Part One: Before 1950

Further Reading

Aletti, Vince. “Dancing Madness: The Disco Sound.” Rolling Stone (28 Aug 1975): 43, 50, 56.

Holden, Stephen. “The Evolution of a Dance Craze.” Rolling Stone (April 19, 1979): 29.

Krasnow, Carolyn. “Fear and Loathing in the 70s: Race, Sexuality, and Disco.” Stanford Humanities Review 3 (Fall 1993): 37-45.

Lawrence, Tim. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Raleigh, N.C.: Duke University Press, 2003.

McLeese, Don. “Anatomy of an Anti-Disco Riot.” In These Times (29 August-4 September 1979): 23.

Shapiro, Peter. Turn the Beat Around: The Secret History of Disco. London: Faber & Faber, 2006.

Discography

Moroder, Giorgio. From Here to Eternity. Repertoire, 1977.

Summer, Donna. Love to Love You Baby. MCA Special Products, 1975.

Van McCoy. The Hustle and the Best of Van McCoy. Amherst Records, 1995.

Village People. The Best of Village People. Island/Mercury, 1994.

White, Barry. Can’t Get Enough. Island/Mercury, 1974

62. Punk: The Sound of Criticism?

Further Reading

Frith, Simon and Howard Horne. Art into Pop. London: Methuen, 1987.

Gendron, Bernard. Between Montmartre and the Mudd Club. Chicago: University of Chicago Press, 2002, chs. 10-13.

Hebdige, Dick. Subculture: The Meaning of Style. London: Methuen, 1979.

Laing, Dave. One Chord Wonders. Philadelphia: Open University Press, 1985.

O’Grady, Lorraine. “Dealing with the Dolls Mystique.” Village Voice, October 4, 1973: 52.

Savage, Jon. England’s Dreaming: Sex Pistols and Punk Rock. London: Faber & Faber,

1991.

1976: back page, 87-88.

Discography

New York Dolls. New York Dolls. Island/Mercury, 1973.

The Ramones. Ramones. Rhino/WEA, 2001.

_______. Greatest Hits. Rhino/WEA, 2006.

Smith, Patti. Horses. Arista, 1975.

63. Punk Crosses the Atlantic

Further Reading

Frith, Simon. “Beyond the Dole Queue: The Politics of Punk.” Village Voice, October 24, 1977: 77-79.

Young, Charles M. “Rock Is Sick and Living in London: A Report on the Sex Pistols.”

Rolling Stone (20 October 1977): 68-75.

Discography

The Clash. The Clash. Epic, 1977.

_______. London Calling. Epic, 1979.

No Thanks! The '70s Punk Rebellion. Rhino/WEA, 2003.

Sex Pistols. Never Mind the Bollocks, Heres’ the Sex Pistols. Warner Bros./WEA, 1977.

_______. Kiss This: The Best of the Sex Pistols. EMI/Virgin, 1992.

64. Punk to New Wave?

Further Reading

Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” New Left Review 146 (July-August 1984): 59-92; reprinted in Postmodernism, or the Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991), 1-54.

Rockwell, John. “The Artistic Success of Talking Heads.” New York Times, Sept. 11, 1977: D14, 16.

Trakin, Roy. “Avant Kindergarten [Sturm and Drone].” Soho Weekly News, Inc., Jan.

26, 1978: 31, 37.

Discography

Blondie. Greatest Hits. Capitol, 2002.

Devo. Q: Are We Not Men?A: We Are Devo! Warner Bros./WEA, 1978.

The Knack. Get the Knack. Capitol, 2002.

Lydia Lunch. Deviations on a Theme: Retrospective. Provacateur Media, 2006.

Talking Heads. The Best of Talking Heads. Rhino/WEA, 2004.

65. UK New Wave

Further Reading

Flanagan, Bill. “The Last Elvis Costello Interview.” Musician (March 1986): 40, 42, 44.

Discography

_______. This Year’s Model. Columbia, 1978.

_______. The Best of Elvis Costello: The First 10 Years. Hip-O Records, 2007.

Jackson, Joe. Look Sharp! A&M, 1979.

_______. Greatest Hits. A&M, 1996..

Parker, Graham. Heat Treatment. Polygram International, 1976.

Goodwin, Andrew. Dancing in the Distraction Factory: Music Television and Popular

Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism,” New Left

Kaplan, E. Ann. Rocking Around the Clock: Music Television, Postmodernism, &

Rimmer, David. New Romantics: The Look. London: Omnibus, 2003.

