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
H

  1. Hadley, D.J. (1993). "'Ride the Rhythm': Two Approaches to DJ Practice," Journal of Popular Music Studies, 5, pp. 58-67.
  2. Hakanen, Ernest A. 1998. Counting down to number one: The evolution of the meaning of popular music charts. Popular Music 17(1): 95-111.
  3. Hakanen, Ernest A., and Alan Wells. 1990. Adolescent music marginals: Who likes metal, jazz, country, and classical. Popular Music and Society 14(4): 57-66.
  4. Hakanen, Ernest A., and Alan Wells. 1993. Music preference and taste cultures among adolescents. Popular Music and Society 17(1): 55-89.
  5. Hall, James L., Chris Miller, and Jarice Hanson. 1986. Music television: A perceptions study of two age groups. Popular Music and Society 10(4): 17-28.
  6. Hall, William E., and Judith R. Blau. 1987. The taste for popular music: An analysis of class and cultural demand. Popular Music and Society 11(1): 31-50.
  7. Hamm, Charles. 1979. Yesterdays: Popular song in America. New York: Norton.
  8. Hamm, Charles. 1981. The fourth audience. Popular Music 1: 123-141.
  9. Hamm, Charles. 1982. Some thoughts on the measurement of popularity in music. Popular Music Perspectives 1: 3-15.
  10. Hamm, Charles. 1983. Music in the new world. New York: Norton.
  11. Hamm, Charles. 1985. Rock 'n' roll in a very strange society. Popular Music 5: 159-174.
  12. Hamm, Charles. 1988. Afro-American music, South Africa, and apartheid. Institute for Studies in American Music Monographs #28.
  13. Hamm, Charles. 1989a. Afterword. In World music, politics and social change: papers from the International Association for the Study of Popular Music, ed. Simon Frith, 211-216. New York: Manchester University Press.
  14. Hamm, Charles. 1989b. Graceland revisited. Popular Music 8: 299-304.
  15. Hamm, Charles, Bruno Nettl, and Byrnside, R. (1975). Contemporary Music and Music Cultures. Englewood Cliffs, NJ: Prentice-Hall.
  16. Hammond, Scott J. 1992. Music as commodity: Effect and influence. In America's musical pulse: Popular music in twentieth-century society, ed. Kenneth J. Bindas, 101-112. Westport, CT: Greenwood Press.
  17. Hammontree, Patsy G. 1979. Audience amplitude: The cultural phenomenon of Elvis Presley. In Elvis: Images and fancies, ed. Jac L. Tharpe, 52-60. Jackson: University Press of Mississippi.
  18. Hampton, Wayne. 1986. Guerilla minstrels: John Lennon, Joe Hill, Woody Guthrie, Bob Dylan. Knoxville: University of Tennessee Press.
  19. Hanke, Robert. 1997. Yo quiero mi MTV!: Making music television for Latin America. In Mapping the beat: Popular music and contemporary theory, ed. Thomas Swiss, Andrew Herman, and John Sloop, 219-245. Malden, MA: Blackwell.
  20. Hanna, Judith Lynne. 1992. Moving messages: Identity and desire in popular music and social dance. In Popular music and communication, ed. James Lull, 2d ed., 176-195. Newbury Park, CA: Sage.
  21. Hansen, Christine Hall. 1989. Priming sex-role stereotypic event schemas with rock music videos: Effects on impression favorability, trait influences, and recall of a subsequent male-female interaction. Basic and Applied Social Psychology 10: 371-391.
  22. Hansen, Christine Hall, and Randall D. Hansen. 1988. How rock music videos change what's seen when boy meets girl: Priming stereotypic appraisal of social interactions. Sex Roles 19: 287-316.
  23. Hansen, Christine Hall, and Randall D. Hansen. 1990a. The influence of sex and violence on the appeal of rock music videos. Communication Research 17: 212-234.
  24. Hansen, Christine Hall, and Randall D. Hansen. 1990b. Rock music videos and antisocial behavior. Basic and Applied Social Psychology 11: 357-369.
  25. Hansen, Christine Hall, and Randall D. Hansen. 1991. Schematic information processing of heavy metal lyrics. Communication Research 18: 373-411.
