This is the first textbook on Pop Music to be written after the start of the iPod era. The book is organized in accessible sections which cover the main themes of research and teaching. It examines the key approaches to understanding popular music, the main settings of exchange and consumption, the role of technology in the production of popular music, the main genres of popular music, and the key debates of the present day.Barbazon writes with verve and penetration. Her approach starts with how most people actually consume music today and transfers this onto the plain of study. The organization of the material enables teachers and students to shuffle from one topic to the next. Yet the book provides an unparalleled network to the core library of concepts and issues in the field. As such, it is the perfect study guide for undergraduates located in this exciting and expanding field.
Hip hop is more than a musical genre. It enfolds a range of behaviours, attitudes and ideologies, including rapping, DJing, break dancing and graffiti. It is more than a style. As Nelson George observed, it ‘is a product of post-civil rights era America’ (1998: viii). It is a way to hear and see a different history of disempowerment and resistance. Russell Potter offered an important corrective for all writers, listeners and thinkers about this genre/style/social formation. He asked, ‘can hip-hop be defined? Or is definition a kind of death, a refusal of the change that any evolving artform must embrace?’ (1995: 25). The negation – the definitive ‘no’ – of hip hop, actualized through fashion, language and sound, is powerful and a ...