Straw, Will. “Popular Music and Postmodernism in the 1980s.” In Sound and Vision:

The Music Video Reader, edited by Simon Frith, Andrew Goodwin and Lawrence

Grossberg, 3-24. London and New York: Routledge, 1993.

67. Thriller Begets the “King of Pop”

George. Nelson. The Michael Jackson Story. London: Dell Publishing, 1984.

Jackson, Michael. Moonwalk. New York: Doubleday, 1988.

Mercer, Kobena. “Monster Metaphors: Notes on Michael Jackson’s ‘Thriller,’” in Sound

and Lawrence Grossberg, 93-108. London and New York, 1993.

Wallace, Michael. Invisibility Blues: From Pop to Theory. London: Verson, 1990.

Willis, Susan. A Primer for Daily Life. New York: Routledge, 1991

________. One Day in Your Life. Motown, 1981.

________. Thriller. Epic Records, 1982.

________. Bad. Epic, 1987.

McClary, Susan. Feminine Endings. Minneapolis: University of Minnesota Press, 1991.

Metz, Allan, and Carol Benson. The Madonna Companion: Two Decades of Commentary. New York: Schirmer, 1999.

Vernallis, Carol. “The Aesthetics of Music Video: An Analysis of Madonna’s ‘Cherish’.” Popular Music 17 (1998): 153-185.

Madonna. Madonna. Sire, 1983.

________. Like a Virgin. Sire, 1984.

________. True Blue. Sire, 1986.

________. Who’s That Girl. Sire, 1987.

________. Like a Prayer. Sire, 1989.

________. The Immaculate Collection. Sire, 1990.

________. Ray of Light. Warner Bros./WEA, 1998.

69. Bruce Springsteen: Reborn in the USA
Further Reading
Bruce Springsteen, the Rolling Stone File: The Ultimate Compendium of Interviews,

Articles, Facts and Opinions from the Files of Rolling Stone. New York:

Hyperion Books, 1996.

Carman, Bryan K. A Race of Singers: Whitman’s Working-Class Hero from Guthrie to Springsteen. Chapel Hill and London: The University of North Carolina Press, 2000.

Cavicchi, Daniel. Tramps Like Us: Music and Meaning among Springsteen Fans. New York: Oxford University Press, 1998.

Guterman, Jimmy. Runaway American Dream: Listening to Bruce Springsteen. Cambridge, MA: Da Capo Press, 2005.

Marsh, Dave. Bruce Springsteen: Two Hearts, the Story. New York and London:

Routledge, 2003.
Discography

Springsteen, Bruce. Greetings from Asbury Park, N.J. Columbia, 1973.

________. Born to Run. Columbia, 1975.

________. Born in the USA. Columbia, 1984.

________. Live 1975-85. Columbia, 1986.

________. Tunnel of Love. Columbia, 1987.

________. The Essential Bruce Springsteen. Sony, 2003.
70. R&B in the 1980s: To Cross Over or Not to Cross Over?
Further Reading

Brackett, David. “(In Search of) Musical Meaning: Genres, Categories, and Crossover,” in Popular Music Studies, edited by David Hesmondhalgh and Keith Negus, 65-82. London: Arnold Publishers, 2002.

Garofalo, Reebee.. “Crossing Over: 1939-1989” In Split Image: African-Americans in

the Mass Media, ed. Jannette L. Dates and William Barlow, 57-121. Washington:

Howard University Press, 1990.

_______. “Black Popular Music: Crossing Over or Going Under?,” in Rock and

Popular Music: Politics, Policies, Institutions, ed. Tony Bennett, Simon Frith,

Lawrence Grossberg, John Shepherd and Graeme Turner, 231-48. London and

New York: Routledge, 1993.

George, Nelson. The Death of Rhythm and Blues. New York: Pantheon Books, 1988.

Harper, Philip Brian. “Synesthesia, ‘Crossover,’ and Blacks in Popular Music,” Social Text 23 (Fall/Winter 1989): 102-21.
Discography

Benson, George. Twice the Love. Warner Bros., 1988.

Bryson, Peabo. Straight From the Heart/Take No Prisoners. Collectables, 2003.

The Commodores. Night Shift. Motown, 1985.

Prince. Ultimate Prince. Rhino/WEA, 2006.