  26. Hanson, C.A. (1988). "The Hollywood Musical Biopic and the Regressive Performer," Wide Angle, 10(2), pp. 15-23.
  27. Haralambos, Michael. 1979. Right on: From blues to soul in black America. New York: Da Capo. Original edition, 1974.
  28. Hardt, Hanno. 1986. MTV: Toward visual domination, a polemic. Journal of Communication Inquiry 10(1): 64-65.
  29. Hardy, P. (1984). "The British Record Industry." IASPM UK Working Paper #3.
  30. Hargreaves, David J. 1982. Preference and prejudice in music: A psychological approach. Popular Music and Society 8(3/4): 13-18.
  31. Harker, Dave. 1980. One for the money: Politics and popular song. London: Hutchinson.
  32. Harker, Dave. 1997. The wonderful world of IFPI: Music industry rhetoric, the critics and the classical Marxist critique. Popular Music 16: 45-79.
  33. Harley, Ross. 1987. Hiding in the light: Extended club mix with Dick Hebdige. Art and Text 26: 67-78.
  34. Harley, Ross. 1993. Beat in the system. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 210-230. New York: Routledge.
  35. Harley, Ross, and Botsman, P. (1982). "Between 'No Payola' and 'The Cocktail Set': Rock 'n' Roll Journalism." In P. Botsman (ed.), Theoretical Strategies (pp. 231-263). Sydney: Local Consumption Publications.
  36. Harmon, James E. 1972a. Meaning in rock music: Notes toward a theory of communication. Popular Music and Society 2: 18-32.
  37. Harmon, James E. 1972b. The new music and counter-culture values. Youth and Society 4: 61-83.
  38. Harper, P.B. (1989). "Synesthesia, 'Crossover,' and Blacks in Popular Music," Social Text, 23, pp. 102-121.
  39. Harrell, Jack. 1994. The poetics of destruction: Death metal rock. Popular Music and Society 18(1): 91-103.
  40. Harris, Keith. 2000. "Roots"?: The relationship between the global and the local within the Extreme Metal scene. Popular Music 19(1): 13-30.
  41. Harris, Paul. 1970. When pirates ruled the waves, 4th ed. London: Impulse Publications.
  42. Harron, Mary. 1988. McRock: Pop as a commodity. In Facing the music, ed. Simon Frith, 173-220. New York: Pantheon.
  43. Hartman, John K. 1987. I want my ad-TV. Popular Music and Society 11(2): 17-24.
  44. Hartman, John K. 1988. MTV: Second time around. OneTwoThreeFour 6: 33-39.
  45. Hartman, John K., and Raymond K. Tucker. 1987. Music-video viewing in the 18-to-35-year-old age group from a uses and gratifications perspective. Popular Music and Society 11(4): 31-46.
  46. Hartnett, S. (1990). "Cultural Postmodernism and Bobby McFerrin: A Case Study of Musical Production as the Composition of Spectacle," Cultural Critique, 16, pp. 61-85.
  47. Harvey, L.S.C. (1990). "Temporary Insanity: Fun, Games, and Transformational Ritual in American Music Video," Journal of Popular Culture, 24(1), pp. 39-64.
  48. Haslam, Dave. 1997. DJ culture. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 168-179. Oxford: Blackwell Publishers Ltd.
  49. Hatch, D., & Millward, S. (1987). From Blues to Rock: An Analytical History of Pop Music. Manchester: Manchester University Press.
  50. Hatch, Martin. 1989. Popular music in Indonesia. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 47-67. New York: Manchester University Press.
  51. Hawkins, Stan. 1993. New perspectives in musicology: Musical structures, codes and meaning in 1990s pop. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 131-136. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  52. Hawkins, Stan. 1996. Perspectives in popular musicology: Music, Lennox and meaning in 1990s pop. Popular Music 15: 17-36.
  53. Hawkins, Stan. 1997. The Pet Shop Boys: Musicology, masculinity and banality. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 118-133. New York: Routledge.
  54. Hayward, Philip. 1991. Desire caught by its tale: The unlikely return of the merman in Madonna's Cherish. Cultural Studies 5: 98-106.
