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
S

  1. Sági, M. (1982). "Music on Records in Hungary." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 111-122). New York: Springer-Verlag.
  2. St. Lawrence, J.S., & Joyner, D.J. (1991). "The Effects of Sexually Violent Rock Music on Males' Acceptance of Violence Against Women," Psychology of Women Quarterly, 15, pp. 49-63.
  3. Saldívar, José David. 1997. Afterword: Frontejas to El Vez. In Border matters: Remapping American cultural studies, 185-197. Berkeley: University of California Press.
  4. Sandow, Greg. 1997/1998. Breaking barriers: Classical music in an age of pop. Journal of Popular Music Studies 9/10: 43-63.
  5. Sanjek, David. 1992. Pleasure and principles: Issues of authenticity in the analysis of rock 'n' roll. Tracking: Popular Music Studies 4(2): 12-21.
  6. Sanjek, David. 1997a. Can a Fujiyama mama be the female Elvis?: The wild, wild women of rockabilly. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 137-167. New York: Routledge.
  7. Sanjek, David. 1997b. Funkentelechy vs. the Stockholm syndrome: The place of industrial analysis in popular music studies. Popular Music and Society 21(1): 73-92.
  8. Sanjek, David. 1997c. Popular music and the synergy of corporate culture. In Mapping the beat: Popular music and contemporary theory, ed. Thomas Swiss, Andrew Herman, and John Sloop, 171-186. Malden, MA: Blackwell.
  9. Sanjek, David. 1999. Institutions. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 46-56. Malden, MA: Blackwell.
  10. Sanjek, David. 1999/2000. Navigating the "channel": Recent scholarship on African-American popular music. Journal of Popular Music Studies 11/12: 167-192.
  11. Santelli, Robert. 1997. The Rock and Roll Hall of Fame and Museum. Popular Music and Society 21(1): 97-99.
  12. Scheurer, Timothy E. 1997. The best books on popular music since 1971: A bibliography. Popular Music and Society 21(1): 117-121.
  13. Shepherd. John. 1999. Text. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 156-177. Malden, MA: Blackwell.
  14. Sanjek, Russell. 1983. From print to plastic: Publishing and promoting America's popular music (1900-1980). Institute for Studies in American Music Monographs #20.
  15. Sanjek, Russell. 1988. American popular music and its business: The first four hundred years, volume III: From 1900 to 1984. New York: Oxford University Press.
  16. Sanjek, Russell, and David Sanjek. 1991. American popular music business in the 20th century. New York: Oxford University Press.
  17. Sanjek, Russell, and David Sanjek. 1996. Pennies from heaven: The American popular music business in the twentieth century. New York: Da Capo Press.
  18. Santiago, L.P.R. (1969). "The Lyrical Expression of Adolescent Conflict in the Beatle Songs," Adolescence, 4, pp. 199-210.
  19. Sardiello, Robert. 1994. Secular rituals in popular culture: A case for Grateful Dead concerts and Dead Head identity. In Adolescents and their music: If it’s too loud, you’re too old, ed. Jonathan S. Epstein, 115-139. New York: Garland Publishing, Inc.
  20. Savage, Jon. 1988a. The enemy within: Sex, rock, and identity. In Facing the music, ed. Simon Frith, 131-172. New York: Pantheon.
  21. Savage, Jon. 1988b. The great rock 'n' roll swindle. In Impresario: Malcolm McLaren and the British new wave, ed. Paul Taylor, 45-58. Cambridge, MA: MIT Press.
  22. Savage, Jon. 1989a. The age of plunder. In Zoot suits and second-hand dresses: An anthology of fashion and music, ed. Angela McRobbie, 169-180. Boston: Unwin Hyman.
  23. Savage, Jon. 1989b. "Do you know how to pony?": The messianic intensity of the sixties. In Zoot suits and second-hand dresses: An anthology of fashion and music, ed. Angela McRobbie, 121-131. Boston: Unwin Hyman.
  24. Savage, Jon. 1990. Tainted love: The influence of male homosexuality and sexual divergence on pop music and culture since the war. In Consumption, identity, and style: Marketing, meanings, and the packaging of pleasure, ed. Alan Tomlinson, 153-171. New York: Comedia.
