(1)
Welcome – Blackboard Learn. https://www.ole.bris.ac.uk/webapps/portal/execute/tabs/tabAction?tab_tab_group_id=_17_1.
(2)
SOCI10010 Unit Summary. https://www.ole.bris.ac.uk/webapps/blackboard/content/listContentEditable.jsp?content_id=_8999831_1&course_id=_261975_1.
(3)
Alexander, J. C. Introduction: The Meanings of (Social) Life: On the Origins of a Cultural Sociology. In The meanings of social life: a cultural sociology; Oxford University Press: Oxford; pp 3–9.
(4)
Smith, P.; Riley, A. Chapter 1: Culture in Classical Social Theory. In Cultural theory: an introduction; Blackwell: Malden, MA, 2009; pp 6–21.
(5)
Storey, J. Culture and Power in Cultural Studies : The Politics of Signification; Edinburgh University Press, 2010.
(6)
Williams, R. Keywords: A Vocabulary of Culture and Society, New edition.; Oxford University Press: New York, NY, 2015.
(7)
Alexander, J. C.; et al. Introduction: Cultural Sociology Today. In The Oxford Handbook of Cultural Sociology; Alexander, J. C., et al., Eds.; 2017; pp 1–23.
(8)
Smith, M. J. Culture and Everyday Life: The Ordinary Is Extraordinary. In Culture: reinventing the social sciences; Open University: Buckingham, 2000.
(9)
Wendy Griswold. Culture and the Cultural Diamond. In Cultures and societies in a changing world; SAGE Publications: Thousand Oaks, Calif.
(10)
Spillman, L. Introduction: Culture and Cultural Sociology. In Cultural sociology; Spillman, L., Ed.; Blackwell Publishers: Malden, MA, 2002; Vol. 6, pp 1–15.
(11)
Storey, J. What Is Popular Culture? In Cultural Theory and Popular Culture : An Introduction; Routledge, 2018; pp 1–17.
(12)
Arnold, M. Chapter 1: Sweetness and Light. In Culture and anarchy and other writings; Cambridge University Press: Cambridge, 1993; pp 58–80.
(13)
Adorno, T. W.; Horkheimer, M. The Culture Industry: Enlightenment as Mass Deception. In Dialectic of enlightenment; Verso: London, 1997; Vol. Verso classics, pp 120–167.
(14)
Williams, R. Culture Is Ordinary. In Studying culture: an introductory reader; Arnold: London, 2002; pp 5–14.
(15)
Storey, J. The Culture and Civilization Tradition. In Cultural theory and popular culture: an introduction; Routledge, 2018.
(16)
Bennett, A. The Mass Culture Debate. In Culture and everyday life; SAGE: London, 2005; pp 11–31.
(17)
Leavis, F. R. Mass Civilization and Minority Culture. In Cultural theory and popular culture: a reader; Pearson Longman: Harlow, 2013; pp 6–11.
(18)
Storey, J. ‘Chapter 4: Marxisms’. In Cultural theory and popular culture: an introduction; Pearson: Harlow, 2012; pp 62–70.
(19)
Strinati, D. An Introduction to Theories of Popular Culture, 2nd ed.; Routledge: London, 2004.
(20)
Arnold, M. Culture and Anarchy. In Cultural theory and popular culture: a reader; Pearson Longman: Harlow, 2013; pp 6–11.
(21)
Adorno, T. On Popular Music: I. The Musical Material. Studies in Philosophy and Social Sciences 1941, 9.
(22)
Adorno, T. ‘Culture Industry Reconsidered’. In The culture industry: selected essays on mass culture; Routledge: London, 2001; Vol. Routledge classics.
(23)
benjamin, walter. The Work of Art in the Age of Mechanical Reproduction.Pdf.
(24)
Gendron, B. ‘Theodore Adorno Meets The Cadillacs’. In Studies in entertainment: critical approaches to mass culture; Indiana University Press: Bloomington, 1986; Vol. Theories of contemporary culture, pp 18–36.
(25)
McDonald, D. A Theory of Mass Culture. In Mass culture: the popular arts in America; 1964.
(26)
Nelson, C.; Grossberg, L. Marxism and the Interpretation of Culture; University of Illinois Press: Urbana, 1988.
(27)
Swingewood, A. ‘Chapter 1: The Theory of Mass Society’. In The myth of mass culture; Macmillan: London, 1977.
(28)
Williams, R. Culture and Society, 1780-1950; Penguin Books in association with Chatto & Windus: Harmondsworth, 1963; Vol. Pelican books.
