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Laing D. Anglo-American Music Journalism: Texts and Context. The Popular Music Studies Reader [Internet]. London: Routledge; 2006. p. 333–339. Available from: https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869
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Schwartz RF. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, England: Ashgate; 2007.
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Schwartz RF. The Rock Island Line. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom [Internet]. Aldershot: Ashgate; 2007. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=438913
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Wald E. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press; 2011.
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Wald E. Twisting Girls Change the World. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music [Internet]. New York, New York: Oxford University Press; 2009. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
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Wald E. The Blues: A Very Short Introduction. Oxford: Oxford University Press; 2010.
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Wald E. Blues and Country. The Blues: A Very Short Introduction [Internet]. New York: Oxford University Press; 2010. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=544496
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Calvert D. Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’s Summit Conference of Cool. Popular Music. 2015;34(01):1–21.
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Fuchs J, Prigozy R. Frank Sinatra: The Man, the Music, the Legend. Rochester, NY: University of Rochester Press; 2007.
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Wild D. They Can’t Take That Away from Me: Frank Sinatra and His Curious but Close Relationship with the Rock ‘n’ Roll Generation. Frank Sinatra: The Man, the Music, the Legend [Internet]. University of Rochester Press/Hofstra University ;,Boydell &; 2007. p. 37–44. Available from: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781580467025
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Keightley K. ‘Frank Sinatra As Adult Performer’ and ‘The Production of the Capitol Sinatra’. Frank Sinatra, Hi-Fi, and the Formations of Adult Culture: Gender, Technology, and Celebrity, 1948–1962 (PhD Dissertation, Concordia University, 1996) [Internet]. 1996. Available from: http://spectrum.library.concordia.ca/221/1/NQ25911.pdf
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Nelson M. Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency. Popular Music and Society. 2000;24(4):79–102.
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Sinatra F. What’s This About Races? Frank Sinatra and Popular Culture: Essays on an American Icon. Westport, Conn: Praeger; 1998.
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Sinatra: All or Nothing at All (Series 2, Episode 2) | Box of Broadcasts [Internet]. BBC4; 2016. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA5422B?bcast=120778881
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Sinatra: All or Nothing at All (Series 2, Episode 1) | Box of Broadcasts [Internet]. BBC4; 2015. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA3CF35?bcast=120773817
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Taraborrelli JR. Sinatra: The Man Behind the Myth. Edinburgh: Mainstream; 1997.
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Adelt U. Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness”. Popular Music and Society. 2008;31(4):433–452.
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Braziel JE. "Bye, Bye Baby”: Race, Bisexuality, and the Blues in the Music of Bessie Smith and Janis Joplin. Popular Music and Society. 2004;27(1):3–26.
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Womack K. The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press; 2009.
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Cambridge Companions Complete Collection. The Cambridge Companion to the Beatles [Internet]. Womack K, editor. Cambridge: Cambridge University Press; 2009. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521869652
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Lambert P. Brian Wilson’s Pet Sounds. Twentieth-Century Music. 2008;5(01):109–133.
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Freund Schwartz R. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. 2016.
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Tunbridge L. Rebirth, Pop Song Cycles. The Song Cycle. Cambridge: Cambridge University Press; 2010. p. 169–186.
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Wald E. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press; 2011.
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Wald E. Twisting Girls Change the World. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music [Internet]. New York, New York: Oxford University Press; 2009. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
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Dettmar KJH. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press; 2009.
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Dettmar KJH, editor. The Cambridge Companion to Bob Dylan [Internet]. Cambridge: Cambridge University Press; 2009. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886949
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Fitzgerald J. Motown Crossover Hits 1963–1966 and the Creative Process. Popular Music. 1995;14(01):1–11.
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Fitzgerald J. 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 [Internet]. Center for Black Music Research - Columbia College ChicagoUniversity of Illinois PressCenter for Black Music Research - Columbia College Chicago; 2007;27(2):97–140. Available from: https://www.jstor.org/stable/25433786
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Wald E. Twisting Girls Change the World. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music [Internet]. New York, New York: Oxford University Press; 2009. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
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Ward B. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. Berkeley [Calif.]: University of California Press; 1998.
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Standing in the Shadows of Motown: Storyville | Box of Broadcasts [Internet]. BBC4; 2009. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/004E1978
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Bowman R. The Stax Sound: A Musicological Analysis. Popular Music. 1995;14(03).
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Danielsen A. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press; 2006.
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Danielsen A. Presence and Pleasure: The Funk Grooves of James Brown and Parliament [Internet]. Middletown, CT: Wesleyan University Press; 2006. Available from: http://hdl.handle.net/2027/heb.31678
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Echols A. Hot Stuff. New York: W.W. Norton & Company; 2011.
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Hubbs N. ‘I Will Survive’: Musical Mappings of Queer Social Space in a Disco Anthem. Popular Music. 2007;26(02).
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Lawrence T. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press; 2003.
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Lawrence T. Love Saves the Day: A History of American Dance Music Culture, 1970-1979 [Internet]. Durham: Duke University Press; 2003. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167908
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Stewart A. Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music. Popular Music [Internet]. 2000;19(3):293–318. Available from: https://www.jstor.org/stable/853638
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Straw W. Dance Music. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press; 2001. p. 158–175.
