Everyday I Write the Book:
A Bibliography of (Mostly) Academic
Work on Rock and Pop Music

A-C // D-G // H-L // M-R // S-Z
Recent additions
    A

  1. Abrams, Nathan D. 1995. Antonio’s B-Boys: Rap, rappers, and Gramsci’s intellectuals. Popular Music and Society 19(4): 1-19.
  2. Abt, Dean. 1987. Music video: Impact of the visual dimension. In Popular music and communication ed. James Lull, 96-111. Newbury Park, CA: Sage.
  3. Acland, Charles. 1988. "Look what they're doing on TV!": Towards an appreciation of the complexity of music video. Wide Angle, 10(2): 4-14.
  4. Agardy, S., Heath, D., Burke, J., Berry, M., & Toshner, L. (1985). Young Australians and Music. Melbourne: Australian Broadcasting Tribunal.
  5. Albert, Werner G. 1978. Dimensionality of perceived violence in rock music: Musical intensity and lyrical violence content. Popular Music and Society 6: 27-38.
  6. Alekseev, E., & Golovinsky, G. (1974). "From the Experience of the Moscow Youth Music Club: On the Question of the Socio-Psychological Determinants of Musical Taste." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 91-102). Vienna: Universal Edition.
  7. Allan, B. (1990). "Musical Cinema, Music Video, Music Television," Film Quarterly, 43(3), pp. 2-14.
  8. Allen, G. (1969). "That Music: There's More to It Than Meets the Ear," American Opinion, 12(2), pp. 49-62.
  9. Allinson, Ewan. 1994. It's a black thing: Hearing how whites can't. Cultural Studies 8(3): 438-456.
  10. Ambrozic-Paic, A. (1974). "Mass Media and Pop Groups in Yugoslavia." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 119-126). Vienna: Universal Edition.
  11. Anderson, Bruce, Peter Hesbacher, K. Peter Etzkorn, and R. Serge Denisoff. 1980. Hit record trends, 1940-1977. Journal of Communication 30(2): 31-43.
  12. Anderson, Roger L. 1988. Ian Anderson's acoustic guitar in the early recordings of Jethro Tull. Tracking: Popular Music Studies 1(1): 23-29.
  13. Aquila, Richard. 1982. "Not fade away": Buddy Holly and the making of an American legend. Journal of Popular Culture 15(4): 75-80.
  14. Aquila, Richard. 1989. That old time rock & roll: A chronicle of an era, 1954-1963. New York: Schirmer Books.
  15. Aquila, Richard. 1992. The homogenization of early rock and roll. In America's musical pulse: Popular music in twentieth-century society, ed. Kenneth J. Bindas, 269-280. Westport, CT: Greenwood Press.
  16. Arming, W. (1982). "Economic Aspects of the Phonographic Industry." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 75-78). New York: Springer-Verlag.
  17. Arnold, Gina. 1993. Route 666: On the road to nirvana. New York: St. Martin's.
  18. Arnold, Gina. 1997. Kiss this: Punk in the present tense. New York: St. Martin's Griffin.
  19. Arvidson, P. (1974). "On Interest, Activity and Taste in Music." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 142-155). Vienna: Universal Edition.
  20. Atkinson, Michael. 1995. Long black limousine: Pop biopics. In Celluloid jukebox: Popular music and the movies since the 50s, ed. Jonathan Romney and Adrian Wootton, 20-31. London: British Film Institute.
  21. Attali, Jacques. 1985. Noise: The political economy of music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press.
  22. Aufderheide, Pat. 1987. The look of the sound. In Watching television, ed. Todd Gitlin, 111-135. New York: Pantheon.
  23. Auslander, H. Ben. 1981. "If ya wanna end war and stuff, you gotta sing loud": A survey of Vietnam-related protest music. Journal of American Culture 4(2): 108-113.
  24. Avicolli, T. (1978). "Images of Gays in Rock Music." In Karla Jay and Allen Young (eds.), Lavender Culture (pp. 182-194). New York: Jove Publications.