(29)
Media and Cultural Studies: KeyWorks; Durham, Meenakshi. G., Kellner, D. M., Eds.
(30)
Williams, R. ‘Culture and Masses’. In Popular culture: a reader; Sage: London, 2005.
(31)
Strinati, D. Structuralism, Semiology and Popular Culture. In An introduction to theories of popular culture; 2004.
(32)
Cottrell, S. Critical Thinking Skills. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=684303.
(33)
Hall, S. Encoding/Decoding. In Culture, media, language: working papers in cultural studies, 1972-79; Hutchinson: London, 1980.
(34)
Barthes, R. Mythologies; Éditions du Seuil: Paris, 1970; Vol. 10.
(35)
Bignell, J. Signs and Myths. In Media semiotics: an introduction; Manchester University Press: Manchester [England].
(36)
Culler, J. Ch 3: Mythologist. In Barthes: a very short introduction; Culler, J., Ed.; Oxford University Press: Oxford, 2002; Vol. 56.
(37)
Culler, J. D. Saussure, 2nd ed.; Fontana Press: London, 1986.
(38)
Hall, S. The Work of Representation.Pdf.
(39)
de Saussure, F. Signs and Language. In Culture and society: contemporary debates; Cambridge University Press: Cambridge [England], 1990; pp 55–63.
(40)
Saussure, F. de; Riedlinger, A. Course in General Linguistics, Rev. ed.; Bally, C., Sechehaye, A., Eds.; Fontana: London, 1974.
(41)
Storey, J. Structuralism and Post-Structuralism. In Cultural theory and popular culture: an introduction; Routledge: London, 2013; pp 113–128.
(42)
Bennett, A.; Kahn-Harris, K. Introduction. In After subculture: critical studies in contemporary youth culture; Palgrave Macmillan: Basingstoke, 2004; pp 1–19.
(43)
Dedman, T. Agency in UK Hip-Hop and Grime Youth Subcultures ? Peripherals and Purists. Journal of Youth Studies 2011, 14 (5), 507–522. https://doi.org/10.1080/13676261.2010.549820.
(44)
Bennett, A. Subcultures or Neo-Tribes? Rethinking the Relationship between Youth, Style and Musical Taste. Sociology 1999, 33 (3), 599–617. https://doi.org/10.1177/S0038038599000371.
(45)
Hebdige, D. Style. In Subculture: the meaning of style; Methuen: London, 1979; Vol. New accents, pp 100–112.
(46)
Fatsis, L. Grime: Criminal Subculture or Public Counterculture? A Critical Investigation into the Criminalization of Black Musical Subcultures in the UK. Crime, Media, Culture: An International Journal 2019, 15 (3), 447–461. https://doi.org/10.1177/1741659018784111.
(47)
Bennett, A. Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans. Sociology 2006, 40 (2), 219–235. https://doi.org/10.1177/0038038506062030.
(48)
Brake, M. Comparative Youth Culture: The Sociology of Youth Cultures and Youth Subcultures in America, Britain and Canada; RKP: London, 1985.
(49)
Chaney, D. ‘Fragmented Culture and Subcultures’. In After subculture: critical studies in contemporary youth culture; Palgrave Macmillan: Basingstoke, 2004; pp 36–48.
(50)
Clarke, G. ’Defending Ski Jumpers: A Critique of Theories of Youth and Subcultures’. In On record: rock, pop and the written word; Routledge: London, 1990; pp 81–96.
(51)
Cohen, P. ‘Subcultural Conflict and Working Class Community’. In Studying culture: an introductory reader; Arnold: London, 2002; pp 95–103.
(52)
Colosi, R. A Return to the Chicago School? From the ‘Subculture’ of Taxi Dancers to the Contemporary Lap Dancer. Journal of Youth Studies 2010, 13 (1), 1–16. https://doi.org/10.1080/13676260903214183.
(53)
Hebdige, D. Contemporizing ‘Subculture’: 30 Years to Life. European Journal of Cultural Studies 2012, 15 (3), 399–424. https://doi.org/10.1177/1367549412440525.
(54)
Hesmondhalgh, D. Subcultures, Scenes or Tribes? None of the Above. Journal of Youth Studies 2005, 8 (1), 21–40. https://doi.org/10.1080/13676260500063652.
(55)
Hodkinson, P. Chapter 2: ‘Reworking Subculture’ in Goth: Identity, Style and Subculture. In Goth: identity, style and subculture; Berg: Oxford, 2002; Vol. Dress, body, culture.
(56)
Hodkinson, P. Spectacular Youth Cultures and Ageing: Beyond Refusing to Grow Up. Sociology Compass 2013, 7 (1), 13–22. https://doi.org/10.1111/soc4.12008.