  55. Hayward, Philip. 1993. Australian music video: Industrial spaces, economics and style. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 137-139. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  56. Hebdige, Dick. 1976. The meaning of mod. In Resistance through rituals: Youth subcultures in post-war Britain, ed. Stuart Hall and Tony Jefferson, 87-96. London: Hutchinson.
  57. Hebdige, Dick. 1979. Subculture: The meaning of style. New York: Methuen.
  58. Hebdige, Dick. 1987. Cut 'n' mix: Culture, identity and Caribbean music. New York: Comedia.
  59. Hebdige, Dick. 1988. Post-script 4: Learning to live on the road to nowhere. In Hiding in the light: On images and things, 233-244. New York: Comedia.
  60. Hebdige, Dick. 1991. What is "soul"? In Video: Icons and values, ed. Alan M. Olson, Christopher Parr, and Debra Parr, 121-133. Albany: State University of New York Press.
  61. Hecht, M.L. (1973). "Rock-Tongue." In J.A. DeVito (ed.) Language: Concepts and Processes (pp. 221-228). Englewood Cliffs, NJ: Prentice-Hall.
  62. Heckman, D. (1970). "Black Music and White America." In J.F. Szwed (ed.), Black America (pp. 158-170). New York: Basic Books.
  63. Heilbut, A. (1982). "The Secularization of Black Gospel Music." In William R. Ferris & M.L. Hart (eds.), Folk Music and Modern Sound (pp. 101-115). Jackson: University Press of Mississippi.
  64. Hellmann, J.M. (1973). "'I'm a Monkey': The Influence of the Black American Blues Argot on the Rolling Stones," Journal of American Folklore, 86, pp. 367-373.
  65. Henderson, F.M. (1974). "The Image of New York City in American Popular Music: 1890-1970," New York Folklore Quarterly, 30, pp. 267-278.
  66. Henderson, Lisa. 1992. Justify our love: Madonna & the politics of queer sex. In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 107-128. Boulder, CO: Westview Press.
  67. Hendler, Herb. 1983. Year by year in the rock era: Events and conditions shaping the rock generations that reshaped America. Westport, CT: Greenwood.
  68. Hendricks, Leta. 1997. A review of rap sound recordings in academic and public libraries. Popular Music and Society 21(2): 91-114.
  69. Hennion, Antoine. 1982. Popular music as social production. Popular Music Perspectives 1: 32-40.
  70. Hennion, Antoine. 1983. The production of success: An anti-musicology of the pop song. Popular Music 3: 159-193.
  71. Hennion, Antoine, and Cecile Meadel. 1986. Programming music: Radio as mediator. Media, Culture and Society 8: 281-303.
  72. Henry, Tricia. 1984. Punk and avant-garde art. Journal of Popular Culture 17(4): 30-36.
  73. Henry, Tricia. 1989. Break all rules!: Punk rock and the making of a style. Ann Arbor: UMI Research Press.
  74. Herman, Andrew, Thomas Swiss, and John Sloop. 1997. Mapping the beat: Spaces of noise and places of music. In Mapping the beat: Popular music and contemporary theory, ed. Thomas Swiss, Andrew Herman, and John Sloop, 3-29. Malden, MA: Blackwell.
  75. Herman, G., & Hoare, I. (1979). "The Struggle for Song: A Reply to Leon Rosselson." In C. Gardener (ed.), Media, Politics, and Culture: A Socialist View (pp. 51-60). London: Macmillan.
  76. Herron, J. (1981). "MUZAK: A Personal View; Or, A Superstructure Mystery in Five Pieces," Journal of American Culture, 4(4), pp. 116-131.
  77. Hesbacher, Peter. 1973. Contemporary popular music: Directions for further research. Popular Music and Society 2: 297-310.
  78. Hesbacher, Peter. 1974. Sound exposure in radio: The misleading nature of the station playlist. Popular Music and Society 3: 189-201.
  79. Hesbacher, Peter. 1979. Record World and Billboard compared: Singles hits, 1970-1979. Popular Music and Society 8(2): 101-112.
  80. Hesbacher, Peter, and Bruce Anderson. 1980. The popular music research project: A systematic approach to archival research. Association for Recorded Sound Collections Journal 12: 160-173.