    B

  25. Back, L. (1988). "Coughing Up Fire: Soundsystems in South-East London," New Formations, 5, pp. 141-152.
  26. Baker, Houston A. Jr. 1991. Hybridity, the rap race, and pedagogy for the 1990s. In Technoculture, ed. Constance Penley and Andrew Ross, 197-209. Minneapolis: University of Minnesota Press.
  27. Baker, Houston A. Jr. 1993. Black studies, rap, and the academy. Chicago: The University of Chicago Press.
  28. Balliger, Robin. 1999. Politics. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 57-70. Malden, MA: Blackwell.
  29. Bane, Michael. 1992. White boy singin' the blues: The black roots of white rock. New York: Da Capo. Original edition, New York: Penguin, 1982.
  30. Bangs, Lester. 1980. Blondie. New York: Simon & Schuster.
  31. Bangs, Lester. 1988. Psychotic reactions and carburetor dung . New York: Alfred A. Knopf.
  32. Bankart, C.P., & Bankart, B.B. (1983). "The Use of Song Lyrics to Alleviate a Child's Fears," Child and Family Behavior Therapy , 5(4), pp. 81-83.
  33. Banks, Jack. 1996a. Monopoly television: MTV's quest to control the music. Boulder: Westview Press.
  34. Banks, Jack. 1996b. Music video cartel: A survey of anti-competitive practices by MTV and major record companies. Popular Music and Society 20(2): 173-196.
  35. Banks, Jack. 1997. Video in the machine: The incorporation of music video into the recording industry. Popular Music 16: 293-309.
  36. Baraka, Amiri. (1982). "Black Music: Its Roots, Its Popularity, Its Commercial Prostitution." In William R. Ferris & M.L. Hart (eds.), Folk Music and Modern Sound (pp. 177-193). Jackson: University Press of Mississippi.
  37. Barber-Kersovan, Alenka. 1989. Tradition and acculturation as polarities of Slovenian popular music. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 73-89. New York: Manchester University Press.
  38. Barber-Kersovan, Alenka. 1997/1998. Street noise: A hip-hop project considering unemployment. Journal of Popular Music Studies 9/10: 7-19.
  39. Barbrook, R. (1990). "Melodies or Rhythms?: The Competition for the Greater London FM Radio Licence," Popular Music, 9, pp. 203-219.
  40. Barnes, Ken. 1988. Top 40 radio: A fragment of the imagination. In Facing the music, ed. Simon Frith, 8-50. New York: Pantheon.
  41. Barrett, James. 1996. World music, nation and postcolonialism. Cultural Studies 10(2): 237-247.
  42. Barrett, Kevin. 1985. Diatribe: Prince and the sound of time experienced. OneTwoThreeFour 2: 59-64.
  43. Barszcz, J. (1982). "It's the Same Old Song: Punk, New Wave, and the Marketing of Rock." In Robert Atwan, B. Orton, & W. Vesterman (eds.), American Mass Media (2nd edition, pp. 282-288). New York: Random House.
  44. Baxter, R.L., De Riemer, C., Landini, A., Leslie, L., & Singletary, M.W. (1985). "A Content Analysis of Music Videos," Journal of Broadcasting and Electronic Media, 29, pp. 333-340.
  45. Bayton, Mavis. 1990. How women become musicians. In On record: Rock, pop, and the written word, ed. Simon Frith and Andrew Goodwin, 238-257. New York: Pantheon.
  46. Bayton, Mavis. 1993. Feminist musical practice: Problems and contradictions. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 177-192. New York: Routledge.
  47. Bayton, Mavis. 1997. Women and the electric guitar. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 37-49. New York: Routledge.
  48. Beadle, Jeremy J. 1993. Will pop eat itself?: Pop music in the soundbite era. Boston: Faber and Faber.
  49. Beaud, P. (1974). "Musical Sub-Cultures in France: Latest Investigations Into the Positions Held by Sub-Cultures Within Cultural Life." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 212-218). Vienna: Universal Edition.
  50. Beaud, P. (1982). "Statistics and Methodology." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 7-17). New York: Springer-Verlag.
