (1999) ‘Representations of Femininity in Popular Music’, Popular Music, 18(03). doi: 10.1017/S0261143000008904.
Dubler, J. (2014) ‘Shit White People Say About Beyoncé’, Soundings: An Interdisciplinary Journal, 97(3). doi: 10.5325/soundings.97.3.0385.
Duffett, M. (2012) ‘Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena’, Popular Music History, 7(2), pp. 185–197. doi: 10.1558/pomh.v7i2.185.
Echols, A. (2011) Hot Stuff. New York: W.W. Norton & Company.
Fink, R. (2005) ‘The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine’, Popular Music, 24(03). doi: 10.1017/S0261143005000553.
Fitzgerald, J. (1995) ‘Motown Crossover Hits 1963–1966 and the Creative Process’, Popular Music, 14(01), pp. 1–11. doi: 10.1017/S0261143000007601.
Fitzgerald, J. (2007) ‘Black Pop Songwriting 1963-1966: An Analysis of U.S. Top Forty Hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland’, Black Music Research Journal. Center for Black Music Research - Columbia College ChicagoUniversity of Illinois PressCenter for Black Music Research - Columbia College Chicago, 27(2), pp. 97–140. Available at: https://www.jstor.org/stable/25433786?seq=1#page_scan_tab_contents.
Flory, J. A. (2006) ‘I Hear a Symphony:  Making Music at Motown, 1959–1979.’ Available at: http://search.proquest.com.ezproxy01.rhul.ac.uk/docview/305295268?accountid=11455.
Freund Schwartz, R. (2016) How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom.
Fuchs, J. and Prigozy, R. (2007a) Frank Sinatra: The Man, the Music, the Legend. Rochester, NY: University of Rochester Press.
Fuchs, J. and Prigozy, R. (2007b) Frank Sinatra: The Man, the Music, the Legend. University of Rochester Press/Hofstra University ;,Boydell &. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781580467025.
Glaros, M. and Laffey, M. (2012) ‘Situating The Residents’, Journal of Film and Video, 64(1-2). doi: 10.5406/jfilmvideo.64.1-2.0072.
Goodwin, A. (1988) ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’, Critical Quarterly, 30(3), pp. 34–49. doi: 10.1111/j.1467-8705.1988.tb00315.x.
Goodwin, A. (1992) ‘Rationalization and Democratization in the New Technologies of Popular Music’, in Popular music and communication. 2nd ed. Newbury Park: Sage Publications, pp. 147–168.
Goodwin, A. (2006) ‘Rationalization and Democratization in the New Technologies of Popular Music’, in The Popular Music Studies Reader. London: Routledge, pp. 276–282.
Hains, R. C. (2014) ‘The Significance of Chronology in Commodity Feminism: Audience Interpretations of Girl Power Music’, Popular Music and Society, 37(1), pp. 33–47. doi: 10.1080/03007766.2012.726033.
Holm-Hudson, K. (2002) Progressive Rock Reconsidered. New York: Routledge.
Hubbs, N. (2007) ‘“I Will Survive”: Musical Mappings of Queer Social Space in a Disco Anthem’, Popular Music, 26(02). doi: 10.1017/S0261143007001250.
Keightley, K. (1996) ‘Frank Sinatra, Hi-Fi, and the Formations of Adult Culture: Gender, Technology, and Celebrity, 1948–1962 (PhD Dissertation, Concordia University, 1996).’ Available at: http://spectrum.library.concordia.ca/221/1/NQ25911.pdf.
Keister, J. and Smith, J. L. (2008) ‘Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock’, Popular Music, 27(03). doi: 10.1017/S0261143008102227.
Kevin Holm-Hudson (2001) Progressive Rock Reconsidered. Routledge. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781315054230.
Kumari, A. (2016) ‘"Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyoncé’, The Journal of Popular Culture, 49(2), pp. 403–416. doi: 10.1111/jpcu.12405.
Laing, D. (2006) ‘Anglo-American Music Journalism: Texts and Context’, in The Popular Music Studies Reader. London: Routledge, pp. 333–339. Available at: https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869.
Laing, D. (2015a) One Chord Wonders: Power and Meaning in Punk Rock. New and expanded edition. Oakland: PM Press.
Laing, D. (2015b) One Chord Wonders: Power and Meaning in Punk Rock. Oakland, CA: PM Press. Available at: http://www.freading.com/ebooks/details/r:download/OTMyMTAyNDE=.
Lambert, P. (2008) ‘Brian Wilson’s Pet Sounds’, twentieth-century music, 5(01), pp. 109–133. doi: 10.1017/S1478572208000625.
Lawrence, T. (2003a) Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press.
Lawrence, T. (2003b) Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780822385110.
Leach, E. E. (2001) ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’, Popular Music, 20(02). doi: 10.1017/S0261143001001386.
Lemish, D. (2003) ‘Spice World: Constructing Femininity the Popular Way’, Popular Music and Society, 26(1), pp. 17–29. doi: 10.1080/0300776032000076360.
Lynskey, D. (2012) 33 Revolutions per Minute: A History of Protest Songs. London: Faber and Faber.
Macan, E. (1997) Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press.
