Popular Music and Youth Culture

Music, Identity and Place

Andy Bennett

Copyright 2000
ISBN 0333732294

Popular Music: The Key Concepts
by Roy Shuker
Routledge
ISBN: 0415284252


available from
Center for Media Literacy

Understanding Radio (2nd Edition)
(Studies in Culture & Communication)
by Andrew Crisell, Senior Lecturer in Media and 
Communication Studies at the University of Sunderland, UK

Routledge; ; 2nd edition (September 1994)

ISBN: 0415103150

Popular Song  Soundtrack of the Century
by Alan Lewens

Watson-Guptill Pubns; 
(July 2001)

ISBN: 0823084361

From George M. Cohan to The Beatles . . . “Danny Boy” to “My Heart Will Go On” . . . Popular Song presents a lavishly illustrated, in-depth look at 100 of the most influential popular songs of the twentieth century.

Writing For Radio (3rd Edition)
by Rosemary Horstmann
A & C Black; ISBN: 0713646497

Synopsis
A guide to everything the writer for radio needs to know: structure of plays and short stories, effective use of music and sound effects, moving characters in sound and space, and interviewing. It also looks at possible markets for work, awards open to writers and the writing of commercials.

Facing the Music
Simon Frith, Editor
Pantheon Books
ISBN 0-394-55849-9

From Publishers Weekly
These five postmortems by popular-music journalists are, as Frith explains, "inspired by the suspicion . . . that the rock story is ending." In the eloquent and compelling "McRock: Pop as a Commodity," Mary Harron interprets such movements as '50s pop, '60s rock and '70s punk, as well as individual style-conscious '80s stars like Madonna, in terms of images created by hype. Frith's ambitious but often unfocused "Video Pop:

 Picking Up the Pieces" studies the implications of media entertainment conglomerates' intense packaging and marketing. Steve Perry's "Crossover Politics: Ain't No Mountain High Enough," a history of black popular music and a support of black crossover into white-dominated territory, is a welcome contrast to the other essays' cynical tone and focus on white musicians. And Ken Barnes's dry but informative "Top 40 Radio: A Fragment of the Imagination" unravels a maze of radio formats and discusses the reasons formats are adopted in this medium. If not as controversial as Frith aggrandizingly proclaims it to be, his volume is, for the most part, lively and challenging.