  51. Bechdolf, Ulf. 1993. Watching pop music video audiences. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 13-17. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  52. Becker, A. (1990). "New Lyrics by Women: A Feminist Alternative," Journal of Popular Culture, 24(1), pp. 1-22.
  53. Beckett, Alan. 1966. Popular music. New Left Review 39: 87-90.
  54. Beckett, Alan. 1968. Stones. New Left Review, 47, pp. 24-29.
  55. Beckett, Alan. 1969. Mapping pop. New Left Review 54: 80-84.
  56. Beebe, Thomas O. 1991. Ballad of the apocalypse: Another look at Bob Dylan's "Hard Rain." Text and Performance Quarterly, 11: 18-34.
  57. Belinfante, Alexander, and R.R. Davis. (1978/9). "Estimating the Demand for Record Albums," Review of Business and Economic Research, 14(2), pp. 47-53.
  58. Belinfante, Alexander, & Richard L. Johnson. 1982. Competition, pricing and concentration in the U.S. recorded music industry. Journal of Cultural Economics 6(2): 11-24.
  59. Belz, Carl. 1967. Popular music and the folk tradition. Journal of American Folklore 80: 130-142.
  60. Belz, Carl. 1972. The story of rock. 2d ed. New York: Harper.
  61. Belz, Carl. 1974. Relationships between the popular and fine arts -- recent developments. In New patterns of musical behaviour of the young generation in industrial societies, ed. Irmgard Bontinck, 84-88. Vienna: Universal Edition.
  62. Bennett, Andrew. 1997. Going down the pub!: The pub rock scene as a resource for the consumption of popular music. Popular Music 16(2): 97-108.
  63. Bennett, H. Stith. 1980. On becoming a rock musician. Amherst: University of Massachusetts Press.
  64. Bennett, H. Stith. 1983. Notation and identity in contemporary popular music. Popular Music 3: 215-234.
  65. Bennett, H. Stith, and Ferrell, J. (1987). "Music Videos and Epistemic Socialization," Youth and Society, 18, pp. 344-362.
  66. Bennett, Larry. 1991. The domestication of rock and roll: From insurrection to myth. In Popular culture and political change in modern America, ed. Ronald Edsforth and Larry Bennett, 137-161. Albany: State University of New York Press.
  67. Bennett, Tony, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, eds. 1993. Rock and popular music: Politics, policies, institutions. New York: Routledge.
  68. Benson, P. (1990). "Screening Desire," Screen, 31(4), pp. 377-389.
  69. Berg, Charles M. 1987. Visualizing music: The archaeology of music video. OneTwoThreeFour 5: 94-103.
  70. Berland, Jody. 1982. Popular music and the post-pop avant garde: A replay, with margins. Art and Text 6: 2-15.
  71. Berland, Jody. 1985/6. Sound, image and the media: Rock video and social reconstruction. Parachute 41: 12-19.
  72. Berland, Jody. 1986a. Regulating difference: Music, radio and the regulatory double bind. Rolling Notes: IASPM-CANADA's Working Papers.
  73. Berland, Jody. 1986b. Sound, image, and social space: Rock video and media reconstruction. Journal of Communication Inquiry 10(1): 34-47.
  74. Berland, Jody. 1988. Locating listening: Technological space, popular music, Canadian mediations. Cultural Studies 2: 343-358.
  75. Berland, Jody. 1990a. Radio space and industrial time: Music formats, local narratives and technological mediation. Popular Music 9: 179-192.
  76. Berland, Jody. 1990b. Towards creative anachronism: Radio, the state and sound government. Public 4/5: 8-21.
  77. Berland, Jody. 1991. Free trade and Canadian music: Level playing field or scorched earth? Cultural Studies 5: 317-325.
  78. Berland, Jody. 1992. Angels dancing: Cultural technologies and the production of space. In Cultural studies, ed. Lawrence Grossberg, Cary Nelson, Paula Treichler, Linda Baughman, & John Macgregor Wise, 38-55. New York: Routledge.
  79. Berland, Jody. 1993. Radio space and industrial time: The case of music formats. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 104-118. New York: Routledge.