(57)
Hodkinson, P. Chapter 12. In Media, culture and society: an introduction; SAGE: Los Angeles, 2011.
(58)
Holly Kruse. Subcultural Identity in Alternative Music Culture. Popular Music 1993, 12 (1), 33–41.
(59)
Jenks, C. Conclusion: Identity and Dispersion. In Subculture: the fragmentation of the social; Sage Publications: London, 2005; pp 129–147.
(60)
McRobbie, A. ‘Settling Accounts with Subcultures: A Feminist Critique’. In On record: rock, pop and the written word; Routledge: London, 1990; pp 66–80.
(61)
Muggleton, D.; Weinzierl, R. The Post-Subcultures Reader; Berg: Oxford, 2003.
(62)
Stahl, G. ‘Tastefully Renovating Subcultural Theory: Making Space for a New Model’. In The post-subcultures reader; Berg: Oxford, 2003; pp 27–40.
(63)
Thornton, S. The Distinction of Cultures without Distinction. In Club cultures: music, media and subcultural capital; Polity Press: Cambridge, 1995; pp 1–25.
(64)
Thornton, S. Understanding Hipness: Subcultural Capital as Feminist Tool. In The popular music studies reader; Routledge: London, 2006; pp 99–105.
(65)
Thornton, S.; Gelder, K. The Subcultures Reader; Routledge: London, 1997.
(66)
Clarke et al, J. Subcultures, Cultures and Class. In Resistance through rituals: youth subcultures in post-war Britain; Routledge: London, 2006; pp 3–59.
(67)
Atkinson, W. The Context and Genesis of Musical Tastes: Omnivorousness Debunked, Bourdieu Buttressed. Poetics 2011, 39 (3), 169–186. https://doi.org/10.1016/j.poetic.2011.03.002.
(68)
Paddock, J. Consumption, Class and Taste. In The SAGE Handbook of Consumer Culture; SAGE Publications, 2017; pp 95–114.
(69)
Peterson, R. A. Understanding Audience Segmentation: From Elite and Mass to Omnivore and Univore. Poetics 1992, 21 (4), 243–258. https://doi.org/10.1016/0304-422X(92)90008-Q.
(70)
Bennett, T.; Silva, E. Introduction: Cultural Capital, Histories, Limits, Prospects - Main.Pdf. Poetics 2011, 39 (6).
(71)
Bennett, T. Researching Cultural Capital: Questions of Theory and Method. In Culture, class, distinction; Routledge: London, 2009; Vol. Culture, economy and the social, pp 24–39.
(72)
Bennett, T.; Savage, M.; Silva, E.; Warde, A.; Gayo-Cal, M.; Wright, D. ‘Cultural Capital and the Cultural Field in Contemporary Britain’ CRESC Working Paper Series Working Paper No. 3.
(73)
Bourdieu, P. The Forms of Capital. Handbook of Theory of Research for the Sociology of Education 1986.
(74)
Bourdieu, P.; Nice, R. The Production of Belief: Contribution to an Economy of Symbolic Goods. Media, Culture & Society 1980, 2 (3), 261–293. https://doi.org/10.1177/016344378000200305.
(75)
Bourdieu, P. Chapter 5. In Distinction: a social critique of the judgement of taste; Routledge: London, 2010; Vol. Routledge classics.
(76)
Bourdieu, P. ‘Social Space and Symbolic Power’. In In other words: essays towards a reflexive sociology; Polity Press: Cambridge, 1990.
(77)
Bourdieu, P.; Johnson, R. The Field of Cultural Production: Essays on Art and Literature; Polity Press: Cambridge, 1993.
(78)
Bourdieu, P. Chapter 14: ‘The Metamorphosis of Taste’. In Sociology in question; Sage: London, 1993; Vol. Theory, culture&society.
(79)
Calhoun, C. J.; LiPuma, E.; Postone, M. Bourdieu: Critical Perspectives; Polity: Cambridge, 1993.
(80)
Tak Wing Chan and John H. Goldthorpe. Social Stratification and Cultural Consumption: Music in England. European Sociological Review 2007, 23 (1), 1–19.
(81)
Fowler, B. Pierre Bourdieu and Cultural Theory: Critical Investigations; Sage: London, 1997; Vol. Theory, culture&society.
(82)
Fowler, B. Reading Bourdieu on Society and Culture; Blackwell: Oxford, 2000; Vol. Sociological review monographs.