  81. Hesbacher, Peter, Nancy Clasby, H. Gerald Clasby, and David G. Berger. 1977. Solo female vocalists: Some shifts in stature and alterations in song. Popular Music and Society 5: 1-16.
  82. Hesbacher, Peter, Nancy Clasby, Bruce Anderson, and David G. Berger. 1976. Radio format strategies. Journal of Communication 26(1): 110-119.
  83. Hesbacher, Peter, Robert Downing, and David G. Berger. 1975a. Record roulette: What makes it spin? Journal of Communication 25(3): 74-85.
  84. Hesbacher, Peter, Robert Downing, and David G. Berger. 1975b. Sound recording popularity charts: A useful tool for music research. I. Why and how they are compiled. Popular Music and Society 4: 3-18.
  85. Hesbacher, Peter, Robert Downing, and David G. Berger. 1975c. Sound recording popularity charts: A useful tool for music research. II. Some recommendations for change. Popular Music and Society 4: 86-99.
  86. Hesbacher, Peter, Etzkorn, P.K., Anderson, B., & Berger, D.G. (1978). "A Major Manufacturer's Recordings: Shifts by CBS in Artistry and Song," Communications, 4, pp. 375-392.
  87. Hesbacher, Peter, Robert Rosenow, Bruce Anderson, and David G. Berger. 1975. Radio programming: Relating ratings to revenues in a major market. Popular Music and Society 4: 208-225.
  88. Hesbacher, Peter, Eric Simon, Bruce Anderson, and David G. Berger. 1978. "Substream" recordings: Some shifts in stature and alterations in song. Popular Music and Society 6: 11-26.
  89. Hesmondhalgh, David. 1993. Is this what you call change?: Flexibility, post-fordism and the music industries. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 141-147. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  90. Hesmondhalgh, David. 1997. Post-punk's attempt to democratise the music industry: The success and failure of Rough Trace. Popular Music 16: 255-274.
  91. Hey, Ken. 1974. "I'll give it a 95": An approach to the study of early rock 'n' roll. Popular Music and Society 3: 315-328.
  92. Hey, Kenneth R. 1977. I feel a change comin' on: The counter-culture image of the south in southern rock 'n' roll. Popular Music and Society 5: 93-99.
  93. Heylin, Clinton, ed. 1992. The Penguin book of rock & roll writing. New York: Viking.
  94. Hibbard, Don J., and Carol Kaleialoha. 1983. The role of rock. Englewood Cliffs, NJ: Prentice-Hall.
  95. Hill, L. (1978). "An Insight into the Finances of the Record Industry," Three Banks Review, 118, pp. 28-45.
  96. Hill, Trent. 1991. The enemy within: Censorship in rock music in the 1950s. South Atlantic Quarterly 90: 675-707.
  97. Hill, Trent. 1999/2000. A distinctive country voice: The Nashville sound and country's genre crisis in the 1950s. Journal of Popular Music Studies 11/12: 3-17.
  98. Hind, John, and Steve Mosco. 1985. Rebel radio: The full story of British pirate radio. London: Pluto.
  99. Hinerman, S. (1992a). "I'll be here with you": Fans, fantasy and the figure of Elvis. In The adoring audience: Fan culture and popular media, ed. Lisa A. Lewis, 107-134. New York: Routledge.
  100. Hirsch, P.M. (1969). The Structure of the Popular Music Industry: The Filtering Process by Which Records Are Preselected for Public Consumption. Ann Arbor: University of Michigan Press.
  101. Hirsch, P.M. (1970). "The Economics of Rock," The Nation, 210, pp. 275-276.
  102. Hirsch, P.M. (1971). "Sociological Approaches to the Pop Music Phenomenon," American Behavioral Scientist, 14, pp. 371-388.
  103. Hirsch, Paul, John Robinson, Elizabeth Keogh Taylor, and Stephen B. Withey. 1970. A progress report on an exploratory study of youth culture and the popular music industry: A project looking at changes in the music industry, audiences and popular preferences, and the possibilities of using music as a social indicator. Ann Arbor: Survey Research Center, University of Michigan.