Macrossan, P. (2018) ‘8 Intimacy, Authenticity and “Worlding” in Beyoncé’s Star Project’. ANU Press. Available at: https://www.jstor.org/stable/j.ctv301dk8.12?Search=yes&resultItemClick=true&searchText=Macrossan%2C&searchText=%27Intimacy%2C&searchText=Authenticity&searchText=and&searchText=%22Worlding%22&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DMacrossan%252C%2B%25E2%2580%2598Intimacy%252C%2BAuthenticity%2Band%2B%25E2%2580%259CWorlding%25E2%2580%259D%2B%26amp%3Bfilter%3D&refreqid=search%3Ad91897d1aeb6860e5a88703e26c76724&seq=1#metadata_info_tab_contents.
Martin, B. (1996) Music of Yes: Structure and Vision in Progressive Rock. Chicago, Ill: Open Court.
Mustazza, L. (1998) Frank Sinatra and Popular Culture: Essays on an American Icon. Westport, Conn: Praeger.
Nelson, M. (2000) ‘Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency’, Popular Music and Society, 24(4), pp. 79–102. doi: 10.1080/03007760008591786.
O’Meara, C. (2003) ‘The Raincoats: Breaking Down Punk Rock’s Masculinities’, Popular Music, 22(3), pp. 299–313. doi: 10.1017/S0261143003003209.
Palmer, J. R. (2001) ‘Yes, “Awaken”, and the Progressive Rock Style’, Popular Music, 20(02). doi: 10.1017/S026114300100143X.
Pinch, T. and Trocco, F. (1998) ‘The Social Construction of the Early Electronic Music Synthesizer’, Icon, 4, pp. 9–31. Available at: https://www.jstor.org/stable/23785956.
‘Punk Britannia Episode 1’ (no date). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/029B8637?bcast=85798437.
‘Punk Britannia Episode 2’ (no date). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/029F5AA0?bcast=92702054.
‘Punk Britannia Episode 3’ (no date). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/02E7155F?bcast=92706875.
Railton, D. (2001) ‘The gendered carnival of pop’, Popular Music, 20(03). doi: 10.1017/S0261143001001520.
Rodger, G. (2004) ‘Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox’, Popular Music, 23(1), pp. 17–29. doi: 10.1017/S0261143004000066.
Rose, P. (1995) ‘Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd.’ Available at: https://macsphere.mcmaster.ca/bitstream/11375/11030/1/fulltext.pdf.
Savage, J. (1991) England’s Dreaming: Sex Pistols and Punk Rock. London: Faber.
Schwartz, R. F. (2007a) How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, England: Ashgate.
Schwartz, R. F. (2007b) How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot: Ashgate. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780754687207.
Simonelli, D. (2002) ‘Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78’, Contemporary British History, 16(2), pp. 121–144. doi: 10.1080/713999447.
‘Sinatra: All or Nothing at All’ (no date a). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA5422B?bcast=120778881.
‘Sinatra: All or Nothing at All’ (no date b). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA3CF35?bcast=120773817.
Smith, S. E. (1999) Dancing in the Street: Motown and the Cultural Politics of Detroit. Cambridge, Mass: Harvard University Press.
Stalcup, S. (2001) ‘Noise Noise Noise: Punk Rock’s History Since 1965’, Studies in Popular Culture. Popular Culture Association in the South, 23(3). Available at: https://www.jstor.org/stable/23414589?seq=1#metadata_info_tab_contents.
‘Standing in the Shadows of Motown: Storyville’ (no date). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/004E1978.
Stewart, A. (2000) ‘Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music’, Popular Music, 19(3), pp. 293–318. Available at: https://www.jstor.org/stable/853638.
Straw, W. (2001a) ‘Dance Music’, in The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, pp. 158–175.
Straw, W. (2001b) ‘Dance Music’, in Frith, S., Straw, W., and Street, J. (eds) The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, pp. 158–175. doi: 10.1017/CCOL9780521553698.010.
Taraborrelli, J. R. (1997) Sinatra: The Man Behind the Myth. Edinburgh: Mainstream.
Tunbridge, L. (2010) The Song Cycle. Cambridge: Cambridge University Press.
Vernallis, C. (2013a) Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.
Vernallis, C. (2013b) Unruly Media: YouTube, Music Video, and the New Digital Cinema. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780199322176.
Wald, E. (2009a) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780199712137.
Wald, E. (2009b) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780199712137.
Wald, E. (2009c) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780199712137.
Wald, E. (2010a) The Blues: A Very Short Introduction. Oxford: Oxford University Press.
Wald, E. (2010b) The Blues: A Very Short Introduction. New York: Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780199750795.
Wald, E. (2011a) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Wald, E. (2011b) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Wald, E. (2011c) How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Ward, B. (1998) Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. Berkeley [Calif.]: University of California Press.
Williams, J. (no date) ‘"Same DNA, but Born this Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms’, Journal of Popular Music Studies, 26(1), pp. 28–46. doi: 10.1111/jpms.12058.
Womack, K. (2009) The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press.
Worley, M. (2013) ‘Oi! Oi! Oi!: Class, Locality, and British Punk’, Twentieth Century British History, 24(4), pp. 606–636. doi: 10.1093/tcbh/hwt001.