  25. Savan, Leslie. 1993. Commercials go rock. In Sound and vision: The music video reader, ed. Simon Frith, Andrew Goodwin, and Lawrence Grossberg, 85-90. New York: Routledge.
  26. Schafer, W.J. (1972). Rock Music: Where It's Been, What It Means, Where It's Going. Minneapolis: Augsberg Publishing House.
  27. Scherman, R. (1969). "What Are Our Kids Buying?" Journal of Popular Culture, 3, pp. 274-280.
  28. Scheurer, Timothy E. 1989a. American popular music: Readings from the Popular Press. Volume 2: The age of rock. Bowling Green, OH: Bowling Green State University Popular Press.
  29. Scheurer, Timothy E. 1989b. Elvis Presley and the myth of America. In American popular music: Readings from the Popular Press. Volume 2: The age of rock, ed. Timothy E. Scheurer, 102-112. Bowling Green, OH: Bowling Green State University Popular Press.
  30. Scheurer, Timothy E. 1991. Born in the U.S.A.: The myth of America in popular music from colonial times to the present. Jackson: University Press of Mississippi.
  31. Scheurer, Timothy E. 1996. The Beatles, the Brill Building, and the persistence of Tin Pan Alley in the age of rock. Popular Music and Society 20(4): 89-102.
  32. Schiff, M., & Frances, A. (1974). "Popular Music: A Training Catalyst," Journal of Music Therapy, 11, pp. 33-40.
  33. Schlattmann, Tim. 1989. Traditional, non-traditional, emotionally/behaviorally disturbed students and popular musical lyrics. Popular Music and Society 13(1): 23-35.
  34. Schlattmann, Tim. 1991. From disco divas to the material girls: Who's ruling the charts? Popular Music and Society 15(4): 1-14.
  35. Schlattmann, Tim, and Dennis D. Phillips. 1991. MTV and the new artist: Bullet, breaker, or bust. Popular Music and Society 15(4): 15-24.
  36. Schlemm, W. (1982). "On the Position of the 'Tonmeister' (Sound Recordist) in the Musical Communication Process." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 151-164). New York: Springer-Verlag.
  37. Schoenebeck, H. von (1983). "Interrelations Between Pop Music and Folk Music," International Society for Music Education Yearbook, 10, pp. 51-63.
  38. Schoenecke, Michael. 1988. Harry Chapin and American culture. Popular Music and Society 12(1): 17-24.
  39. Schowalter, Daniel F. 2000. Remembering the dangers of rock and roll: Toward a historical narrative of the rock festival. Critical Studies in Media Communication 17(1): 86-102.
  40. Schreiber, E.H. (1988). "Influence of Music on College Students' Achievement," Perceptual and Motor Skills, 66, p. 338.
  41. Schüller, D. (1983). "Documentation of Stage-Amplified Music: Some Methodological and Technological Problems," International Society for Music Education Yearbook, 10, pp. 106-110.
  42. Schultze, Q.J., Anker, R.M., Bratt, J.D., Romanowski, W.D., Worst, J.W., & Zuidervaart, L. (1991). Dancing in the Dark: Youth, Popular Culture and the Electronic Media. Grand Rapids, MI: William B. Eerdmans.
  43. Schulze, Laurie, Anne Barton White, and Jane D. Brown. 1992. "A sacred monster in her prime": Audience construction of Madonna as low-other. In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 15-37. Boulder, CO: Westview Press.
  44. Schwartz, Jeff. 1993. Writing Jimi: Rock guitar pedagogy as postmodern folkloric practice. Popular Music 12: 281-288.
  45. Schwichtenberg, Cathy, ed. 1992a. The Madonna connection: Representational politics, subcultural identities, and cultural theory. Boulder, CO: Westview Press.
  46. Schwichtenberg. Cathy. 1992b. Madonna's postmodern feminism: Bringing the margins to the center." In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 129-145. Boulder, CO: Westview Press.