  80. Berman, M. (1974). "Sympathy for the Devil: Faust, the '60s and the Tragedy of Development," New American Review, 19, pp. 23-75.
  81. Berry, Venise T. 1990. Rap music, self concept, and low income black adolescents. Popular Music and Society 14(3): 89-107.
  82. Berry, Venise T. 1993. Crossing over: Musical perceptions within black adolescent culture. Journal of Popular Music Studies 5: 26-38.
  83. Berry, Venise. 1994. Redeeming the rap music experience. In Adolescents and their music: If it’s too loud, you’re too old, ed. Jonathan S. Epstein, 165-187. New York: Garland Publishing, Inc.
  84. Best, Beverly. 1997. Over-the-counter culture: Retheorizing resistance in popular culture. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 18-35. Oxford: Blackwell Publishers Ltd.
  85. Betrock, Alan. 1982. Girl groups: The story of a sound. New York: Delilah.
  86. Beverly, J. (1989). "The Ideology of Postmodern Music and Left Politics," Critical Quarterly, 31(1), pp. 40-56.
  87. Bindas, Kenneth J., ed. 1992. America's musical pulse: Popular music in twentieth-century society. Westport, CT: Greenwood Press.
  88. Bindas, Kenneth J., and Houston, C. (1989). "'Takin' Care of Business': Rock Music, Vietnam and the Protest Myth," Historian, 52, pp. 1-23.
  89. Bird, D.A., Holder, S.C., & Sears, D. (1976). "Walrus is Greek for Corpse: Rumor and the Death of Paul McCartney," Journal of Popular Culture, 10, pp. 110-121.
  90. Bird, Elizabeth. 1994. "Is that me, baby?": Image, authenticity, and the career of Bruce Springsteen. American Studies 35(2): 39-58.
  91. Birrer, Frans A.J. 1985. Definitions and research orientation: Do we need a definition of popular music? Popular Music Perspectives 2: 99-105.
  92. Björnberg, Alf. 1993. "Teach you to rock"?: Popular music in the university music department. Popular Music 12: 69-77.
  93. Björnberg, Alf. 1994. Structural relationships of music and images in music video. Popular Music 13: 51-74.
  94. Björnberg, Alf, and Ola Stockfelt. 1996. Krist en Klatvask fra Vejle: Danish pub music, mythscapes and "local camp." Popular Music 15: 131-147.
  95. Blacking, John. 1981. Making artistic popular music: The goal of true folk. Popular Music 1: 9-14.
  96. Blacking, John. 1987. Coda: Making musical sense of the world. In Lost in music: Culture, style and the musical event, ed. Avron Levine White, 259-264. New York: Routledge & Kegan Paul.
  97. Blake, Andrew. 1997. Making noise: Notes from the 1980s. Popular Music and Society 21(3): 19-33.
  98. Blakemore, H. (1990). "Acid -- Burning a Hole in the Present." In Gary Day (ed.) Readings in Popular Culture (pp. 18-22). New York: St. Martin's.
  99. Blaukopf, Kurt. 1973. Young music and industrial society: An essay on new patterns of behaviour. Cultures 1(1): 211-229.
  100. Blaukopf, Kurt. 1974. Postscript: Towards a new type of research. In New patterns of musical behaviour of the young generation in industrial societies, ed. Irmgard Bontinck, 231-234. Vienna: Universal Edition.
  101. Blaukopf, Kurt, ed. 1982. The phonogram in cultural communication. New York: Springer-Verlag.
  102. Bloodworth, J.D. (1975). "Communication in the Youth Counter Culture: Music as Expression," Central States Speech Journal, 26, pp. 304-309.
  103. Bloom, Alan. 1987. Music. In The closing of the American mind, 68-81. New York: Simon & Schuster.
  104. Bloom, F.A. (1982). "Seeing Dylan Seeing," Yale Review, 71, pp. 304-320.
  105. Bloomfield, Terry. 1991. It's sooner than you think, or where are we in the history of rock music? New Left Review 190: 59-81.