Prince and the Revolution. Purple Rain. Warner Bros., 1984.

_______. Parade: Music From The Motion Picture Under The Cherry Moon. Warner

Bros., 1986.

Richie, Lionel. Dancing on the Ceiling. Motown, 1986.

Ross, Diana. Swept Away. RCA, 1984.

Turner, Tina. Private Dancer. Capitol, 1984.
71. Heavy Metal Thunders On!
Further Reading

Bennett, Andy and Kevin Dawe, eds. Guitar Cultures.  New York: Berg, 2001.

Christe, Ian. Sound of the Beast: The Complete Headbanging History of Heavy Metal. New York: Harper Entertainment, 2004.

Laing, Dave. “‘Sadeness’, Scorpions and Single Markets: National and Transnational Trends in European Popular Music.” Popular Music 11 (1992): 127-140.

Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, NH: University Press of New England, 1993.
Discography

AC/DC. Back in Black. Atlantic, 1980.

Def Leppard. Pyromania. Mercury, 1983.

Iron Maiden. Powerslave. EMI, 1984.

Judas Priest. Sad Wings of Destiny. Janus, 1976.

_______. Screaming for Vengeance. Columbia, 1982.

Racer X. Street Lethal. Shrapnel Records, 1986.

Ratt. Out of the Cellar. Atlantic, 1984.

Scorpions. Blackout. EMI, 1982.

Van Halen. Van Halen. Warner Bros., 1978.

_______. Fair Warning. Warner Bros., 1981.

72. Metal in the Late Eighties: Glam or Thrash?

Christe, Ian. Sound of the Beast: The Complete Headbanging History of Heavy Metal. New York: Harper Entertainment, 2004.

Fricke, David. “Heavy Metal Justice,” Rolling Stone (January 12, 1989): 42-49.

Garofalo, Reebee. “Setting the Record Straight: Censorship and Social Responsibility in Popular Music,” Journal of Popular Music Studies 6 (1994).

Irwin, William, ed. Metallica and Philosophy: A Crash Course in Brain Surgery. Oxford: Blackwell Pub., 2007.

Pillsbury, Glenn T. Damage Incorporated: Metallica and the Production of Musical Identity. New York: Routledge, 2006.

Zappa, Frank. “Statement to Congress, 19 September 1985,” in Clinton Heylin (ed.), The Da Capo Book of Rock & Roll Writing (New York: Da Capo Press, [1992] 2000), 501-08.
Discography

Guns N’ Roses. Appetite for Destruction. Geffen, 1987.

Metallica. Master of Puppets. Elektra, 1986.

________. …And Justice for All. Elektra, 1988.

Poison. Look What the Cat Dragged In. Capitol, 1986.

Quiet Riot. Mental Health. Pasha, 1983.

W.A.S.P. W.A.S.P. Capitol, 1984.

73. Postpunk Goes Indie

DeCurtis, Anthony. “The Athens Scene,” in Rocking My Life Away: Writing About Music and Other Matters (Durham, N.C.: Duke University Press, 1998), 21-22, 24-25, 25-27. Written in 1981

Kruse, Holly. “Subcultural Identity in Alternative Music Culture,” Popular Music, Vol. 12, No. 1 (January 1993): 33-41.

Shanks, Barry. Dissonant Identities: The Rock ‘n’ Roll Scene in Austin, Texas (Hanover and London: Wesleyan University Press, 1994).

Black Flag. My War. SST, 1984.

Circle Jerks. VI. Combat, 1987.

Hüsker Dü. Flip Your Wig. SST, 1986.

The Minutemen. Double Nickels on the Dime. SST, 1984.

R.E.M. And I Feel Fine...: The Best of the I.R.S. Years 1982-1987. Capitol/IRS, 2006.

The Replacements. Let it Be. Twin/Tone, 1984.

Social Distortion. Prison Bound. Restless Records, 1988.

X. Los Angeles. Slash, 1980.
74. Indie Brings the Noise
Further Reading
Foege, Alec. Confusion Is Next: The Sonic Youth Story. New York: St. Martin’s Griffin,

1994.

Chicago Press, 2002, 275-97.

Stearns, Matthew. Sonic Youth’s Daydream Nation (33 1/3). New York: Continuum,

2007.
Discography

Chatham, Rhys. An Angel Moves Too Fast to See: Selected Works, 1971-1989. Table of

Elements, 2003.

