Preface | p. vii |
Introduction: Definitions, Themes, and Issues | p. 1 |
Into the Twentieth Century: Popular Music and Mass Culture | p. 2 |
Rock 'n' Roll: The Birth of a New Era | p. 4 |
Marketing and the Politics of Race, Language, and Gender | p. 9 |
No Hablamos Espanol: The Language Barrier | p. 12 |
The Long, Hard Climb: Gender Discrimination | p. 13 |
Regulating Popular Music | p. 14 |
Mass Technology and Popular Taste: The Tin Pan Alley Era | p. 17 |
Sound Recording: From Cylinder to Disc | p. 18 |
Tin Pan Alley Constructs the Mainstream Tradition | p. 24 |
Tin Pan Alley Incorporates African American Music | p. 26 |
Tin Pan Alley Consolidates Its Power | p. 29 |
Commercial Broadcasting: A Very Private Enterprise | p. 32 |
The Growth of Network Radio | p. 33 |
The Advertisers Versus the Programmers | p. 35 |
Hollywood Bolsters Tin Pan Alley | p. 37 |
Blues and Country Music: Mass Media and the Construction of Race | p. 43 |
Blues and Country: More Equal than Separate | p. 44 |
"Race" Music: The Popular Sounds of Black America | p. 46 |
"Hillbilly": The Music of the White Working Class | p. 51 |
The Dissemination of Blues and Country: More Separate than Equal | p. 55 |
The Long Road Back for Records | p. 59 |
"Good Rockin' Tonight": The Rise of Rhythm and Blues | p. 65 |
The Publishers and the Broadcasters: ASCAP Versus BMI | p. 66 |
Enter the Deejay: The Broadcasters Versus the AFM | p. 68 |
From Big Bands to Solo Singers | p. 71 |
The Major Labels Reclaim Country Music | p. 73 |
The Independents Promote Rhythm and Blues | p. 76 |
High Fidelity/Low Overhead | p. 82 |
Television and the Suppression of FM Broadcasting | p. 84 |
Independent Radio: Deejays in Your Face | p. 86 |
Crossing Cultures: The Eruption of Rock 'n' Roll | p. 93 |
Cultural Diversity: The Roots of Rock 'n' Roll | p. 94 |
Structural Changes in the Music Industry | p. 98 |
Sounds of the Cities | p. 101 |
New Orleans: The Fertile Crescent of Rock 'n' Roll | p. 101 |
Los Angeles: From Jump Blues to Chicano Rock | p. 108 |
Chicago: The Blues Electrified | p. 111 |
Cincinnati: The Crossroads of Blues and Country | p. 115 |
RandB Sanctified: The Gospel Connection | p. 116 |
Doo Wop: The Intersection of Gospel, Jazz, and Pop | p. 121 |
Rockabilly: The Country Strain | p. 131 |
The Empire Strikes Back: The Reaction to Rock 'n' Roll | p. 149 |
The Established Powers Fight Back | p. 152 |
Covering the Bases | p. 154 |
Pop Diversions: From Kingston Town to the Kingston Trio | p. 157 |
Schlock Rock: Enter the White Middle Class | p. 160 |
Television's Greatest Hits | p. 165 |
The Brill Building: The New Tin Pan Alley | p. 167 |
The Official Attack on Rock 'n' Roll | p. 169 |
Surf's Up! | p. 175 |
Popular Music and Political Culture: The Sixties | p. 183 |
The Civil Rights Movement and Popular Music | p. 184 |
The "Girl Groups" and the Men behind Them | p. 186 |
Motown: The Integration of Pop | p. 191 |
Folk Music: The Voice of Civil Rights | p. 196 |
The British Invasion Occupies the Pop Charts | p. 200 |
Breaking the Sounds of Silence | p. 209 |
Folk Rock: Adding Substance to Form | p. 210 |
Black (Music) Is Beautiful | p. 213 |
Against the Grain: The Counterculture | p. 217 |
Blues on Acid: Psychedelic Rock | p. 218 |
Commercializing the Counterculture: The Monterey Pop Festival | p. 222 |
Riding the Storm | p. 226 |
Woodstock and Altamont: Reaching the Heights, Taking the Fall | p. 231 |
Music Versus Markets: The Fragmentation of Pop | p. 239 |
The Music Industry: A Sound Investment | p. 240 |
Merger Mania | p. 241 |
Expanding the Infrastructure: Counterculture as Commodity | p. 243 |
Creativity and Commerce: Rock as Art | p. 248 |
Sweeter Soul Music | p. 257 |
Singer/Songwriters, Soft Rock Solutions, and More | p. 264 |
Women's Music: The Feminist Alternative | p. 273 |
From Country Rock to Southern Boogie | p. 277 |
Mad with Power: Heavy Metal | p. 285 |
All That Glitters Does Not Sell Gold | p. 294 |
Punk and Disco: The Poles of Pop | p. 301 |
Punk Versus Disco | p. 303 |
Punk: Rock as (White) Noise | p. 305 |
Born in the USA | p. 308 |
Anarchy in the U.K. | p. 317 |
Flirtation with Fascism: The Underbelly of Punk | p. 322 |
Rock Against Racism: The Progressive Rejoinder | p. 325 |
Riding the New Wave | p. 329 |
Disco: The Rhythm without the Blues | p. 334 |
Proto-Disco: The Funk Connection | p. 335 |
Up from the Disco Underground | p. 339 |
Mainstream Disco: The Bee Gees Boogie Down | p. 343 |
The Hard-Rock Reaction | p. 347 |
Music Videos, Superstars, and Mega-Events: The Eighties | p. 353 |
Early Music Television: They Want Their MTV | p. 355 |
Superstars: The Road to Economic Recovery | p. 365 |
Charity Rock and Mega-Events: Who Is the World? | p. 375 |
Christmas in Ethiopia: The Advent of Charity Rock | p. 376 |
Mega-Events: The Politics of Mass Culture | p. 381 |
Technology and the New International Music Industry | p. 390 |
Rap and Metal: Youth Culture and Censorship | p. 395 |
The Continuing History of Heavy Metal | p. 397 |
Heavy Metal: The New Wave | p. 397 |
Metal Fragments | p. 402 |
Hip Hop, Don't Stop | p. 408 |
Old School Rap | p. 409 |
Hip Hop: The Next Generation | p. 412 |
Popular Music and the Politics of Censorship | p. 423 |
The Parents Music Resource Center | p. 424 |
The Issues: Sex, Drugs, and Rock 'n' Roll Revisited | p. 427 |
Alternative to What? | p. 443 |
Strange Bedfellows: Alternative and the Mainstream | p. 446 |
Marketing Categories and Monster Contracts | p. 453 |
Country and RandB: The Other Alternatives | p. 457 |
Lollapalooza: Countercultural Sensibilities, Mainstream Clout | p. 460 |
Bibliography | p. 467 |
Index | p. 475 |
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