Half Title Page.
SAGE 50 Years.
Notes on the Editors and Contributors.
Theory and Method.
1: The Many Worlds of Popular Music: Ethnomusicological Approaches.
2: Notes on Sociological Theory and Popular Music Studies.
3: Waiting for the Great Leap Forwards: Mixing Pop, Politics and Cultural Studies.
4: (Re)generations of Popular Musicology.
5: Archival Research and the Expansion of Popular Music History.
The Business of Popular Music.
6: Power, Production and the Pop Process.
7: Intermediaries and Intermediation.
8: Popular Musical Labor in North America.
9: Music in Advertising in the US: History and Issues.
Popular Music History.
10: Grinding Out Hits at the Song Factory.
11: Popular Music Genres: Aesthetics, Commerce and Identity.
12: Live Music History.
The Global and the Local.
13: African, African American, Middle Eastern and French Hip Hop.
14: Liminal Being: Electronic Dance Music Cultures, Ritualization and the Case of Psytrance.
15: Everything Louder Than Everyone Else: The Origins and Persistence of Heavy Metal Music and Its Global Cultural Impact.
16: Punk Rock, Hardcore and Globalization.
The Star System.
17: Rock Stars as Icons1.
18: Everybody’s in Show Biz: Performing Star Identity in Popular Music.
19: Midnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop.
20: Dark Cosmos: Making Race, Shaping Stardom.
Body and Identity.
21: Blurred Lines, Gender and Popular Music.
22: Popular Music, Race and Identity.
23: Dancing the Popular: The Expressive Interface of Bodies, Sound and Motion.
24: Shaping the Past of Popular Music: Memory, Forgetting and Documenting.
25: In Print and on Screen: The Changing Character of Popular Music Journalism.
26: Sight and Sound in Concert? The Interrelationship between Music and Television.
27: Viewing with Your Ears, Listening with Your Eyes: Syncing Popular Music and Cinema.
28: Beyond Napster: Popular Music and the Normal Internet.
29: Phonography and the Recording in Popular Music.
30: Ghosts of Electricity: Amplification.
31: Ubiquitous Musics: Technology, Listening and Subjectivity.
32: Modes of Production: The Value of Modal Analysis for Popular Music Studies.
33: Music, Copies and Essences.
34: Authorship, Ownership and Musical Appropriation.
35: Music Cartels and the Dematerialization of Power1.