Happy Flowers. I Crush Bozo. Homestead, 1988.

Killdozer. Snake Boy. Touch & Go, 1985.

Sonic Youth. Confusion is Sex. Neutral, 1983.

________. Bad Moon Rising. Homestead, 1985.

________. Daydream Nation. Torso, 1988.

The Swans. Cop. K.422, 1984

75. Hip-Hop, Don’t Stop
Further Reading

Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. New York: St. Martin’s Press, 2005.

Forman, Murray, and Mark Anthony Neal. That's the Joint!: The Hip-Hop Studies Reader. London: Taylor and Francis, 2007.

Greenwald, Jeff. “Hip-Hop Drumming: The Rhyme May Define, but the Groove Makes You Move.” Black Music Research Journal 22 (2002): 259-271.

Hager, Steven. Hip Hop: The Illustrated History of Break Dancing, Rap Music, and Graffiti. New York: St. Martin’s Press, 1984.

Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan University Press and University Press of New England, 1994.

Tate, Greg. Flyboy in the Buttermilk: Essays on Contemporary America. New York: Simon and Schuster, 1992.

Toop, David. Rap Attack 2: African Rap to Global Hip Hop. London: Serpent’s Tail,

1991.

The Vibe History of Hip-Hop. New York: Three Rivers Press, 1999.

Discography

Bambaataa, Afrika. Planet Rock: The Album. Tommy Boy Records, 1986.

Grandmaster Flash and the Furious Five. The Message. DBK Works, 2005 [1982].

The Hip-Hop Box. Hip-O Records, 2004.

Kurtis Blow Presents The History Of Rap: Vosl. 1- 2. Rhino, 1997.

Run-D.M.C. Run-D.M.C. Profile, 1984.

_______. Run-D.M.C. Greatest Hits. Arista, 2002.

Sugarhill Gang. Sugarhill Gang. Sugarhill Records, 1980.

Gaunt, Kyra. The Games Black Girls Play: Learning the Ropes from Double Dutch to Hip-Hop. New York: NYU Press, 2006.

Hess, Mickey. Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. Westport, CT: Greenwood Press, 2007.

Walser, Robert. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” Ethnomusicology 39 (1995): 193-217.

Public Enemy. Yo! Bum Rush the Show. Def Jam, 1987.

________. It Takes a Nation of Millions to Hold Us Back. Def Jam, 1988.

________. Fear of a Black Planet. Def Jam, 1990.

Salt-n-Pepa. Hot, Cool & Vicious. Next Plateau, 1986.

________. Blacks’ Magic. London, 1990

.

77. Where Rap and Heavy Metal Converge

Asim, Jabari. The N Word: Who Can Say It, Who Shouldn’t, and Why.

Boston: Houghton Mifflin, 2007.

Forman, Murray. The 'Hood Comes First: Race, Space, and Place in Rap and Hip-Hop.

Hanover, N.H.: Wesleyan University Press, 2002.
Discography

Clay, Andrew Dice. The Day the Laughter Died. American Recordings, 1990.

Guns N’ Roses. G N' R Lies. Geffen, 1988.

Heavy D & The Boyz. Big Tyme. Uptown Records, 1989.

N.W.A. Straight Outta Compton. Ruthless, 1988.

________. 100 Miles and Runnin’. Priority, 1990.s

Chang, Jeff. “Word Power: A Brief, Highly Opinionated History of Hip-Hop Journalism.” In Pop Music and the Press, ed. Steve Jones, 65-71. Philadelphia: Temple University Press, 2002.

Chuck D (with Yusuf Jah). Fight the Power: Rap, Race, and Reality. New York:

Delacorte Press, 1997.

McLeod, Kembrew. “The Politics and History of Hip-Hop Journalism.” In Pop Music and the Press, ed. Steve Jones, 156-67. Philadelphia: Temple University Press, 2002.

Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover and London: Wesleyan University Press, 1994.

Walser, Robert. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.”

Ethnomusicology 39 (1995): 193-217.

Discography

De La Soul. Three Feet High & Rising. Tommy, 2001.

Ice Cube. AmeriKKKa’s Most Wanted. Priority, 1990.

_______. Death Certificate. Priority Records, 1991.

N.W.A. Straight Outta Compton. Priority Records, 1989.

Public Enemy. Apocalypse 91… The Enemy Strikes Black. Def Jam, 1991.

Queen Latifah. Black Reign. Motown, 1993.