  106. Bloomfield, Terry. 1993. Resisting songs: Negative dialectics in pop. Popular Music 12: 13-31.
  107. Bodinger-deUriarte, C. (1985). "Opposition to Hegemony in the Music of Devo: A Simple Matter of Remembering," Journal of Popular Culture, 18(4), pp. 57-71.
  108. Bontinck, Irmgard, ed. 1974. New patterns of musical behavior of the young generation in industrial societies. Vienna: Universal Edition.
  109. Booth, G.D., & Kuhn, T.L. (1990). "Economic and Transmission Factors as Essential Elements in the Definition of Folk, Art, and Pop Music," Musical Quarterly, 74, pp. 411-438.
  110. Booth, Mark W. 1976. The art of words in songs. Quarterly Journal of Speech 62: 242-249.
  111. Booth, Mark W. 1983. American popular music: A reference guide. Westport, CT: Greenwood.
  112. Booth, Stanley. 1991. Rythm oil: A journey through the music of the American South. New York: Pantheon.
  113. Bordo, Susan. 1990. "Material girl": The effacements of postmodern culture. Michigan Quarterly Review (Fall): 653-677.
  114. Born, Georgina. 1987. Modern music culture: On shock, pop and synthesis. New Formations 2: 51-78.
  115. Born, Georgina. 1993. Afterword: Music policy, aesthetic and social difference. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 266-292. New York: Routledge.
  116. Bowden, Besty. 1982a. Performed literature: A case study of Bob Dylan's "Hard Rain." Literature in Performance 3(1): 35-48.
  117. Bowden, Besty. 1982b. Performed literature: Words and music by Bob Dylan. Bloomington: Indiana University Press.
  118. Bowman, Rob. 1995. The Stax sound: Musicological analysis. Popular Music 14: 285-320.
  119. Bowman, Rob. 1996. Stax Records: A lyrical analysis. Popular Music and Society 20(1): 71-92.
  120. Boyd, Douglas A. 1983. Radio free America: The U.S. government's reaction to pirate radio. Central States Speech Journal 34: 203-209.
  121. Boyd, Douglas A. 1986. Pirate radio in Britain: A programming alternative. Journal of Communication 36(2): 83-94.
  122. Boyle, J.D., Hosterman, G.L., & Ramsey, D.S. (1981). "Factors Influencing Pop Music Preferences of Young People," Journal of Research in Music Education, 29, pp. 47-55.
  123. Brace, Tim. 1993. Symbolic rhetoric and the struggle for meaning: A popular music performance in Beijing, China. Journal of Popular Music Studies 5: 8-25.
  124. Brace, Tim, and Paul Friedlander. 1992. Rock and roll on the new long march: Popular music, cultural identity, and political opposition in the People's Republic of China. In Rockin' the boat: Mass music and mass movements, ed. Reebee Garofalo, 115-127. Boston: South End Press.
  125. Brackett, David. 1993. The politics and musical practice of "crossover." In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 23-31. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  126. Brackett, David. 1995. Interpreting popular music. Cambridge: Cambridge University Press.
  127. Brackett, David. 1999. Music. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 124-140. Malden, MA: Blackwell.
  128. Bradby, Barbara. 1989. God's gift to the suburbs. Popular Music 8: 109-116.
  129. Bradby, Barbara. 1990a. Do-talk and don't-talk: The division of the subject in girl-group music. In On record: Rock, pop, and the written word, ed. Simon Frith and Andrew Goodwin, 341-368. New York: Pantheon.
  130. Bradby, Barbara. 1990b. Freedom, feeling, and dancing: Madonna's songs traverse girls' talk. OneTwoThreeFour 9: 35-52.
  131. Bradby, Barbara. 1992. Like a virgin-mother?: Materialism and maternalism in the songs of Madonna. Cultural Studies 6: 73-96.
  132. Bradby, Barbara. 1993a. Lesbians and popular music: Does it matter who is singing? In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 33-44. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  133. Bradby, Barbara. 1993b. Sampling sexuality: Gender, technology and the body in dance music. Popular Music 12: 155-176.
