Sociology of Popular Music (Soc 71) Fall '07

Prof. Dipa Basu BH 210

Office: BC 215

Tel: 607 2883

Office hours: Mon, 10.30—11.30; Wed 10.30—11.30

and by appointment.

dbasu@pitzer.edu

Course Description

In this seminar we treat music, its culture, consumption and production as important sites for the mediation of social categories such as race, class, gender, sexuality, nationhood and identity with particular emphasis on the cultural politics of musical meanings and value in post-colonial societies. The seminar requires your active participation and draws upon course readings, listening of music, viewings of music documentaries/videos, and guest speakers to: engage students in a personal examination of their own listening experience; examine how music creates a sense of community/identity through language, performance practices, technology and history; examine the dynamics of global and local circulation, creation and consumption of music; examine the political economy of music production; examine cultural/social struggles around music making and reception. The course is cross listed with Black Studies and places particular emphasis on punk rock, hip-hop/rap, reggae/dancehall. If you are not interested in these genres I strongly suggest you drop the class.

Required Readings

Dipannita Basu and Sidney Lemelle (eds.) The Vinyl Ain't Final

Dick Hebdige Cut ‘N’ Mix

Readings marked ** in the syllabus are available online through Sakai.

Here is how you access Sakai:

-launch a web browser, such as Internet Explorer.
- point the url to: http://sakai.claremont.edu.
- when asked if you want to view non secure items on this page, click Yes to continue.
- click Login button located at the upper right hand corner.
- enter username@ptz (this should be your regular Pitzer network account username-scroll down to change the college if you are not at Pitzer).
- enter your password (this should be the same as your Pitzer/other college network account password).
- click login.
- Your class should be displayed on the top navigation bar

- GO TO RESOURCES AND DOWNLOAD READINGS FOR THE WEEK
- If you do not see your class, go to More button on the right-

Course Requirements:

Attendance, Meaningful Class Participation and Preparation

Attendance is mandatory since this is a seminar styled course and meets just once a week. More than two absences without a doctor's note/official notification will impact your final grade. More than four absences means you have failed the class unless there is official documentation. Please do not schedule other appointments during class time.

Students must actively participate in this course in an informed and respectful manner. You will be expected to share your ideas, music and critical comments in class discussions. To aid this process for every week's readings each student will prepare a "Stimulus/Response/Current Events/Controversies" paper. The "Stimulus," is a synopsis/summary of the main points made in the readings. What are the essential concepts, arguments and insights of the readings and how are they connected? The "Response” should be your critical response/reactions, and/or questions to the reading material. The third part of your response “Current Events/Controversies” will include related current events in the world of popular music (relevant songs, lyrics, music videos, websites, bloggs, advertisements, articles, etc) to illustrate/expand/counter/trouble a chosen article(s) for the week’s readings. These “Stimulus/Response/Current Events/Controversies" responses should be done for each class and be typed, double spaced and between 1-1.5 pages, double spaced, typed. Students are expected to bring all reading materials to class as well as their two copies of their responses. I will grade these responses randomly throughout the course. Other in-class assignments and homework are included in this section (40%)

Listening log analysis (10%)

Midterm /assignment TBA (25%)

Final Group project and presentation (25%)

You will work on in groups of 3-4. Working in small groups, you are required to develop a presentation and joint paper designed to inform teachers, school administrators, and students about the significance and relevance of popular music in the educational experiences of young people. I will make formal group assignments on October 3^rd.

There will be:

An in-class group presentation/performance on the group's project - Be creative!

e.g. spoken word, rap songs, dramatizations, a short class lesson, infomercials, skits, videos, etc. (10%)

A 10-12 page written report, double spaced, typed – using at least seven readings from class as well as al least five from other sources. You will also need to include a "Works Cited/Bibliography" page listing publication information for your primary and secondary sources. Sources should be documented according to MLA standards. No more than 40 per cent of your references can be from the web (unless they are scholarly works on line). You will present your projects to the class in the last two weeks of the course. Please see the end of the syllabus for an extensive list of resources (15%)

Please note:

· I will not accept papers via email. It is not my responsibility to download and print papers, it is yours!

· I will not accept hand written weekly responses.