  104. Hirsch, Paul, John Robinson, Elizabeth Keogh Taylor, and Stephen B. Withey. 1972. The changing popular song: An historical overview. Popular Music and Society 1: 83-93.
  105. Hirschkop, K. (1989). The classical and the popular: Musical form and social context. In Music and the politics of culture, ed. Christopher Norris, 283-304. New York: St. Martin's.
  106. Hirshey, Gerri. 1984. Nowhere to run: The story of soul music. New York: Penguin.
  107. Hisama, Ellie M. 1993. Postcolonialism on the make: The music of John Mellencamp, David Bowie and John Zorn. Popular Music 12: 91-104.
  108. Hoare, I., Anderson, C., Cummings, T., and Simon Frith. (1976). The Soul Book. New York: Dell.
  109. Hodge, R. (1984). "Videoclips as a Revolutionary Form," Australian Journal of Cultural Studies, 2(1), pp. 115-121.
  110. Hoffer, C.R. (1974). "Youth, Music Education and the New Sound Environment." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 167-177). Vienna: Universal Edition.
  111. Hoffman, F. (1981). The Literature of Rock, 1954-1978. Metuchen, NJ: Scarecrow.
  112. Hoffman, F., & Cooper, B. Lee. (1986). The Literature of Rock, II: 1979-1983 (two volumes). Metuchen, NJ: Scarecrow.
  113. Hoffman, Paul Dennis. 1985. Rock and roll and JFK: A study of thematic changes in rock and roll lyrics since the assassination of John F. Kennedy. Popular Music and Society 10(2): 59-79.
  114. Holdstein, D.E. (1984). "Music Video: Messages and Structure," Jump Cut, 29, pp. 1ff.
  115. Holland, Nancy J. 1988. Purple passion: Images of female desire in "When doves cry." Cultural Critique 10: 89-98.
  116. Holm-Hudson, Kevin. 1996. John Oswald’s Rubiyat (Elektrax) and the politics of recombinant do-re-mi. Popular Music and Society 20(3): 19-36.
  117. Holmes, S. (1984). "Rock'n'Roles: Fear and Loathing on the Cultural Front," Radical America, 18(6), pp. 69-78.
  118. Homan, Shane. 2000. Losing the local: Sydney and the Oz rock tradition. Popular Music 19(1): 31-49.
  119. hooks, bell. 1993a. madonna: plantation mistress or soul sister? In Desperately seeking Madonna: In search of the meaning of the world's most famous woman, ed. Adam Sexton, 218-226. New York: Delta.
  120. hooks, bell. 1993b. Power to the pussy: We don't wannabe dicks in drag. In Madonnarama: Essays on sex and popular culture, ed. Lisa Frank and Paul Smith, 65-80. Pittsburgh: Cleis Press.
  121. Horner, Bruce. 1999. Discourse. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 18-34. Malden, MA: Blackwell.
  122. Horner, Bruce, and Thomas Swiss, eds. 1999a. Key terms in popular music and culture. Malden, MA: Blackwell.
  123. Horner, Bruce, and Thomas Swiss. 1999b. Putting it into words: Key terms for studying popular music. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 1-2. Malden, MA: Blackwell.
  124. Horowitz, Irving Louis. 1971. Rock on the rocks or bubblegum, anybody? In Mass culture revisited, ed. Bernard Rosenberg and David Manning White, 459-465. New York: Van Nostrand Reinold.
  125. Horowitz, Irving Louis. 1972. Rock, recordings and rebellion. In American music: From Storyville to Woodstock, ed. Charles Nanry, 267-288. New Brunswick, NJ: Transaction Books.
  126. Hosokawa, Shuhei. 1983. The Walkman as urban strategy. International Society for Music Education Yearbook 10: 129-134.
  127. Hosokawa, Shuhei. 1984. The Walkman effect. Popular Music 4: 165-180.
  128. Hosokawa, Shuhei. 1987. Fascinating banality of the hit parade. OneTwoThreeFour 4: 66-73.
  129. Hosokawa, Shuhei. 1993. Singing not together: Karaoke in São Paolo. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 149-153. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  130. Howard, Jay R. 1992. Contemporary Christian music: Where rock meets religion. Journal of Popular Culture 26(1): 123-130.