Schoolly D. The Best of Schoolly D. Jive, 2003.

79. Nuthin but a “G” Thang
Further Reading
Garofalo, Reebee. “Setting the Record Straight: Censorship and Social Responsibility in Popular Music.” Journal of Popular Music Studies 6 (1994): 1-37.

hampton, dream. “Snoop Doggy Dogg: G-Down.” The Source 48 (September 1993): 64-

70.

Kelley, Robin D. G. “Kickin’ Reality, Kickin’ Ballistics: ‘Gangsta Rap’ and

Body Count. Body Count. Sire/London/Rhino, 1992.

DeVaughn, William. Be Thankful for What You Got. Roxbury, 1974.

Dr. Dre. The Chronic. Death Row Koch, 1992.

N.W.A. Niggaz4Life. Priority Records, 1991.

Snoop Doggy Dogg. Doggystyle. Death Row, 1993

_______. The Doggfather. Interscope Records, 1996.
80. Keeping It a Little Too Real
Further Reading

Dyson, Michael Eric. Between God and Gangsta Rap: Bearing Witness to Black Culture. New York: Oxford University Press, 1997.

Touré. “It Was a Wonderful World.” Village Voice, March 18, 1997: 41.

_______. “The Family Way: The Hiphop Crew as Center of the World.” Village Voice, October 10, 1995: 49.

Notorious B.I.G. Ready to Die: The Re-master. Bad Boy, 2006.

_______. Life After Death. Bad Boy, 1997.

Puff Daddy. No Way Out. Bad Boy, 1997.

2Pac. Greatest Hits. Interscope Records, 1998.

Wu-Tang Clan. Legend of the Wu-Tang Clan: Wu-Tang Clan’s Greatest Hits. RCA,

2004.

81. Sample-Mania

Demers, Joanna. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens: University of Georgia Press, 2006.

Lysloff, René T. A., and Leslie C. Gay, Jr. Music and Technoculture. Hanover, N.H.: Wesleyan University Press, 2003.

Volgsten, Ulrik. “Copyright, Music, and Morals: Artistic Expression and the Public

Sphere.” In Music and Manipulation: On the Social Uses and Social Control of

Music, eds. Steven Brown and Ulrik Volgsten, 336-364. New York: Berghahn

Books, 2006

Jackson, Janet. The Velvet Rope. Virgin Records US, 1997.

Jean, Wyclef. Greatest Hits. Sony, 2003.

Lil’ Kim. Not Tonight. Atlantic/WEA, 1997.

MC Hammer. U Can’t Touch This. Capitol Records, 1990.

Men In Black: The Album. Sony, 1997.

Notorious B.I.G. Life After Death. Bad Boy, 1997.

Puff Daddy. No Way Out. Bad Boy, 1997.

Sugarhill Gang. The Best of Sugarhill Gang: Rapper’s Delight. Rhino/WEA, 1996.

Vanilla Ice. Ice Ice Baby. SBK Records, 1990.

82. Women in Rap

Peterson-Lewis, Sonja. “A Feminist Analysis of the Defenses of Obscene Rap Lyrics.” Black Sacred Music: A Journal of TheoMusicology 5 (Spring 1991): 68-79.

Shelton, Marla L. “Can’t Touch This! Representations of the African American Female Body in Urban Rap Videos.” Popular Music and Society 21 (Fall 1997): 107-116.

Wallace, Michelle. “When Black Feminism Faces the Music, and the Music is Rap.” New York Times, July 29, 1990: Sec. 4.

Brown, Foxy. Ill Na Na. Def Jam, 1996.

Fugees. The Score. Sony, 1996.

Hill, Lauryn. The Miseducation of Lauryn Hill. Sony, 1998.

Lil’ Kim. Hard Core. Big Beat/WEA, 1996.

Missy Elliot. Supa Dupa Fly. East/West Records, 1997.

83. The Beat Goes On
Further Reading
Binelli, Mark. “No. 1 with a Bullet.” Rolling Stone (February 6, 2003): 31-32.

Clarke, David. “Eminem: Difficult Dialogics.” In Words and Music, ed. Paul R. Laird, 73-102. Binghamton: State University of New York, 1993.

Doggett, Peter. Eminem: The Complete Guide to His Music. London: Omnibus, 2005.

Nielsen, Steen Kaargaard. “Wife Murder as Child’s Game: Analytical Reflections on

Eminem’s Performative Self-Dramatization.” Danish Yearbook of Musicology 34

(2006): 31-46.