  134. Bradby, Barbara, and Brian Torode. 1984. Pity Peggy Sue. Popular Music: 183-205.
  135. Bradby, Barbara, and Brian Torode. 1987. To whom do U2 appeal? OneTwoThreeFour 4: 34-41.
  136. Bradley, D. (1980). "The Cultural Study of Music." Stencilled paper no. 61, Birmingham: Centre for Contemporary Cultural Studies.
  137. Bradley, D. (1981). "Music and Social Science: A Survey," Media, Culture and Society, 3, pp. 205-218.
  138. Brake, Michael. 1980. The sociology of youth culture and youth subcultures: Sex and drugs and rock 'n' roll? Boston: Routledge & Kegan Paul.
  139. Brake, Michael. 1985. Comparative youth culture: The sociology of youth cultures and youth subcultures in America, Britain and Canada. Boston: Routledge & Kegan Paul.
  140. Braun, D.D. (1969). Toward a Theory of Popular Culture: The Sociology and History of American Music and Dance, 1920-1968. Ann Arbor: Ann Arbor Publishers.
  141. Breh, K. (1982). "High Fidelity, Stereophony, and the Mutation of Musical Communication." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 165-177). New York: Springer-Verlag.
  142. Breen, Marcus, ed. 1987. Missing in action: Australian popular music in perspective. Victoria, Australia: Verbal Graphics.
  143. Breen, Marcus. 1991. A stairway to heaven or a highway to hell?: Heavy metal rock music in the 1990s. Cultural Studies 5: 191-203.
  144. Breen, Marcus. 1992. Desert dreams, media, and interventions in reality: Australian Aboriginal music. In Rockin' the boat: Mass music and mass movements, ed. Reebee Garofalo, 149-170. Boston: South End Press.
  145. Breen, Marcus. 1993. Making music local. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 66-82. New York: Routledge.
  146. Breen, Marcus. 1995. The end of the world as we know it: Popular music's cultural mobility. Cultural Studies 9(3): 486-504.
  147. Brehony, Kevin J. 1998. "I used to get mad at my school": Representations of schooling in rock and pop music. British Journal of Sociology of Education 19(1): 113-134.
  148. Bridges, John, and R. Serge Denisoff. 1986. Changing courtship patterns in the popular song: Horton and Carey revisited. Popular Music and Society 10(3): 29-45.
  149. Bright, Terry. 1986. Pop music in the USSR. Media, Culture, and Society 8: 357-369.
  150. Brock, Van K. 1979. Images of Elvis, the South, and America. In Elvis: Images and fancies, ed. Jac L. Tharpe, 87-122. Jackson: University Press of Mississippi.
  151. Brocken, Michael. 1996. Some other guys! Some theories about signification: Beatles cover versions. Popular Music and Society 20(4): 5-40.
  152. Broere, Bernard J. 1989. El Chambú -- A study of popular musics in Nariño, South Colombia. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 103-121. New York: Manchester University Press.
  153. Brooks, William. 1982. On being tasteless. Popular Music 2: 9-18.
  154. Brown, Adam. 1997. Let’s all have a disco? Football, popular music and democratization. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 79-101. Oxford: Blackwell Publishers Ltd.
  155. Brown, Bill. 1988. In practice: Rock-and-roll, grammatology and the teaching of composition. OneTwoThreeFour 6: 65-73.
  156. Brown, Elizabeth F., and William R. Hendee. 1989. Adolescents and their music: Insights into the health of adolescents. Journal of the American Medical Association 262: 1659-1663.
  157. Brown, Jane D., and Kenneth Campbell. 1986. Race and gender in music videos: The same beat but a different drummer. Journal of Communication 36(1): 94-106.
  158. Brown, Jane D., Kenneth Campbell, and Fischer, L. (1986). "American Adolescents and Music Videos: Why Do They Watch?" Gazette, 37, pp. 19-32.
  159. Brown, Jane D., and Laurie Schulze. 1990. The effects of race, gender, and fandom on audience interpretations of Madonna's music videos. Journal of Communication 40(2): 88-102.
