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.

Girl Groups and Feminism

Girl Groups and Feminism

Girl groups and feminism

Every era and genre of popular music has featured an extraordinary woman who transformed and challenged audiences. Rock had Janis Joplin. Soul featured Aretha Franklin. Hip hop summoned Queen Latifah. Celine Dion rejuvenated the power ballad. Beyonce Knowles and Lady Gaga extended the legacy of Donna Summer. Such extraordinary women block the supposition that popular music is primarily a male experience. The women who have been successful in rock history – like Suzi Quatro and Joan Jett – have tended to masquerade masculinity with whisky-stained voices, leather trousers and shock-cut hair. To understand the complex relationship between women and popular music requires great analytical subtlety. Contemporary critics are fortunate. In 1984, one of the finest texts on femininity ...

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