_______. The Marshall Mathers LP. Interscope Records, 2000.

50 Cent. Get Rich or Die Tryin’. Interscope, 2003.

Jay-Z. The Blueprint. Roc-A-Fella, 2001.

_______. The Black Album. Def Jam, 2003.

Nelly. Country Grammar. UMVD Labels, 2000.

Outkast. Speakerboxxx/The Love Below. La Face, 2003.

84. From Indie to Alternative to . . . Seattle?

Azzerad, Michael. “Grunge City.” Rolling Stone (April 16, 1992): 43-48.

Book, John. “Seattle Heavy.” Goldmine (April 17, 1992): 46-54.

Browne, David. “Turn that @#!% Down.” Entertainment Weekly (August 21, 1992): 16-25.

Ratliff, Ben. “A New Heavy-Metal Underground Emerges.” New York Times, February 15, 1998.

Strauss, Neil. “Forget Pearl Jam: Alternative Rock Lives.” New York Times, March 2, 1997.

Sullivan, Jim. “The Age of Hyphen-Rock.” Chicago Tribune, October 13, 1991: Sec. 13, 26-27.

Discography
Alice in Chains. The Essential Alice in Chains. Sony, 2004.

The Grunge Years: A Sub Pop Compilation. Sub Pop, 1991.

Here Ain’t the Sonics. Popllama, 1993.

Mother Love Bone. Mother Love Bone. Island/Mercury, 1992.

Nirvana. Nevermind. Geffen Records, 1991.

Pearl Jam. rearviewmirror (Greatest Hits 1991-2003). Sony, 2004.

Soundgarden. Badmotorfinger. A&M, 1991.

85. Riot Girl

Nehring, Neil. “The Riot Grrrls and ‘Carnival’.” Reading Rock and Roll: Authenticity, Appropriation, Aesthetics, ed. Kevin J.H. Dettmar and William Richey, 209-35. New York: Columbia University Press, 1999.

O’Meara, Caroline. “The Raincoats: Breaking Down Punk Rock’s Masculinities.” Popular Music 22 (2003): 299-313.

Discography

Bikini Kill. The CD Version of the First Two Records. Kill Rock Stars, 1992.

_______. The Singles. Kill Rock Stars, 1998.

Bratmobile. Pottymouth. Kill Rock Stars, 1993.

_______. Ladies, Women, and Girls. Lookout Records, 2000.

86. Grunge Turns to Scrunge

Azerrad, Michael. Come As You Are: The Story of Nirvana. Main Street Books, 1993.

Marsh, Dave. “Live Through This.” Rock and Rap Confidential Nos. 124a and 124b (June 1995).

True, Everett. Live Through This: American Rock Music in the Nineties. Virgin, 2002

The Breeders. Last Splash. Elektra/WEA, 1993.

Green Day. Insomniac. Reprise/WEA, 1995.

Hüsker Dü. Warehouse: Songs and Stories. Warner Bros./Ada, 1987.

Nine Inch Nails. The Downward Spiral. Nothing, 1994.

R.E.M. In Time: The Best of R.E.M. 1988-2003. Warner Bros./WEA, 2003.

Smashing Pumpkins. Mellon Collie and the Infinite Sadness. Virgin Records US, 1995.

Sonic Youth. Daydream Nation. Geffen Records, 1988.

X. The Best: Make the Music Go Bang. Elektra/WEA, 2004.

87. A “Postalternative” Icon

Ingólfsson, Arni Heimir. “Drawing New Boundaries: Björk’s Expanding Territory.” Nordic Sounds 4 (Dec. 2005): 14-17.

Marsh, Charity, and Melissa West. “The Nature/Technology Binary Opposition Dismantled in the Music of Madonna and Bjork - Charity Marsh and Melissa West.” In Music and Technoculture, edited by Lysloff, René T. A., and Leslie C. Gay, Jr. Hanover, N.H.: Wesleyan University Press, 2003.

Robbie, Andrew. “Sampling Haraway, Hunting Björk: Locating a Cyborg Subjectivity.”

Björk. Debut. Elektra/WEA, 1993.

_______. Post. Elektra/WEA, 1995.

_______. Telegram. Elektra/WEA, 1997.

_______. Homogenic. Elektra/WEA, 1997.

_______. Vespertine. Elektra/WEA, 2001.

_______. Medúlla. Elektra/WEA, 2004.

88. “We Are the World”?