· All papers due are to be handed in on time in class. I am not responsible for papers left under my door or in my Scott Box. The latter frequently mysteriously disappear! Late papers will be marked down daily unless accompanied by a doctor’s note or other extenuating circumstances (dog eat my paper etc, does not count, nor do holidays or other appointments).

· I don not allow electronic devices in class because they disrupt the classroom environment. Please turn them off phones and pagers when you enter the classroom.

· It is the student’s responsibility to they check their Pitzer email since I send group emails via my portal. This will act as a public forum for debate and information.

· Guest speakers are currently being arranged and we will work the course around them if they can make it.

· The assigned readings can be changed at any time according to the flux and flow of the course. It is the responsibility of the student to keep abreast of curricular changes.

· Full references are in the reader for readings marked **.

Schedule: Tentative: The syllabus is subject to change at Basu’s discretion. Students are responsible for keeping abreast of changes

Week 1-2 Sept 5-12 Introduction and Introductions Readings

J. Randerson How Rock Stardom Can Take Years Off Your Llife’

http://www.guardian.co.uk/frontpage/story/0,,2162029,00.html

**R. Shukur ‘What’s Going On’

** C. Williams ‘Does It Really Matter? Young People and Popular Music’

**G. Dimitriadis and G. Kamberelis ‘The Symbolic Meditation of Identity in Black Popular Culture’

Week 3-4 Sept 19-26 Punk, Pop and Rock: Race, Class, Gender and National Identity

Readings

**B. Shank 'From Rice to Ice: The Face of Race in Rock and Pop'

**S. Cohen ‘Popular Music, Gender and Sexuality’

b. hooks ‘Madonna: Plantation Mistress or Soul Sister?
http://stevenstanley.tripod.com/docs/bellhooks/madonna.html

View http://www.youtube.com/watch?v=i3CBUm7GrNI

K. Keightley ‘Reconsidering Rock’

Cut 'N' Mix pp 90-102

N. Spencer Can't play? So What!'

http://observer.guardian.co.uk/omm/story/0,,1710173,00.html

B. Cogan 'What Do I Get? Punk Rock, Authenticity and Cultural Capital'.

http://www.nyu.edu/pubs/counterblast/punk.htm

‘When Two 7’s clash’

http://www.punk77.co.uk/punkhistory/reggae.htm

Dave Simpson ‘Roots Manoeuvre’

http://arts.guardian.co.uk/filmandmusic/story/0,,2129916,00.html

Les Back 'God Save The Queen'

http://www.opendemocracy.net/debates/article.jsp?id=1&debateId=65&articleId=563

if you cannot get on directly then google author and title.

Listen to reggae/ska/punk songs on :

http://oioioi.ru/mp3/skinhead/moonstomp.html?english

S. Epstein 'Anarchy in the UK: Solidarity in the ROK: Punk Rock Comes to Korea'

http://www.international.ucla.edu/asia/institute/2004/Epstn_pnk_Tangherlini.pdf

**D, Traber ‘L.A.’s “White Minority”’

The Phenomenon of the Skinhead Movement and Reggae http://www.reggaereggaereggae.com/Special%20Articles.htm#reggaeinyourjeggae

**C. Feixa ‘Tribus urbanas and chavos ban:Being a Punk in Catalonia and Mexico’

Explore the site: J Porter and J. Austen ‘Black Punk Time: Blacks in Punk’,
http://www.roctober.com/roctober/blackpunk1.html

Viewing: Afro Punk /Dream worlds

Week 5-10 Oct 3-Nov 7 Hip Hop: From the Local to Global

Formal group assignments Oct 3

Extra Credit *****Attend George Lipsitz ‘Footsteps in the Dark: Popular Music and the fierce Urgency of Now’ 4:15 in the Broad Performance Space*****************

Readings:

Cut 'N' Mix pp 136-148

**J. Chang 'Furious Styles'

**R. Potter ‘Soul into Hip Hop’

** M. Dyson ‘The Culture of Hip Hop’

**D. Samuels ‘The Rap on Rap’

**J. Richardson and K. Scott ‘Rap Music and Its Violent Progeny: America’s Culture of Violence in Context’

**Gwendolyn D. Pough, ‘Seeds and Legacies: Tapping the Potential in Hip Hop’

**T. Rose ‘Never Trust a Big Butt and a Smile’

**‘R. Sullivan ‘The Unsolved Mystery of The Notorious Big: The Murder, The Cover up, the Conspiracy’

Vinyl Ain't Final TBA

Viewings: Five Sides of The Coin, Nobody Knows My Name, Hip-Hop: Beyond Beats &Rhymes.