  47. Schwichtenberg, Cathy. 1992c. Music video: The popular pleasures of visual music. In Popular music and communication, ed. James Lull, 2d ed., 116-133. Newbury Park, CA: Sage.
  48. Scodari, Christine. 1994. Johnny got his gun: Wartime songs of pacifism, patriotism and life style in 20th-century American culture. Popular Music and Society 18(1): 1-17.
  49. Scott, Ronald B. 1992. Images of race & religion in Madonna's video Like a prayer: Prayer & praise. In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 57-77. Boulder, CO: Westview Press.
  50. Scovill, R. (1981). "Women's Music." In G. Kimball (ed.), Women's Culture: The Women's Renaissance of the Seventies (pp. 148-162). Metuchen, NJ: Scarecrow.
  51. Scudder, D.F. (1984). "On Buxton: Structuralist Logic and the Conspiracy of Latent Functions," Telos, 59, pp. 167-171.
  52. Seaton, S.L., & Watson, K.A. (1972). "Counter-Culture and Rock: A Cantometric Analysis of Retribalization," Youth and Society, 4, pp. 3-19.
  53. Seigworth, Greg. 1992. The distance between me & you: Madonna and celestial navigation (or you can be my Lucky star). In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 291-318. Boulder, CO: Westview Press.
  54. Sellnow, Deanna D., and Timothy L. Sellnow. 1990. The human relationship from idealism to realism: An analysis of the music of Bruce Springsteen. Popular Music and Society 14(3): 71-88.
  55. Seltzer, S. (1976). "Quo Vadis, Baby?: Changing Adolescent Values as Reflected in the Lyrics of Popular Music," Adolescence, 11, pp. 419-429.
  56. Sernhede, Ove. 2000. Exoticism and death as a modern taboo: Gangsta rap and the search for intensity. In Without guarantees: In honour of Stuart Hall, ed.Paul Gilroy, Lawrence Grossberg, and Angela McRobbie, 302-317. New York: Verso.
  57. Sexton, Adam, ed. 1993. Desperately seeking Madonna: In search of the meaning of the world's most famous woman. New York: Delta.
  58. Shain, Russell E., and Kent Higgins. 1972. Middle-class delinquents and popular music: A pilot study. Popular Music and Society 2: 33-42.
  59. Shank, Barry. 1996. Fears of the white unconscious: Music, race, and identification in the censorship of "Cop killer." Radical History Review 66: 124-145.
  60. Shante, Roxanne, Millie Jackson, Sweet Tee, Sparky D, Yvette Money, Ms. Melodie, Peaches, Synquis, and Jill Pearlman. 1990. Girls rappin' round table. In Discourses: Conversations in postmodern art and culture, ed. Russell Ferguson, William Olander, Marcia Tucker, and Karen Fiss, 248-263. Cambridge, MA: The MIT Press.
  61. Shaw, A. (1969). The Rock Revolution: What's Happening in Today's Music. New York: Crowell-Collier.
  62. Shaw, A. (1974). The Rockin' '50s: The Decade That Transformed the Pop Music Scene (reprinted edition, 1987). New York: Da Capo.
  63. Shaw, A. (1978). Honkers and Shouters: The Golden Years of Rhythm and Blues. New York: Macmillan.
  64. Shelton, Marla L. 1997. Can't touch this!: Representations of the African American female body in urban rap videos. Popular Music and Society 21(3): 107-116.
  65. Shepherd, J.C. (1979). "Music and Social Control: An Essay in the Sociology of Musical Knowledge," Catalyst: Social Science Controversy, 13, pp. 1-54.
  66. Shepherd, John. 1981. Towards a sociology of musical styles. Canadian University Music Review 2: 114-137.
  67. Shepherd, John 1982. A theoretical model for the sociomusicological analysis of popular musics. Popular Music 2: 145-177.
  68. Shepherd, John. 1985a. Definition as mystification: A consideration of labels as a hindrance to understanding significance in music. Popular Music Perspectives 2: 84-98.
  69. Shepherd, J.C. (1985b). "Prolegomena for the Critical Study of Popular Music," Canadian Journal of Communication, 11, pp. 17-34ff.