Erlmann, Veit. 1996. “The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s,” Public Culture 8 (3): 467-87.

Feld, Steven, and Charles Keil Music Grooves: Essays and Dialogues, eds. Charles Keil and Steven Feld. Chicago: University of Chicago Press, 1994.

Jatta, Sidia. “Born Musicians: Traditional Music from the Gambia.” In Repercussions: A Celebration of African-American Music, eds. Geoffrey Haydon and Dennis Marks, 14-29. London: Century Publishing, 1985.

Manuel, Peter. Caribbean Currents: Caribbean Music from Rumba to Reggae. Philadelphia: Temple University Press, 1995.

Meintjes, Louise. “Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34 (1990): 37-73.

Taylor, Timothy D. Global Pop: World Music, World Markets. New York: Routledge,

1997.
Discography

Cliff, Jimmy and various. The Harder They Come. Island, 1972.

Cooder, Ry, and the Buena Vista Social Club. The Buena Vista Social Club. Nonesuch, 1997.

King Sunny Ade. E Dide. Atlantic/WEA, 1995.

Marley, Bob. Legend—The Best of Bob Marley and the Wailers. Def Jam, 2002.

Rough Guide to Bhangra Dance. World Music Network, 2006.

Rough Guide to Raï. World Music Network, 2002.

Simon, Paul. Graceland. Rhino/WEA, 2004.

89. A Talking Head Writes

Byrne, David. Rei Momo. Sire/London/Rhino, 1989.

90. Genre or Gender? The Resurgence of the Singer-Songwriter
Further Reading
Farley, Christopher John. “Galapalooza.” Time (July 21, 1997): 60-64.

Karlen, Neal. “On Top of Pop, But Not with One Voice.” New York Times, June 29,

1997.

Pareles, Jon. “The Angry Young Women: The Labels Take Notice.” New York Times, January 28, 1996: Sec. 2, 24.

Woodworth, Marc. Solo: Women Singer-Songwriters in Their Own Words. New York:

Delta, 1998.
Discography

Amos, Tori. Little Earthquakes. Atlantic/WEA, 1992.

_______. Tales of a Librarian: A Tori Amos Collection. Atlantic/WEA, 2003.

Bush, Kate. The Dreaming. Capitol, 1982.

_______. The Whole Story. Capitol, 1986.

Chapman, Tracy. Collection. WEA International, 2001.

Harvey, P.J. To Bring You My Love. Island, 1995.

McLachlan, Sarah. Surfacing. BMG, 1997.

Morissette, Alanis. Jagged Little Pill. Maverick, 1995.

Vega, Suzanne. Solitude Standing. A&M, 1987.

_______. Retrospective: The Best of Suzanne Vega. Interscope, 2003.

91. Pulbic Policy and Pop Music History Collide

Krugman, Paul. “Channels of Influence.” New York Times, March 25, 2003.

Staples, Brent. “The Trouble With Corporate Radio: The Day the Protest Music Died.”

New York Times, February 20, 2003.
Discography

Backstreet Boys. The Hits—Chapter One. Jive, 2001.

‘N Sync. ‘N Sync. RCA, 1998.

Spears, Britney. Greatest Hits: My Prerogative. Jive, 2004.

_______. Oops! . . . I Did It Again. Jive, 2000.

92. Electronica Is in te House

Collin, Matthew. Altered State: The Story of Ecstasy Culture and Acid House. London: Serpent’s Tail, 1998.

Moorefield, Virgil. The Producer as Composer: Shaping the Sounds of Popular Music. Cambridge, MA: The MIT Press, 2005.

Redhead, Steve, with Derek Wynne and Justin O’Connor, eds. The Clubcultures Reader:

Scott, Mireille. Rave American: New School Dancescapes. Toronto: ECW Press, 1999.

Thornton, Sarah. Club Cultures: Music, Media and Subcultural Capital. Hanover, N.H.:

Wesleyan University Press, 1995.

The Chemical Brothers. Singles 93-03. Astralwerks, 2003.

Kraftwerk. Minimum-Maximum. Astralwerks, 2005.

May, Derrick. Innovator. Transmat Records, 1997.

Moby. Go: The Very Best of Moby. V2, 2006.

Model 500. Classics. R&S, 1995.

The Orb’s Adventures Beyond the Ultraworld. Island, 1991.