Week 11--13 Nov 14-28 Reggae and Dancehall: Roots to Routes

Readings:

Cut N Mix TBA

**H. Huss “The Zinc-Fence Thing”: When will Reggae Album Covers Be Allowed out of the Ghetto”

'History of Reggae Music

http://www.everytingjamaican.com/jamaica/musichistory.php

Listen/listen to: Skinhead reggae

http://www.youtube.com/watch?v=-gPZFpWC9o4

Viewings: Darker Side of Black; The Harder They Come, Rockers

Week 14 -15 Dec 5-12 Project Presentations.

Final Papers Due

Resources: FYI and fun.

Videos can be viewed at: http://launch.yahoo.com/musicvideos/

Students are encouraged to consult www.allmusic.com, an exhaustive on-line encyclopedia of musical styles, artists, and recordings.

A great source for music documentaries is: http://www.bbc.co.uk/radio/linklaunch.shtml?/radio/aod/6music_aod.shtml?6music/6m_evedoc_tue

Video Recordings: Rock films and videos, like rock audio recordings, are too numerous to list. Interested students are advised to begin a search for video resources using www.allmovie.com

and their local video store.

Other Web Sources

Online Journals, Newsletters, and Magazines

Billboard

The Rolling Stone

The Village Voice

Lyrics

Hip Hop Lyrics
Lyrics - sorted by bands
Lyrics connection
Lyrics search engine - international

Miscellaneous Useful Sites

Music from TV Commercials (what tune is used in what ad)

Music in Advertising (what tune is used in what ad)

The National Association of Recording Arts & Sciences (the Grammy folks)

Rock-Classical Connection

MTV Online

Archives

Center For Black Music Research in Chicago

Chicago Historical Society

Chicago Blues Archive and the Gospel Jubilee Showcase at the Chicago Public Library

Experience Music Project

Rock and Roll Hall of Fame

Center for Popular Music at Middle Tennesee State University, Murfreesboro, TN

Smithsonian Folkways

Recording Industry Association of America

Gospel Music Hall of Fame and Museum

PBS's teacher's guides and aids to the series American Roots Music

PBS's Mississippi: River of Song

PBS's Rock&Roll

Selected Bibliography: Books

Abbott, Kingsley, ed. Callin’ Out Around the World: A Motown Reader. London: Helter Skelter, 2001.

Alden, Grant, and Peter Blackstock, eds. No Depression: An Introduction to Alternative Country Music, Whatever That Is. [?], TN: Dowling, 1998.

Alderman, John. Sonic Boom: Napster, MP3, and the New Pioneers of Music. Cambridge, MA: Perseus, 2001.

Azerrad, Michael. Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991. Boston: Little, Brown, 2001.

Bailey, Rebecca, ed. The Kinks: Reflections on Thirty Years of Music. Morehead, KY: Trillium, 1994.

Balfour, Victoria and Harvey Wang. Rock Wives: The Hard Lives and Good Times of the Wives, Girlfriends, and Groupies of Rock and Roll. New York: Beech Tree, 1986.

Baraka, Imanu Amiri. Blues People: Negro Music in White America. New York: Morrow, 1963.

Barnard, Stephen. Rock: An Illustrated History. New York: Schirmer Books, 1986.

Barr, Tim. The Rough Guide to Techno. Ed. J. M. Kelly. London: Rough Guides, 2000.

Bidder, Sean. The Rough Guide to House Music. London: Rough Guides, 1999.

Blashill, Pat and Michael Lavine. Noise from the Underground: A Secret History of Alternative Rock. New York: Fireside, 1996.

Bogdanov, Vladimir, et al, eds. All Music Guide to Electronica: The Definitive Guide to Electronic Music. 2nd ed. San Francisco: Miller Freeman, 2001.

Bradley, Lloyd. Bass Culture: When Reggae Was King. London: Viking, 2000.