  70. Shepherd, John. 1986. Music consumption and cultural self-identities: Some theoretical and methodological reflections. Media, Culture and Society 8: 305-330.
  71. Shepherd, John. 1987. Music and male hegemony. In Music and society: The politics of composition, performance and reception, ed. Richard Leppert and Susan McClary, 151-172. New York: Cambridge University Press.
  72. Shepherd, John. 1991. Music as social text. Cambridge, MA: Polity.
  73. Shepherd, J.C., Virden, P., Vulliamy, G., & Wishart, T. (1977). Whose Music?: A Sociology of Musical Languages (reprinted edition, 1980). New Brunswick, NJ: Transaction Books.
  74. Sherman, Barry L., and Joseph R. Dominick. 1986. Violence and sex in music videos: TV and rock 'n' roll. Journal of Communication 36(1): 76-90.
  75. Sherman, Barry L., & Etling, L.W. (1991). "Perceiving and Processing Music Television." In J. Bryant & D. Zillmann (eds.), Responding to the Screen: Reception and Reaction Processes (pp. 373-388). Hillsdale, NJ: Lawrence Erlbaum Associates.
  76. Shevory, Thomas C. 1995. Bleached resistance: The politics of grunge. Popular Music and Society 19(2): 23-48.
  77. Shields, Steve. 1993. KQLZ-FM: Pirate radio’s musical swagger. Popular Music and Society 17(3): 77-85.
  78. Shuker, Roy. 1994. Understanding popular music. New York: Routledge.
  79. Shumway, David R. 1989. Reading rock'n'roll in the classroom: A critical pedagogy. In Critical pedagogy, the state, and cultural struggle, ed. Henry A. Giroux and Peter McLaren, 222-235. Albany: State University of New York Press.
  80. Shumway, David R. 1991. Rock & roll as a cultural practice. South Atlantic Quarterly 90: 753-769.
  81. Shumway, David R. 1999. Performance. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 188-198. Malden, MA: Blackwell.
  82. Sicoli, M.L. Corbin. 1991. Mid life music: Mid life message? Popular Music and Society 15(1): 69-80.
  83. Sicoli, M.L. Corbin. 1994. The role of the woman songwriter in country music. Popular Music and Society 18(2): 35-41.
  84. Sieving, Christopher. 2001. Super sonics: Song score as counter-narration in Super Fly. Journal of Popular Music Studies 13(1): 77-91.
  85. Signitzer, B., & Walln”fer, P. (1982). "Structures of the Phonographic Industry in Austria." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 133-140). New York: Springer-Verlag.
  86. Simek, M. (1974). "Musical Interests of the Czech Youth in Light of Research Findings." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 140-141). Vienna: Universal Edition.
  87. Singletary, Michael W. 1983. Some perceptions of the lyrics of three types of recorded music: Rock, country, and soul. Popular Music and Society 9(3): 51-63.
  88. Sinker, Mark. 1995. Music as film. In Celluloid jukebox: Popular music and the movies since the 50s, ed. Jonathan Romney and Adrian Wootton, 106-117. London: British Film Institute.
  89. Skipper, James K., Jr. 1973. How popular is popular music?: Youth and diversification of musical preferences. Popular Music and Society 2: 145-154.
  90. Skipper, James K., Jr. 1975. Musical tastes of Canadian and American students: An examination of the massification and Americanization theses. Canadian Journal of Sociology 1: 49-59.
  91. Slobin, Mark. 1993. Subcultural sounds: Micromusics of the west. Hanover, NH: Wesleyan University Press.
  92. Sloop, John and Andrew Herman. 1997. Negativland, out-law judgments, and the politics of cyberspace. In Mapping the beat: Popular music and contemporary theory, ed. Thomas Swiss, Andrew Herman, and John Sloop, 291-311. Malden, MA: Blackwell.
  93. Small, Christopher. 1987. Music of the common tongue: Survival and celebration in Afro-American music. New York: Riverrun.
  94. Smith, Christopher. 1997/1998. Teaching sound(ly): Approaches to world music in an undergraduate classroom. Journal of Popular Music Studies 9/10: 25-36.