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Straw W. Dance Music. In: Frith S, Straw W, Street J, editors. The Cambridge Companion to Pop and Rock [Internet]. Cambridge: Cambridge University Press; 2001. p. 158–175. Available from: http://universitypublishingonline.org/ref/id/companions/CBO9781139002240A016
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Covach J. Progressive Rock, "Close to the Edge” and the Boundaries of Style. Understanding Rock: Essays in Musical Analysis. New York: Oxford University Press; 1997. p. 3–32.
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Kevin Holm-Hudson. Progressive Rock Reconsidered [Internet]. Routledge; 2001. Available from: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781315054230
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Keister J, Smith JL. Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock. Popular Music. 2008;27(03).
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Macan E. The Music. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press; 1997. p. 30–56.
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Martin B. Music of Yes: Structure and Vision in Progressive Rock. Chicago, Ill: Open Court; 1996.
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Palmer JR. Yes, ‘Awaken’, and the Progressive Rock Style. Popular Music. 2001;20(02).
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Rose P. Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd [Internet]. 1995. Available from: https://macsphere.mcmaster.ca/bitstream/11375/11030/1/fulltext.pdf
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Anderton C. A Many-Headed Beast: Progressive Rock as European Meta-Genre. Popular Music. 2010;29(03):417–435.
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Albiez S. Know History!: John Lydon, Cultural Capital and the Prog/punk Dialectic. Popular Music. 2003;22(3):357–374.
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Glaros M, Laffey M. Situating The Residents. Journal of Film and Video. 2012;64(1–2).
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Adams R. The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia. Popular Music and Society. 2008;31(4):469–488.
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Bennett A. Cultures of Popular Music. Buckingham [England]: Open University Press; 2001.
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Bennett A. Punk and Punk Rock. Cultures of Popular Music [Internet]. Buckingham: Open University Press; 2001. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6212021
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Laing D. One Chord Wonders: Power and Meaning in Punk Rock. New and expanded edition. Oakland: PM Press; 2015.
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Laing D. Formation. One Chord Wonders: Power and Meaning in Punk Rock [Internet]. New and expanded edition. Oakland: PM Press; 2015. Available from: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781629630571&uid=^u
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Lynskey D. The Clash ‘White Riot’. 33 Revolutions per Minute: A History of Protest Songs. London: Faber and Faber; 2012. p. 337–358.
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Auner J. ‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal Musical Association. 2003;128(1):98–122.
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Rodger G. Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox. Popular Music. 2004;23(1):17–29.
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Goodwin A. Rationalization and Democratization in the New Technologies of Popular Music. The Popular Music Studies Reader. London: Routledge; 2006. p. 276–282.
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Cloonan M. State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s. Popular Music and Society. 1997;21(2):47–70.
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Dibben N. Representations of Femininity in Popular Music. Popular Music. 1999;18(03).
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Hains RC. The Significance of Chronology in Commodity Feminism: Audience Interpretations of Girl Power Music. Popular Music and Society. 2014;37(1):33–47.
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Bennett A, Stratton J. Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate; 2010.
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Bennett A, Stratton J. Britpop and the English Music Tradition [Internet]. Farnham, Surrey, England: Ashgate; 2010. Available from: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=564095
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Leach EE. Vicars of ‘Wannabe’: Authenticity and the Spice Girls. Popular Music. 2001;20(02).
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Lemish D. Spice World: Constructing Femininity the Popular Way. Popular Music and Society. 2003;26(1):17–29.
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Railton D. The Gendered Carnival of Pop. Popular Music. 2001;20(03).
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Duffett M. Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena. Popular Music History. 2012;7(2):185–197.
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Burns L, Woods A, Lafrance M. The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009). Twentieth-Century Music. 2015;12(01):3–35.
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Williams J. "Same DNA, but Born this Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms. Journal of Popular Music Studies. 2014;26(1):28–46.
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Click MA, Lee H, Holladay HW. Making Monsters: Lady Gaga, Fan Identification, and Social Media. Popular Music and Society. 2013;36(3):360–379.
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Vernallis C. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press; 2013.
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Vernallis C. Beyoncé’s Video Phone. Unruly Media: YouTube, Music Video, and the New Digital Cinema [Internet]. 2013. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1389072
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Kumari A. "Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyoncé. The Journal of Popular Culture [Internet]. 2016;49(2):403–416. Available from: https://onlinelibrary.wiley.com/doi/full/10.1111/jpcu.12405
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Brown A. ‘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 [Internet]. 2012;5(1). Available from: http://ojs.meccsa.org.uk/index.php/netknow/article/view/252
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Dubler J. Shit White People Say About Beyoncé. Soundings: An Interdisciplinary Journal. 2014;97(3).
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Macrossan P. Intimacy, Authenticity and ‘Worlding’ in Beyoncé’s Star Project. Popular Music, Stars and Stardom [Internet]. ANU Press; 2018. p. 137–152. Available from: 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