Brewster, Bill and Frank Broughton. Last Night a DJ Saved My Life: The History of the Disk Jockey. New York: Grove, 2000.

*Brightman, Carol. Sweet Chaos: The Grateful Dead’s American Adventure. New York: Pocket Books, 1999.

Brown, Charles T. The Rock and Roll Story: From the Sounds of Rebellion to an American Art Form. Upper Saddle River, NJ: Prentice-Hall, 1983.

Buchanan, Scott. Rock ‘n’ Roll: The Famous Lyrics. New York: HarperPerennial, 1994.

Butler, Dougal. Full Moon: The Amazing Rock and Roll Life of the Late Keith Moon. New York: Morrow, 1981.

Cagin, Seth and Philip Dray. Hollywood Films of the Seventies: Sex, Drugs, Violence, Rock ‘n’ Roll & Politics. New York: Harper & Row, 1984.

Cavan, Sherri. Hippies of the Haight. St. Louis: New Critics, 1972.

Chapple, Steve and Reebee Garofalo. Rock ‘n’ Roll is Here to Pay: The History and Politics of the Music Industry. Chicago: Nelson-Hall, 1977.

Clark, Dick and Richard Robinson. Rock, Roll & Remember. New York: Crowell, 1976.

Clinton, Heylin, ed. The Penguin Book of Rock & Roll Writing. England: Viking, 1992.

Colegrave, Stephen and Chris Sullivan. Punk: The Definitive Record of a Revolution. [?]: Thunder’s Mouth, 2001.

Coleman, Ray. McCartney: Yesterday – And Today. London: Boxtree, 1995.

Collis, John. The Story of Chess Records. Foreword by Buddy Guy. London: Bloomsbury, 1998.

Cooper, Kim and David Smay, eds. Bubblegum Music is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears. [?]: Feral House, 2001.

Costello, Mark, and David Foster Wallace. Signifying Rappers: Rap and Race in the Urban Present. 2nd ed. New York: Ecco, 1997.

D., Chuck and Yusef Jah. Fight the Power: Rap, Race, and Reality. New York: Delacorte, 1997.

Dalton, David. El Sid: Saint Vicious. New York: St. Martin’s, 1997.

Davis, Angela Yvonne. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith and Billie Holiday. New York: Vintage, 1999.

Davis, Arthur. The Beatles: “Quote Unquote.” New York: Crescent, 1995.

Davis, Sharon. Motown: The History. Enfield, Middlesex: Guinness, 1988.

Dettmar, Kevin J. H., and William Richey, eds. Reading Rock and Roll: Authenticity, Appropriation, Aesthetics. New York: Columbia UP, 1999.

Dickerson, James. Goin’ Back to Memphis: A Century of Blues, Rock ‘n’ Roll, and Glorious Soul. New York: Schirmer/Prentice Hall, 1996.

DiLello, Richard. The Longest Cocktail Party: An Insider’s Diary of the Beatles, Their Million-Dollar Apple Empire, and Its Wild Rise and Fall. Ann Arbor, MI: Pierian, 1983.

Edwards, John W. Rock ‘n’ Roll, 1970 through 1979: Discographies of All Performers Who Hit the Charts. Jefferson, NC: McFarland, 1993.

*---. Rock ‘n’ Roll Through 1969: Discographies of All Performers Who Hit the Charts, Beginning in 1955. Jefferson, NC: McFarland, 1992.

Elliott, Brad. Surf’s Up!: The Beach Boys on Record, 1961-1981. Ann Arbor, MI: Pierian, 1982.

Elmer, Howard. Blues: Its Birth and Growth. New York: Rosen, 1999.

Epstein, Brian. A Cellarful of Noise. Ann Arbor, MI: Pierian, 1994.

Epstein, Dena. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: U of Illinois P, 1981.

Epstein, Jonathon S. Adolescents and Their Music: If It’s Too Loud, You’re Too Old. New York: Garland, 1995.

Erlewine, Michael, et al, eds. All Music Guide to Rock: The Experts’ Guide to the Best Rock, Pop, Soul, R&B, and Rap. 2nd ed. San Francisco: Miller Freeman, 1997.

Escott, Colin and Martin Hawkins. Good Rockin’ Tonight: Sun Records and the Birth of Rock ‘n’ Roll. New York: St Martin’s, 1992.