Tricky. Maxinquaye. Island, 1995.

93. R&B Divas Go Retro
Further Reading
Gardner, Elysa. “Hip Hop Soul.” In The Vibe History of Hip Hop, ed. Alan Light, 307-17. New York: Three Rivers Press, 1999.

McIver, Joe. Erykah Badu: The First Lady of Neo-Soul. London: Sanctuary Publishing, Ltd., 2002.

Powers, Ann. “In Tune with the New Feminism.” New York Times, April 29, 2001:

Sec.2.
Discography

Badu, Erykah. Baduizm. UMVD Labels, 1997.

Blige, Mary J. My Life. MCA, 1994.

Carey, Mariah. Greatest Hits. Sony, 2001.

Gray, Macy. On How Life Is. Sony, 1999.

Hill, Lauryn. The Miseducation of Lauryn Hill. Sony, 1998.

Houston, Whitney. The Greatest Hits. Arista, 2000.

94. Fighting the Power in a Post-9/11 Mediascape—The Dixie Chicks
Further Reading
Gumbel, Andrew. “Country Fans Spurn the Anti-war Dixie Chicks.” The Independent, August 9, 2006 (accessed July 2007 at www.news. independent.co.uk/world/middle_east/Article1217824.ece)

Latham, Aaron. “The Ballad of the Urban Cowboy: America’s Search for True Grit.” Esquire 90:6 (September 12, 1978): 21-30.

Malone, Bill C. Country Music U.S.A., Revised Edition. Austin: University of Texas Press, 1985.

Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago and London: University of Chicago Press, 1997.

Tosches, Nick. Country: Living Legends and Dying Metaphors in America’s Biggest Music. New York: Charles Scribner’s Sons, 1985.

Tyrangiel, Josh. “Chicks in the Line of Fire.” Time, Sunday, May 21, 2006. (accessed

July 2007 at www.time.com/time/magazine/article/0,9171,1196419-1,00.html)
Discography

Brooks, Garth. Ropin’ the Wind. Capitol, 2001.

Cash, Johnny. The Essential Johnny Cash. Sony, 2002.

Cline, Patsy. The Definitive Collection. MCA Nashville, 2004.

Dixie Chicks. Taking the Long Way. Sony, 2006.

_______. Wide Open Spaces. Sony, 1998.

Parton, Dolly. Ultimate Dolly Parton. RCA, 2003.

Rogers, Kenny. 42 Ultimate Hits. Capitol, 2004.

Twain, Shania. Come on Over. Mercury Nashville, 1997.

95. The End of History, the Mass-Marketing of Trivia, and a World of Copies Without Originals
Further Reading

Frith, Simon, and Lee Marshall (eds.). Music and Copyright, 2nd Edition. New York: Routledge, 2004.

Marcus, Greil. “Death Letters.” In Listen Again: A Momentary History of Pop Music, ed. Eric Weisbard, 296-305. Durham and London: Duke University Press, 2007.

McLeod, Kembrew. “MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly.” Popular Music and Society 28 (October 2005): 521-31.

Middleton, Jason and Roger Beebe. “The Racial Politics of Hybridity and ‘Neo-Electism’ Contemporary Popular Music.” Popular Music, 21 (May 2002): 159-172.

Taylor, Timothy D. Strange Sounds: Music, Technology & Culture. New York and London: Routledge, 2001.

Théberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover and London: Wesleyan University Press, 1997.

Zak III, Albin. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley and Los

Angeles: University of California Press, 2001.

Banhart, Devendra. Oh Me Oh My … Young God Records, 2002.

Beatles. Anthology 2. Capitol, 1996.

_______. Anthology 1. Capitol, 1995.

DJ Dangermouse, Jay-Z, and the Beatles. The Grey Album. 2004.

Dylan, Bob. The Bootleg Series, Volumes 1-3: Rare & Unreleased, 1961-1991. Sony, 1991.

Freelance Hellraiser. Waiting for Clearance. BMG/RCA, 2006.

Go Home Productions (Mark Vidler). Mixology Mix. GHP WFMU, 2003.

Kings of Leon. Youth & Young Manhood. RCA, 2003.

Linkin Park and Jay-Z. Collision Course. Warner Bros./WEA, 2004.

Rilo Kiley. More Adventurous. Brute/Beaute, 2004.

Starsailor. Love Is Here. Capitol, 2002.