  95. Smith, Martha Nell. 1991. Sexual mobilities in Bruce Springsteen: Performance as commentary. South Atlantic Quarterly 90: 833-854.
  96. Smith, Paul. 1991. Playing for England. South Atlantic Quarterly 90: 737-752.
  97. Smith, Patricia Juliana. 1993. You don't have to say you love me: The camp masquerades of Dusty Springfield. Camp grounds: Style and homosexuality, ed. David Bergman, 185-205. Amherst: University of Massachusetts Press.
  98. Smith, Tom W. 1994. Generational differences in musical preferences. Popular Music and Society 18(2): 43-59.
  99. Snow, R.P. (1987). "Youth, Rock 'n' Roll, and Electronic Media," Youth and Society, 18, pp. 326-343.
  100. Sokhor, A.N. (1974). "Young People's Leisure Time and Its Use for Musical-Aesthetic Education: A Report Based on Soviet Experience." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 219-225). Vienna: Universal Edition.
  101. Solomon, Jon. 1993. Sting in the tradition of the lyric poet. Popular Music and Society 17(3): 33-41.
  102. Sorrell, Richard S. 1991. "My life was saved by rock & roll": Personal reflections on the age of rock music. Popular Music and Society 15(1): 81-89.
  103. Spencer, Jon Michael. 1991. Introduction. Black Sacred Music 5(1): 1-11.
  104. Spencer, Jon Michael. 1997. A revolutionary sexual persona: Elvis Presley and the white acquiescence of black rhythms. In In search of Elvis: Music, race, art, religion, ed. Vernon Chadwick, 109-120. Boulder, CO: Westview Press.
  105. Spencer, P. (1980). "The Creative Possibilities of Pop." In G. Vulliamy & E. Lee (eds.), Pop Music in School (revised edition, pp. 97-122). Cambridge: Cambridge University Press.
  106. Spencer, P. (1983). "Afro-American Music in Education," International Society for Music Education Yearbook, 10, pp. 91-94.
  107. Spigel, Lynn. 1990. Communicating with the dead: Elvis as medium. Camera Obscura 23: 177-204.
  108. Spitz, Robert Stephen. 1979. Barefoot in Babylon: The creation of the Woodstock Music Festival 1969. New York: Viking.
  109. Stanley, Chris. 1997. Not drowning but waving: Urban narratives of dissent in the wild zone. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 18-35. Oxford: Blackwell Publishers Ltd.
  110. Starr, Larry. 1994. The shadow of a Smile: The Beach Boys album that refused to die. Journal of Popular Music Studies 6: 38-59.
  111. Starr, S.F. (1983). "The Rock Inundation," Wilson Quarterly, 7(4), pp. 58-67.
  112. Stefani, Gino. 1987. Melody: A popular perspective. Popular Music 6: 21-35.
  113. Stein, Arlene. 1995. Crossover dreams: Lesbianism and popular music since the 1970s. In Out in culture: Gay, lesbian and queer essays on popular culture, ed. Corey K. Creekmur and Alexander Doty, 416-426. Durham, NC: Duke University Press.
  114. Steinmetz, H. (1982). "Copyright, Neighbouring Rights, and Piracy in Austria." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 141-150). New York: Springer-Verlag.
  115. Stephens, Gregory. 1991. Rap music's double-voiced discourse: A crossroads for interracial communication. Journal of Communication Inquiry 15(2): 70-91.
  116. Stephens, Ronald Jemal. 1991. The three waves of contemporary rap music. Black Sacred Music 5(1): 25-40.
  117. Stern, S. (1970). "Altamont: Pearl Harbor to the Woodstock Nation," Scanlan's (March). Reprinted (1972) in G.H. Lewis (ed.), Side-Saddle on the Golden Calf: Social Culture and Popular Culture in America (pp. 321-340). Pacific Palisades, CA: Goodyear.
  118. Steward, S., & Garratt, S. (1984a). Signed Sealed and Delivered: True Life Stories of Women in Pop. Boston: South End.