Foster, Chuck. Roots, Rock, Reggae: An Oral History of Reggae Music from Ska to Dancehall. New York: Billboard, 1999.

Frith, Simon. Sound Effects: Youth, Leisure, and the Politics of Rock ‘n’ Roll. New York: Pantheon, 1981.

Frith, Simon, and Andrew Goodwin, eds. On Record: Rock, Pop, and the Written Word. New York: Pantheon, 1990.

Fritz, Jimi, et al. Rave Culture: An Insider’s Overview. [?]: Smallfry Enterprises, 1999.

Gillett, Charlie. The Sound of the City: The Rise of Rock and Roll. New York: Outerbridge & Dienstfrey/Dutton, 1970.

Gilmore, Mikal. Night Beat: A Shadow History of Rock and Roll. New York: Doubleday, 1998.

Gimarc, George. Post Punk Diary: 1980-1982. New York: St. Martin’s, 1997.

---. Punk Diary: 1970-1979. New York: St. Martin’s, 1994.

Guralnick, Peter. Careless Love: The Unmaking of Elvis Presley. Boston: Little, Brown, 1999.

---. Last Train to Memphis. Boston: Little, Brown, 2000.

Guterman, Jimmy and Owen O’Donnell. The Worst Rock-and-Roll Records of All Time: A Fan’s Guide to the Stuff You Love to Hate. Secaucus, NJ: Carol, 1991.

Hager, Andrew G. Southern Fried Rock. New York: Friedman/Fairfax, 1995.

Heylin, Clinton. From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World. New York: Penguin USA, 1993.

Hip Hop Divas. New York: Three Rivers, 2001.

*Hoffman, Frank W. The Literature of Rock, 1954-1978. Metuchen, NJ: Scarecrow, 1981.

Holm-Hudson, Kevin, ed. Progressive Rock Reconsidered. New York: Routledge, 2001.

Holton, Robert. The King is Dead: The Story of the Funeral of Rock & Roll Legend Elvis Presley as Told by His Funeral Director. [?]: Literary Group, 1998.

Hoskyns, Barney. Glam!: Bowie, Bolan, and the Glitter Rock Revolution. London: Faber and Faber, 1998.

Intriguing, Outrageous, and Championed Rock Musicians of All Time. New York: Fireside/Simon & Schuster, 1995.

Jasper, Tony. The International Encyclopedia of Hard Rock & Heavy Metal. New York: Facts on File, 1985.

Jones, Alan. Saturday Night Forever: The Story of Disco. Chicago: A Cappella, 2000.

*Keil, Charles. Urban Blues. Chicago: U of Chicago P, 1966.

Kelly, Pat. More Than a Song to Sing: Mystical Ideas and the Lyrics of Van Morrison. Darlington County, Lee, Iara, Peter Shapiro, and Simon Reynolds. Modulations: A History of Electronic Music: Throbbing Words on Sound. New York: Caipirinha, 2000.

Lennon, John, et al. The Playboy Interviews with John Lennon and Yoko Ono. New York: Playboy, 1981.

Lennon, John and Jann Wenner. Lennon Remembers. [?]: Straight Arrow, 1971.

Lewis, Lisa A. Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple UP, 1990.

Leyser, Brady J. Rock Stars/Pop Stars: A Comprehensive Bibliography, 1955-1994. Westport, CT: Greenwood, 1994.

Light, Alan. The Vibe History of Hip Hop. New York: Three Rivers, 1999.

Loder, Kurt. Bat Chain Puller: Rock and Roll in the Age of Celebrity. New York: St. Martin’s, 1990.

Lomax, Alan. The Land Where the Blues Began. New York: Delta, 1995.

Lydon, John, et al. Rotten: No Irish, No Blacks, No Dogs: The Authorized Autobiography of Johnny Rotten of the Sex Pistols. New York: St. Martin’s, 1994.

Marcus, Greil. The Dustbin of History. Cambridge: Harvard UP, 1997.

---. In the Fascist Bathroom: Punk in Pop Music, 1977-1992. Cambridge: Harvard UP, 1999.

---. Lipstick Traces: A Secret History of the Twentieth Century. Cambridge: Harvard UP, 1989.