  131. Howard, Jay R., and John M. Streck. 1996. The splintered art world of contemporary Christian music. Popular Music 15: 37-53.
  132. Huck, S. (1972). "The Great Kid-Con." In The sounds of social change: Studies in popular culture, ed. R. Serge Denisoff and Richard A. Peterson, 167-172. Chicago: Rand McNally.
  133. Hughes, R.L. (1984). "Teaching Concepts of Personal Adjustment Using Popular Music," Teaching of Psychology, 11, p. 115.
  134. Hughes, Walter. 1994. In the empire of the beat: Discipline and disco. In Microphone fiends: Youth music and youth culture, ed. Andrew Ross and Tricia Rose, 147-157. New York: Routledge.
  135. Huie, B. (1982). "Reflections, Distortions, and Fragmentation," Media Development, 1, pp. 10-12.
  136. Hustwitt, M. (1984). "Rocker Boy Blues -- The Writing on Pop," Screen, 25(3), pp. 89-98.
  137. Hustwitt, M. (1985). "Sure Feels Like Heaven to Me: Considerations on Promotional Videos." IASPM Working Paper #6.
  138. Hutchinson, Thomas W., and C. Edward Wotring. 1993. Musical preferences among clientele of a non-thematic nightclub: A study of diversification. Popular Music and Society 17(3): 43-62.
  139. Hutson, Cecil Kirk. 1993. Cotton pickin’ hillbillies and rednecks: An analysis of Black Oak Arkansas and the perpetual stereotyping of the rural south. Popular Music and Society 17(4): 47-62.
  140. Hyden, Colleen, and N. Jane McCandless. 1983. Men and women as portrayed in the lyrics of contemporary music. Popular Music and Society 9(2): 19-26.
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  141. Inglis, Ian. 1995. Conformity, status and innovation: The accumulation and utilization of idiosyncrasy credits in the career of the Beatles. Popular Music and Society 19(3): 41-75.
  142. Inglis, Ian. 1996. Synergies and reciprocities: The dynamics of musical and professional interaction between the Beatles and Bob Dylan. Popular Music and Society 20(4): 53-79.
  143. Inglis, Ian. 1999/2000. Pete Best: History and his story. Journal of Popular Music Studies 11/12: 103-124.
  144. Irvine, J.R., & Kirkpatrick, W. (1972). "The Musical Form in Rhetorical Exchange: Theoretical Considerations," Quarterly Journal of Speech, 58, pp. 272-284.
  145. Irving, Katrina. 1988. Rock music and the state: Dissonance or counterpoint? Cultural Critique 10: 151-170.
  146. Irving, Katrina. 1991. "I want your (hands on me)": Building equivalences through rap music. Strategies 6: 217-243.
  147. Ivey, W. (1982). "Commercialization and Tradition in the Nashville Sound." In William R. Ferris & M.L. Hart (eds.), Folk Music and Modern Sound (pp. 129-138). Jackson: University Press of Mississippi.
  148. Iwaschkin, Roman. 1986. Popular music: A reference guide. New York: Garland.
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  149. Jaffee, Larry. 1986. K-Tel's place in the music industry: Where have all the one-hit wonders gone? Popular Music and Society 10(4): 43-50.
  150. Jaffee, Larry. 1987. The politics of rock. Popular Music and Society 11(4): 19-30.
  151. James, D.E. (1988). Poetry/punk/production: Some recent writing in LA. In Postmodernism and its discontents: Theories, practices, ed. E. Ann Kaplan, 163-186. New York: Verso.
  152. James, D.E. (1989). "The Vietnam War and American Music," Social Text, 23, pp. 122-143.
  153. James, D.E. (1990). "Rock and Roll in Representations of the Invasion of Vietnam," Representations, 29, pp. 78-98.
  154. Jarrett, Michael. 1991. Concerning the progress of rock & roll. South Atlantic Quarterly 90: 803-818.
  155. Jarrett, Michael. 1998. Sound tracks: A musical ABC, volumes 1-3. Philadelphia: Temple University Press.
  156. Jensen, Joli. 1990. Technology/music: Understanding processual relations. Popular Music and Society 14(1): 7-12.
  157. Johnson, B.A. 1984. Brief authority: The Minutemen and the urge to truncate. OneTwoThreeFour 1: 37-55.
  158. Johnson, Bruce. 1993. An American accent: Gender and cultural reorientation in Australian popular music. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 163-166. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  159. Johnson, Bruce. 1997/1998. Better late than never: Thoughts on the music curriculum in the late 20th century. Journal of Popular Music Studies 9/10: 1-6.