  119. Steward, S., & Garratt, S. (1984b). "What Shall I Wear?: Stories of Women in Pop," Radical America, 18(6), pp. 53-64.
  120. Stewart, J.B. (1979). "Relationships Between Black Males and Females in Rhythm and Blues Music of the 1960's and 1970's," Western Journal of Black Studies, 3(3), pp. 186-196.
  121. Stewart, J.B. (1980). "Perspectives on Black Families from Contemporary Soul Music: the Case of Millie Jackson," Phylon, 41, pp. 57-71.
  122. Stigberg, D.K. (1978). "Jarocho, Tropical, and 'Pop': Aspects of Musical Life in Veracruz, 1971-72." In B. Nettl (ed.), Eight Urban Musical Cultures: Tradition and Change (pp. 260-295). Urbana: University of Illinois Press.
  123. Stillwell, Robynn J. 1995. In the air tonight: Text, intertextuality, and the construction of meaning. Popular Music and Society 19(4): 67-103.
  124. Stipp, Horst. 1985. Children's knowledge of and taste in popular music. Popular Music and Society 10(2): 1-15.
  125. Stith, Rodney W., and Ik-Whan Kwon. 1991. Discriminant analysis approach to the measurement of commercial performance of contemporary popular music. Popular Music and Society 15(4): 33-46.
  126. Stockbridge, Sally. 1989. Programming rock 'n' roll: The Australian version. Cultural Studies 3: 73-88.
  127. Stockbridge, Sally. (1990). "Rock Video: Pleasure and Resistance." In M.E. Brown (ed.), Television and Women's Culture: The Politics of the Popular (pp. 102-113). Newbury Park, Ca: Sage.
  128. Stokes, Geoffrey. 1977. Star-making machinery: Inside the business of rock and roll. New York: Vintage.
  129. Stowe, Wark. 1984. Estimation: Rock 'n' roll 'n' criticism go hand 'n' hand. OneTwoThreeFour 1: 22-36.
  130. Stowe, Wark. 1989. E. Ann Kaplan's Rocking around the clock: A book report. OneTwoThreeFour 7: 69-74.
  131. Straayer, C. (1990). "The She-Man: Postmodern Bi-Sexed Performance in Film and Video," Screen, 31, pp. 262-280.
  132. Stratton, Jon. 1982a. Between two worlds: Art and commercialism in the record industry. Sociological Review 30: 267-285.
  133. Stratton, Jon. 1982b. Reconciling contradictions: The role of the artist and repertoire person in the British music industry. Popular Music and Society 8(2): 90-100.
  134. Stratton, Jon. 1983a. Capitalism and romantic ideology in the record business. Popular Music 3: 143-156.
  135. Stratton, Jon. 1983b. What is "popular music"? Sociological Review 31: 293-309.
  136. Stratton, Jon. 1985. Youth subcultures and their cultural contexts. Australian and New Zealand Journal of Sociology 21: 194-218.
  137. Stratton, Jon. 1989. Beyond art: Postmodernism and the case of popular music. Theory, Culture and Society 6: 31-57.
  138. Straw, Will. 1984. Characterizing rock music cultures: The case of heavy metal. Canadian University Music Review 5: 104-122.
  139. Straw, Will. 1985. Heavy metal. Impulse (Summer): 38-40.
  140. Straw, Will. 1988. Music video in its contexts: Popular music and post-modernism in the 1980s. Popular Music 7: 247-266.
  141. Straw, Will. 1990. Characterizing rock music culture: The case of heavy metal. In On record: Rock, pop, and the written word, ed. Simon Frith and Andrew Goodwin, 97-110. New York: Pantheon.
  142. Straw, Will. 1991. Systems of articulation, logics of change: Communities and scenes in popular music. Cultural Studies 5: 368-388.
  143. Straw, Will. 1993a. The booth, the floor and the wall: Dance music and the fear of falling. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 249-254. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  144. Straw, Will. 1993b. The English Canadian recording industry since 1970. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 52-65. New York: Routledge.
  145. Straw, Will. 1997a. "Organized disorder": The changing space of the record shop. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 57-65. Oxford: Blackwell Publishers Ltd.