---. Mystery Train: Images of America in Rock ‘n’ Roll Music. New York: E. P. Dutton, 1975.

Marsh, Dave. The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. New York: Plume/New American Library/Penguin, 1989.

McNeil, Legs and Gillian McCain, eds. Please Kill Me: The Uncensored Oral History of Punk. New York: Penguin USA, 1997.

Miles, Barry. The Beatles: A Diary: An Intimate Day by Day History. London: Omnibus, 1998.

Miller, Jim. Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. New York: Simon & Schuster, 1999.

ed. The Rolling Stone Illustrated History of Rock & Roll. Revised and updated. New York: Rolling Stone, 1980.

Mitchell, Susan. Generation X: The Young Adult Market. 2nd ed. Ithaca, NY: New Strategist Publications, 1999.

Mitchell, Tony. Global Noise: Rap and Hip-Hop Outside the USA. Middletown, CT: Wesleyan UP, 2001.

Morrison, Craig. Go Cat Go!: Rockabilly Music and Its Makers. Reissue ed. Urbana: U of Illinois P, 1999.

Nite, Norm N. Rock On Almanac: The First Four Decades of Rock ‘n’ Roll: A Chronology. New York: Harper & Row, 1989.

Oakley, Giles. The Devil’s Music: A History of the Blues. New York: Taplinger, 1977.

Ogg, Alex and David Upshal. The Hip Hop Years: A History of Rap. New York: Fromm International, 2001.

O’Hara, Craig. The Philosophy of Punk: More Than Noise. San Francisco: A K Press, 1999.

Pike, Jeff. The Death of Rock ‘n’ Roll: Untimely Demises, Morbid Preoccupations, and Premature Forecasts of Doom in Pop Music. Boston: Faber and Faber, 1993.

Potash, Chris, ed. The Jimi Hendrix Companion: Three Decades of Commentary. New York: Schirmer, 1996.

Prendergast, Mark. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age. [?]: Bloomsbury USA, 2001.

---. Irish Rock: Roots, Personalities, Directions. Dublin: O’Brien, 1987.

Pollock, Bruce. The Rock Song Index: Essential Information on the 7,500 Most Important Songs of Rock and Roll. New York: Schirmer/Prentice Hall International, 1997.

Ro, Ronin. Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records. New York: Doubleday, 1998.

---. Gangsta: Merchandizing the Rhymes of Violence. New York: St. Martin’s, 1996.

Opinions from the Files of Rolling Stone. New York: Hyperion, 1996.

*Ross, Andrew, and Tricia Rose, eds. Microphone Fiends: Youth Music & Youth Culture. New York: Routledge, 1994.

Tricia Rose 1994. Black Noise. Wesleyan Press

Rowe, David. Popular Cultures: Rock Music, Sport and the Politics of Pleasure. London: SAGE, 1995.

Shore, Michael. The Rolling Stone Book of Rock Video. New York: Quill, 1984.

Slick, Grace and Andrea Cagan. Somebody to Love?: A Rock-and-Roll Memoir. New York: Warner, , Joe and Scott Lipscomb. Rock and Roll: Its History and Stylistic Development. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 1999.

Stump, Paul. The Music’s All that Matters: A History of Progressive Rock. London: Quartel Books Ltd., 1998.

Swenson, John. Bill Haley, the Daddy of Rock and Roll. New York: Stein and Day, 1983.

Tamm, Eric. Brian Eno: His Music and the Vertical Color of Sound. Boston: Faber and Faber, 1989.

Theberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover, NH: UP of New England/Wesleyan UP, 1999.

Thompson, John J. Raised by Wolves: The Story of Christian Rock & Roll. Toronto, ON: ECW, 2000.

*---. Early Downhome Blues: A Musical and Cultural Analysis. Urbana: U of Illinois P, 1977.

Tosches, Nick. Unsung Heroes of Rock ‘n’ Roll: The Birth of Rock in the Wild Years before Elvis. New York: Da Capo, 1999.

Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-Culture. London: Routledge, 1992.

Williams, Paul. Brian Wilson & the Beach Boys: How Deep Is the Ocean?: Essays & Conversations Exploring the Mysteries of Their Incomparable Musical Accomplishments. London: Omnibus, 1997.