The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

‘This is an extraordinary achievement and it will become an absolutely vital and trusted resource for everyone working in the field of popular music studies. Even more broadly, anyone interested in popular music or popular music culture more generally will enjoy - and find many uses for - the wealth of information and insight captured in this volume.' Lawrence Grossberg, Morris Davis Professor of Communication Studies and Cultural Studies, University of North Carolina at Chapel Hill The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies. Popular music has been a major force in the world since the nineteenth century. With the advent of electronic and advanced technology it has become ubiquitous. This is the first volume in a series of encyclopedic works covering popular music of the world. Consisting of some 500 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and is arranged in two Parts: Part 1: Social and Cultural Dimensions, covering the social phenomena of relevance to the practice of popular music. Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. For more information visit the website at: www.continuumpopmusic.com

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 1, Global Perspectives in Popular Music Studies, situates popular music studies within global perspectives and geocultural settings at large. It offers over nine hundred in-depth annotated bibliographic entries of interdisciplinary research and several topical categories that include analytical, critical, and historical studies; theory, methodology, and musicianship studies; annotations of in-depth special issues published in scholarly journals on different topics, issues, trends, and music genres in popular music studies that relate to the contributions of numerous musicians, artists, bands, and music groups; and annotations of selected reference works.

The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.

Women in Rock Memoirs vindicates the role of women in rock music. The chapters examine memoirs written by women in rock from 2010 onwards to explore how the artists narrate their life experiences and difficulties they had to overcome, not only as musicians but as women. The book includes memoirs written by both well-known and lesser-known artists and artists from both inside and outside of the Anglo-American sphere. The essays by scholars from different research areas and countries around the world are divided into three parts according to the overall themes: Memory, Trauma, and Writing; Authenticity, Sexuality, and Sexism; and Aging, Performance, and the Image. They explore the dynamics of memoir as a genre by discussing the similarities and differences between the women in rock and the choices they have made when writing their books. As a whole, they help form a better understanding of today's possibilities and future challenges for women in rock music.

Now in its fifth edition, this popular A–Z student reference book provides a comprehensive survey of key ideas and concepts in popular music culture, examining the social and cultural aspects of popular music. Fully revised with extended coverage of the music industries, sociological concepts and additional references to reading, listening and viewing throughout, the new edition expands on the foundations of popular music culture, tracing the impact of digital technology and changes in the way in which music is created, manufactured, marketed and consumed. The concept of metagenres remains a central part of the book: these are historically, socially, and geographically situated umbrella musical categories, each embracing a wide range of associated genres and subgenres. New or expanded entries include: Charts, Digital music culture, Country music, Education, Ethnicity, Race, Gender, Grime, Heritage, History, Indie, Synth pop, Policy, Punk rock and Streaming. Popular Music Culture: The Key Concepts is an essential reference tool for students studying the social and cultural dimensions of popular music.

The volume explores the various intersections and interconnections of the self and popular music in fiction; it examines questions of musical taste and identity construction across decades, spaces, social groups, and cultural contexts, covering a wide range of literary and musical genres.

This text presents a comprehensive and up-to-date reference work on popular music, from the early 20th century to the present day.

Music, Memory and Memoir provides a unique look at the contemporary cultural phenomenon of the music memoir and, leading from this, the way that music is used to construct memory. Via analyses of memoirs that consider punk and pop, indie and dance, this text examines the nature of memory for musicians and the function of music in creating personal and cultural narratives. This book includes innovative and multidisciplinary approaches from a range of contributors consisting of academics, critics and musicians, evaluating this phenomenon from multiple academic and creative practices, and examines the contemporary music memoir in its cultural and literary contexts.

Focusing on the variety of genres that make up pop music, Roy Shuker explores key subjects which shape our experience of music such as music production, the music industry, music policy, fans, audiences and subcultures.