  160. Brown, L. (1991). "Songs From the Bush Garden," Cultural Studies, 5, pp. 347-357.
  161. Brown, Mary Ellen, and John Fiske. 1987. Romancing the rock: Romance and representation in popular music videos. OneTwoThreeFour 5: 61-73.
  162. Brown, Matthew P. 1994. Funk music as genre: Black aesthetics, apocalyptic thinking and urban protest in post-1965 African-American pop. Cultural Studies 8(3): 484-508.
  163. Brown, R.L., & O'Leary, M. (1971). "Pop Music in an English Secondary School," American Behavioral Scientist, 14(3), pp. 401-415.
  164. Bruner, Gordon C. II. 1979. The association between record purchase volume and other music-related characteristics. Popular Music and Society 6: 234-240.
  165. Bruzzi, Stella. 1997. Mannish girl: k.d. lang -- from cowpunk to androgyny. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 191-206. New York: Routledge.
  166. Burchill, Julie, and Tony Parsons. 1978. "The boy looked at Johnny": The obituary of rock and roll. London: Pluto.
  167. Burke, R.S., & Grinder, R.E. (1966). "Personality-Oriented Themes and Listening Patterns in Teen-Age Music and Their Relation to Certain Academic and Peer Variables," School Review, 74, pp. 196-211.
  168. Burnett, Robert. 1993. The popular music industry in transition. Popular Music and Society 17(1): 87-114.
  169. Burnett, Robert, and Bert Deivert. 1995. Black or white: Michael Jackson’s video as a mirror of popular culture. Popular Music and Society 19(3): 19-40.
  170. Burns, Gary. 1983. Trends in lyrics in the annual top twenty songs in the United States, 1963-1972. Popular Music and Society 9(1): 25-39.
  171. Burns, Gary. 1987a. Attack of the psychedelic garage punks. OneTwoThreeFour 4: 58-65.
  172. Burns, Gary. 1987b. Of our elaborate plans, the end. Popular Music and Society 11(4): 47-59.
  173. Burns, Gary. 1987c. A typology of "hooks" in popular records. Popular Music 6: 1-20.
  174. Burns, G.C. (1988a). "Dreams and Mediation in Music Video," Wide Angle, 10(2), pp. 41-61.
  175. Burns, Gary. 1988b. Film and popular music. In Film and the arts in symbiosis: A resource guide, ed. Gary R. Edgerton, 217-242. Westport, CT: Greenwood Press.
  176. Burns, Gary. 1994a. Formula and distinctiveness in movie-based music videos. Popular Music and Society 18(4): 7-17.
  177. Burns, Gary. 1994b. How music video has changed, and how it has not changed: 1991 vs. 1985. Popular Music and Society 18(3): 67-79.
  178. Burns, Gary. 1997. Popular Music and Society and the evolving discipline of popular music studies. Popular Music and Society 21(1): 123-131.
  179. Burns, Gary. 1998. Visualising 1950s hits on Your hit parade. Popular Music 17(2): 139-152.
  180. Burns, Gary, and Robert Thompson. 1987. Music, television, and video: Historical and aesthetic considerations. Popular Music and Society 11(3): 11-25.
  181. Butchart, R.E., and B. Lee Cooper (1987). "Perceptions of Education in the Lyrics of American Popular Music, 1950-1980," American Music, 5, pp. 271-281.
  182. Buxton, David. 1983. Rock music, the star-system and the rise of consumerism. Telos 57: 93-106.
    C

  183. Cagle, Van. 1986. What is it and how do you use it? Civilization 1(1): 8-11ff.
  184. Calder, Jeff. 1991. Living by night in the land of opportunity: Observations on life in a rock & roll band. South Atlantic Quarterly 90: 907-937.
  185. Calluori, R.A. (1985). "The Kids Are Alright: New Wave Subcultural Theory," Social Text, 12, pp. 43-53.
  186. Campbell, G.M. (1975). "Bob Dylan and the Pastoral Apocalypse," Journal of Popular Culture, 8, pp. 696-707.
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