  146. Straw, Will. 1997b. Sizing up record collections: Gender and connoisseurship in rock music culture. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 3-16. New York: Routledge.
  147. Straw, Will. 1999. Authorship. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 199-208. Malden, MA: Blackwell.
  148. Straw, Will, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, eds. 1993. Popular music -- style and identity. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  149. Street, John. 1987. Rebel rock: The politics of popular music. New York: Basil Blackwell.
  150. Street, John. 1988. Red Wedge: Another strange story of pop's politics. Critical Quarterly 30(3): 79-91.
  151. Street, John. 1990a. If you care about our world, you'll buy this album: Green politics and rock music. OneTwoThreeFour 8: 23-36.
  152. Street, John. 1990b. In praise of plastic: The political importance of Kylie Minogue. OneTwoThreeFour 8: 75-79.
  153. Street, John. 1992. Shock waves: The authoritative response to popular music. In Come on down?: Popular media culture in post-war Britain, ed. Dominic Strinati and Stephen Wagg, 302-324. New York: Routledge.
  154. Street, John. 1993. (Dis)located?: Rhetoric, politics, meaning and the locality. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 255-263. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  155. Street, John. 1993. Local differences?: Popular music and the local state. Popular Music 12: 43-55.
  156. Strelitz, Ilene. 1987. "Repetition" as cultural rebellion: "Boredom," the avant-garde, and rock and roll. OneTwoThreeFour 4: 42-57.
  157. Stromberg, P. (1990). "Elvis Alive?: The Ideology of American Consumerism," Journal of Popular Culture, 24(3), pp. 11-19.
  158. Struthers, Stephen. 1987. Technology in the art of recording. In Lost in music: Culture, style and the musical event, ed. Avron Levine White, 241-258. New York: Routledge & Kegan Paul.
  159. Stubbs, David. 1989. Fear of the future. In Zoot suits and second-hand dresses: An anthology of fashion and music, ed. Angela McRobbie, 267-275. Boston: Unwin Hyman.
  160. Sturma, M. (1992). "The Politics of Dancing: When Rock 'n' Roll Came to Australia," Journal of Popular Culture, 25(4), pp. 123-142.
  161. Sullivan, H.W. (1987). "Paul, John and Broad Street," Popular Music, 6, pp. 327-338.
  162. Sullivan, M. (1987). "'More Popular than Jesus': The Beatles and the Religious Far Right," Popular Music, 6, pp. 313-326.
  163. Sun, Se-Wun, and James Lull. 1986. The adolescent audience for music videos and why they watch. Journal of Communication 36(1): 115-125.
  164. Swanwick, Keith. 1968. Popular music and the teacher. New York: Pergamon.
  165. Swanwick, Keith. 1982. Problems of a sociological approach to pop music: A case study. International Society for Music Education Yearbook 9: 136-141.
  166. Swanwick, Keith. 1984a. Problems of a sociological approach to pop music in schools. British Journal of Sociology of Education 5: 49-56.
  167. Swanwick, Keith. 1984b. A further note on sociology of music education. British Journal of Sociology of Education 5: 303-307.
  168. Sweeney, Gael. 1997. The king of white trash culture: Elvis Presley and the aesthetics of excess. In White trash: Race and class in America, ed. Matt Wray and Annalee Newitz, 249-266. New York: Routledge.
  169. Sweet, Stephen. 1996. Bluegrass music and its misguided representation of Appalachia. Popular Music and Society 20(3): 37-51.
  170. Swindell, Warren C. 1986. Black musician's struggle for subsistence. OneTwoThreeFour 3: 7-38.
  171. Swindell, Warren C. 1990. Technology and the music industry: Blessing or curse. OneTwoThreeFour 9: 61-72.
  172. Swiss, Thomas. 1994. Representing rock: Poetry and popular music. Popular Music and Society 18(2): 1-12.
  173. Swiss, Thomas, John Sloop, and Andrew Herman, eds. 1997. Mapping the beat: Popular music and contemporary theory. Malden, MA: Blackwell.
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