  160. Johnson, Doyle Paul. 1989. Tuning into fantasy: Some notes on music, brain structure, and social reality. Popular Music and Society 13(1): 83-98.
  161. Johnson, Geir. 1989. Changes in Norwegian popular music, 1976-81. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 167-173. New York: Manchester University Press.
  162. Johnson, Scott, Laurie Anderson, Anthony Davis, and Steve Reich. 1990. New music. In Discourses: Conversations in postmodern art and culture, ed. Russell Ferguson, William Olander, Marcia Tucker, and Karen Fiss, 277-299. Cambridge, MA: The MIT Press.
  163. Johnson, T.S. (1977). "Desolation Row Revisited: Bob Dylan's Rock Poetry," Southwest Review, 62, pp. 135-147.
  164. Johnson-Grau, Brenda. 1988a. Book report: Lester Bangs' Psychotic reactions. OneTwoThreeFour 6: 56-64.
  165. Johnson-Grau, Brenda. 1988b. Diatribe: Impersonating the popular. OneTwoThreeFour 6: 46-55.
  166. Johnson-Grau, Brenda. 1989. Prodigal sons on a lost highway: Records in rock & roll. OneTwoThreeFour 7: 21-36.
  167. Johnson-Grau, Brenda. 1990. Dreams that poison sleep . . . : A diatribe. OneTwoThreeFour 8: 80-83.
  168. Johnstone, J., & Katz, E. (1957). "Youth and Popular Music: A Study in the Sociology of Taste," American Journal of Sociology, 62, pp. 563-568.
  169. Jones, Orea. 1989. The theology of "Sexual healing": Marvin Gaye. Black Sacred Music 3(2): 68-74.
  170. Jones, Simon. 1990. Music and symbolic creativity. In Common culture: Symbolic work at play in the everyday cultures of the young, ed. Paul Willis, 59-83. Boulder, CO: Westview.
  171. Jones, Simon. 1993. "Crossover" and the politics of "race." In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 167-168. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  172. Jones, Simon. 1996. Rocking the house: Sound system cultures and the politics of space. Journal of Popular Music Studies 7: 1-24.
  173. Jones, Simon C., and Thomas G. Shumacher. 1992. Muzak: On functional music and power. Critical Studies in Mass Communication 9: 156-169.
  174. Jones, Steve. 1988. Cohesive but not coherent: Music videos, narrative and culture. Popular Music and Society 12(4): 15-29.
  175. Jones, Steve. 1989. Making waves: Pirate radio and popular music. OneTwoThreeFour 7: 55-67.
  176. Jones, Steve. 1990a. The cassette underground. Popular Music and Society 14(1): 75-84.
  177. Jones, Steve. 1990b. The intro and the outro: Technology and popular music practice. Popular Music and Society 14(1): 1-6.
  178. Jones, Steve. 1990c. Technology and the future of popular music. Popular Music and Society 14(1): 19-23.
  179. Jones, Steve. 1991. Ban(ned) in the USA: Popular music and censorship. Journal of Communication Inquiry 15(1): 73-87.
  180. Jones, Steve. 1992. Rock formation: Music, technology, and mass communication. Newbury Park, CA: Sage.
  181. Jones, Steve. 1993a. Popular music, criticism, advertising and the music industry. Journal of Popular Music Studies 5: 79-91.
  182. Jones, Steve. 1993b. Recasting popular music studies' conceptions of the authentic and the local in light of Bell's theorem. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 169-172. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  183. Jones, Steve. 1993c. Who fought the law?: The American music industry and the global popular music market. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 83-95. New York: Routledge.
  184. Jones, Steve. 1995. Covering Cobain: Narrative patterns in journalism and rock criticism. Popular Music and Society 19(2): 103-118.
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