Politics Revisited

ABT, D. (1987) “Music video: impact of the visual dimension,” pp. 96-111 in J. Lull (ed.) Popular Music and Communication. Newbury Park, CA: Sage.

ARGENT (1972) “Hold your head up.” CBS Records KE 31156.

BERMAN, M. (1970) The Politics of Authenticity: Radical Individualism and the Emergence of Modern Society. New York: Atheneum.

BLOOM, H. (1979) “The breaking of form,” in H. Bloom et al., Deconstruction and Criticism. New York: Seabury.

CAREY, J. T. (1969) “The ideology of autonomy in popular music: a content analysis.” Psychiatry 32: 150-164.

COOPER, B. L. (1982) Images of American Society in Popular Music: A Guide to Reflective Teaching. Chicago: Nelson-Hall.

COOPER, B. L. (1984) The Popular Music Handbook. Littleton, CO: Libraries Unlimited.

COOPER, B. L. (1986) A Resource Guide to Themes in Contemporary American Song Lyrics, 1950-1985. Westport, CT: Greenwood.

DENISOFF, R. S. (1972) Sing a Song of Social Significance. Bowling Green, OH: Bowling Green Univ. Press.

DENISOFF, R. S. and M. H. LEVINE (1971) “The popular protest song: the case of `Eve of destruction.' ” Public Opinion Q. 35 (Spring): 117-122.

DUNAWAY, D. K. (1987) “Music as political communication in the United States,” pp. 36-52 in J. Lull (ed.) Popular Music and Communication. Newbury Park, CA: Sage.

DYLAN, B. (1963) “Oxford Town.” Columbia CS8786.

FERRANDINO, J. (1969) “Rock culture and the development of social consciousness.” Radical America 3 (November): 11-34.

FRITH, S. (1981) Sound Effects: Youth, Leisure and the Politics of Rock'n'Roll. New York: Pantheon.

FRITH, S. (1986) “Critical response.” Critical Studies in Mass Communication 3 (March): 74-77.

GONCZY, D. J. (1985) “The folk movement of the 1960s: its rise and fall.” Popular Music and Society 10: 15-32.

GRAEBNER, W. (1984) “Teaching The History of Rock 'n' Roll.” Teaching History 9 (Spring): 2-20.

GROSSBERG, L. (1982) “The ideology of communication: poststructuralism and the limits of communication.” Man and World 15: 83-101.

GROSSBERG, L. (1983-1984) “The politics of youth culture: some observations on rock and roll in American culture.” Social Text 8: 104-126.

GROSSBERG, L. (1984a) “Another boring day in paradise: rock and roll and the empowerment of everyday life.” Popular Music 4: 225-228.

GROSSBERG, L. (1984b) “I'd rather feel bad than not feel anything at all: rock and roll, pleasure and power.” Enclitic 8: 94-110.

GROSSBERG, L. (1986a) “Is there rock after punk?” Critical Studies in Mass Communication 3 (March): 50-74.

GROSSBERG, L. (1986b) “Reply to the critics.” Critical Studies in Mass Communication 3 (March): 86-95.

GROSSBERG, L. (1987) “Rock and roll in search of an audience,” pp. 175-197 in J. Lull (ed.) Popular Music and Communication. Newbury Park, CA: Sage.

HARMON, J. E. (1972a) “Meaning in rock music: notes toward a theory of communication.” Popular Music and Society 2: 18-37.

HARMON, J. E. (1972b) “The new music and counter-culture values.” Youth & Society 4 (September): 61-83.

HIRSCH, P. M. (1971) An Exploratory Study of Youth Culture and the Popular Music Industry. Ann Arbor, MI: Survey Research Center.

LASWELL, H. and A. KAPLAN (1950) Power and Society: A Framework for Political Inquiry. New Haven, CT: Yale Univ. Press.

LEWIS, G. H. (1975) “Cultural socialization and the development of taste cultures and culture classes.” Popular Music and Society, 4, 4: 226-241.

LONDON, H. (1984) Closing the Circle: A Cultural History of the Rock Revolution. Chicago: Nelson-Hall.

LULL, J. T. (1987) “Listeners' communicative uses of popular music,” pp. 140-174 in J. Lull (ed.) Popular Music and Communication. Newbury Park, CA: Sage.

MAILLOUX, S. (1982) Interpretive Conventions: The Reader in the Study of American Fiction. Ithaca, NY: Cornell Univ. Press.

MARCUS, G. “Critical response.” Critical Studies in Mass Communication 3 (March): 77-81.

MASHKIN, K. and T. VOLGY (1975) “Socio-political attitudes and musical preference.” Social Science Q. 56: 450-459.

McDONALD, J. R. (1986a) “Farm Aid: a publicity event.” Popular Music and Society 10, 3: 95-98.

McDONALD, J. R. (1986b) “Rockin' in the classroom: a literary alternative.” Int. J. of Instructional Media 13, 2: 145-158.

McDONALD, J. R. (1988) “Censoring rock lyrics: a historical analysis of the debate.” Youth & Society 19 (March): 294-313.

McDONALD, J. R. (in press) “Suicidal rage: an analysis of hardcore punk lyrics.” Popular Music and Society 11, 3.

MILLER, J. H. (1979) “The critic as host,” in H. Bloom et al., Deconstruction and Criticism. New York: Seabury.

NUGENT, S. L. (1986) “Critical response.” Critical Studies in Mass Communication 3 (March): 82-85.

ORMAN, J. (1984) The Politics of Rock Music. Chicago: Nelson-Hall.

PRATT, R. (1986) “The politics of authenticity in popular music: the case of the blues.” Popular Music and Society 10, 3: 55-78.

PRATT, R. (1987) “ `Is a dream a lie if it don't come true, or is it something worse?' A commentary on political implications of the Springsteen phenomenon.” Popular Music and Society 11 (Spring): 51-74.

RIFFATERRE, M. (1978) Semiotics of Poetry. Bloomington: Indiana Univ. Press.

RODNITZKY, J. (1969) “The evolution of the American protest song.” J. of Popular Culture 3: 35-45.

RODNITZKY, J. (1971) “The decline of contemporary protest music.” Popular Music and Society 1: 44-50.

RODNITZKY, J. (1974) “Popular music in American studies.” History Teacher 7 (August): 503-510.

RODNITZKY, J. (1976) Minstrels of the Dawn: The Folk-Protest Singer as a Cultural Hero. Chicago: Nelson-Hall.

ROSENSTONE, R. A. (1969) “ `The times they are a-changin': the music of protest.” Annals of the Amer. Academy of Pol. and Social Sci. 382: 131-144.

SPRINGSTEEN, B. (1984) “Born in the U.S.A.” Columbia QC 36653.

TILLMAN, R. H. (1980) “Punk rock and the construction of `pseudo-political' movements.” Popular Music and Society 7: 165-175.

TOFFLER, A. (1970) Future Shock. New York: Random House.

TRILLING, L. (1972) Sincerity and Authenticity. Cambridge, MA: Harvard Univ. Press.

TUCKER, K. (1986) “Rock into the future,” in E. Ward et al., Rock of Ages: The Rolling Stone History of Rock and Roll. Englewood Cliffs, NJ: Rolling Stone Press/Prentice-Hall.