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| Preface | |
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| Introduction: Definitions, Themes, and Issues | |
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| Into the Twentieth Century: Popular Music and Mass Culture | |
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| Rock 'n' Roll: The Birth of a New Era | |
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| Marketing and the Politics of Race, Language, and Gender | |
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| No Hablamos Espanol: The Language Barrier | |
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| The Long, Hard Climb: Gender Discrimination | |
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| Regulating Popular Music | |
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| Mass Technology and Popular Taste: The Tin Pan Alley Era | |
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| Sound Recording: From Cylinder to Disc | |
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| Tin Pan Alley Constructs the Mainstream Tradition | |
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| Tin Pan Alley Incorporates African American Music | |
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| Tin Pan Alley Consolidates Its Power | |
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| Commercial Broadcasting: A Very Private Enterprise | |
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| The Growth of Network Radio | |
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| The Advertisers Versus the Programmers | |
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| Hollywood Bolsters Tin Pan Alley | |
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| Blues and Country Music: Mass Media and the Construction of Race | |
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| Blues and Country: More Equal than Separate | |
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| "Race" Music: The Popular Sounds of Black America | |
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| "Hillbilly": The Music of the White Working Class | |
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| The Dissemination of Blues and Country: More Separate than Equal | |
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| The Long Road Back for Records | |
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| "Good Rockin' Tonight": The Rise of Rhythm and Blues | |
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| The Publishers and the Broadcasters: ASCAP Versus BMI | |
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| Enter the Deejay: The Broadcasters Versus the AFM | |
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| From Big Bands to Solo Singers | |
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| The Major Labels Reclaim Country Music | |
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| The Independents Promote Rhythm and Blues | |
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| High Fidelity/Low Overhead | |
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| Television and the Suppression of FM Broadcasting | |
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| Independent Radio: Deejays in Your Face | |
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| Crossing Cultures: The Eruption of Rock 'n' Roll | |
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| Cultural Diversity: The Roots of Rock 'n' Roll | |
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| Structural Changes in the Music Industry | |
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| Sounds of the Cities | |
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| New Orleans: The Fertile Crescent of Rock 'n' Roll | |
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| Los Angeles: From Jump Blues to Chicano Rock | |
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| Chicago: The Blues Electrified | |
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| Cincinnati: The Crossroads of Blues and Country | |
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| RandB Sanctified: The Gospel Connection | |
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| Doo Wop: The Intersection of Gospel, Jazz, and Pop | |
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| Rockabilly: The Country Strain | |
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| The Empire Strikes Back: The Reaction to Rock 'n' Roll | |
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| The Established Powers Fight Back | |
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| Covering the Bases | |
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| Pop Diversions: From Kingston Town to the Kingston Trio | |
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| Schlock Rock: Enter the White Middle Class | |
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| Television's Greatest Hits | |
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| The Brill Building: The New Tin Pan Alley | |
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| The Official Attack on Rock 'n' Roll | |
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| Surf's Up! | |
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| Popular Music and Political Culture: The Sixties | |
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| The Civil Rights Movement and Popular Music | |
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| The "Girl Groups" and the Men behind Them | |
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| Motown: The Integration of Pop | |
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| Folk Music: The Voice of Civil Rights | |
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| The British Invasion Occupies the Pop Charts | |
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| Breaking the Sounds of Silence | |
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| Folk Rock: Adding Substance to Form | |
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| Black (Music) Is Beautiful | |
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| Against the Grain: The Counterculture | |
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| Blues on Acid: Psychedelic Rock | |
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| Commercializing the Counterculture: The Monterey Pop Festival | |
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| Riding the Storm | |
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| Woodstock and Altamont: Reaching the Heights, Taking the Fall | |
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| Music Versus Markets: The Fragmentation of Pop | |
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| The Music Industry: A Sound Investment | |
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| Merger Mania | |
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| Expanding the Infrastructure: Counterculture as Commodity | |
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| Creativity and Commerce: Rock as Art | |
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| Sweeter Soul Music | |
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| Singer/Songwriters, Soft Rock Solutions, and More | |
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| Women's Music: The Feminist Alternative | |
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| From Country Rock to Southern Boogie | |
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| Mad with Power: Heavy Metal | |
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| All That Glitters Does Not Sell Gold | |
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| Punk and Disco: The Poles of Pop | |
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| Punk Versus Disco | |
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| Punk: Rock as (White) Noise | |
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| Born in the USA | |
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| Anarchy in the U.K. | |
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| Flirtation with Fascism: The Underbelly of Punk | |
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| Rock Against Racism: The Progressive Rejoinder | |
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| Riding the New Wave | |
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| Disco: The Rhythm without the Blues | |
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| Proto-Disco: The Funk Connection | |
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| Up from the Disco Underground | |
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| Mainstream Disco: The Bee Gees Boogie Down | |
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| The Hard-Rock Reaction | |
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| Music Videos, Superstars, and Mega-Events: The Eighties | |
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| Early Music Television: They Want Their MTV | |
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| Superstars: The Road to Economic Recovery | |
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| Charity Rock and Mega-Events: Who Is the World? | |
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| Christmas in Ethiopia: The Advent of Charity Rock | |
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| Mega-Events: The Politics of Mass Culture | |
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| Technology and the New International Music Industry | |
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| Rap and Metal: Youth Culture and Censorship | |
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| The Continuing History of Heavy Metal | |
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| Heavy Metal: The New Wave | |
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| Metal Fragments | |
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| Hip Hop, Don't Stop | |
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| Old School Rap | |
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| Hip Hop: The Next Generation | |
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| Popular Music and the Politics of Censorship | |
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| The Parents Music Resource Center | |
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| The Issues: Sex, Drugs, and Rock 'n' Roll Revisited | |
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| Alternative to What? | |
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| Strange Bedfellows: Alternative and the Mainstream | |
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| Marketing Categories and Monster Contracts | |
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| Country and RandB: The Other Alternatives | |
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| Lollapalooza: Countercultural Sensibilities, Mainstream Clout | |
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| Bibliography | |
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| Index | |