(83)
Glevarec, H.; Pinet, M. Tablatures of Musical Tastes in Contemporary France: Distinction without Intolerance. Cultural Trends 2012, 21 (1), 67–88. https://doi.org/10.1080/09548963.2012.641776.
(84)
Jenkins, R. ‘Culture, Status and Distinction’. In Pierre Bourdieu; Routledge: London, 2002; Vol. Key sociologists.
(85)
Jenks, C. Chapter 6. In Culture; Routledge: London, 1993; Vol. Key ideas.
(86)
Harker, R. K.; Mahar, C.; Wilkes, C. An Introduction to the Work of Pierre Bourdieu: The Practice of Theory; Macmillan: London, 1990.
(87)
Richard A. Peterson and Roger M. Kern. Changing Highbrow Taste: From Snob to Omnivore. American Sociological Review 1996, 61 (5), 900–907.
(88)
Savage, M. The Musical Field. Cultural Trends 2006, 15 (2–3), 159–174. https://doi.org/10.1080/09548960600712975.
(89)
Savage, M.; Gayo-Cal, M. ‘Against the Omnivore: Assemblages of Contemporary Musical Taste in the United Kingdom’ CRESC Working Paper Series Working Paper No. 72. 2009.
(90)
Warde, A.; Wright, D.; Gayo-Cal, M. Understanding Cultural Omnivorousness: Or, the Myth of the Cultural Omnivore. Cultural Sociology 2007, 1 (2), 143–164. https://doi.org/10.1177/1749975507078185.
(91)
Mike Savage, S. F. Cultural Sociology and New Forms of Distinction. Poetics 2015, 53.
(93)
Bennett, A. Postmodernism. In Culture and everyday life; SAGE: London, 2005; pp 32–53.
(94)
Frederik Jameson. The Cultural Logic of Late Capitalism. In Postmodernism, or, The cultural logic of late capitalism; Duke University Press: Durham, N.C., 1991.
(95)
Baudrillard, J. Simulacra and Simulations. In Jean Baudrillard: selected writings; Stanford University Press: Stanford, Calif, 2001; pp 169–187.
(96)
Debord, G. Separation Perfected. In The society of the spectacle; Zone Books: New York, 1995; pp 11–24.
(97)
Storey, J. Chapter 12: Postmodernism’ in Cultural Theory and Popular Culture: An Introduction. In Cultural theory and popular culture: an introduction; Pearson: Harlow, 2012.
(98)
Crary, J. Suspensions of Perception: Attention, Spectacle, and Modern Culture; MIT Press: Cambridge, Mass, 1999.
(99)
Boyne, R.; Rattansi, A. Postmodernism and Society; Macmillan Education: Basingstoke, 1990; Vol. Communications and culture.
(100)
Connor, S. Postmodernist Culture: An Introduction to Theories of the Contemporary, 2nd ed.; Blackwell: Oxford, 1997.
(101)
Goodwin, A. Popular Music and Postmodern Theory. Cultural Studies 1991, 5 (2), 174–190. https://doi.org/10.1080/09502389100490151.
(102)
Iqani, M. Consumer Culture and the Media. In The SAGE Handbook of Consumer Culture; SAGE Publications, 2017.
(103)
Jameson, F. Signatures of the Visible; Routledge: London, 2007; Vol. Routledge classics.
(104)
Jenks, C. Chapter 7. In Culture; Routledge: London, 2005; Vol. Key ideas.
(105)
Lyotard, J.-F. The Postmodern Condition: A Report on Knowledge; Manchester University Press: Manchester, 1984; Vol. Theory and history of literature.
(106)
McGuigan, J. Modernity and Postmodern Culture; Open University Press: Buckingham, 1999; Vol. Issues in cultural and media studies.
(107)
Sarup, M.; Raja, T. Identity, Culture, and the Postmodern World; Edinburgh University Press: Edinburgh, 1996.
(108)
Smart, B. Postmodernity; Routledge: London, 1993; Vol. Key ideas.
(109)
Strinati, D. ‘Chapter 6: Postmodernism, Contemporary Popular Culture and Recent Theoretical Developments’. In An introduction to theories of popular culture; Routledge: London, 2004.
(110)
Swingewood, A. Chapter 10. In A short history of sociological thought; Macmillan: Basingstoke, 2000.
(111)
Brooker, W. Readings of Racism: Interpretation, Stereotyping and The Phantom Menace. Continuum 2001, 15 (1), 15–32. https://doi.org/10.1080/713657758.
(112)
Storey, J. Race, Racism and Representation. In Cultural Theory and Popular Culture : An Introduction; Routledge, 2018.
(113)
Adjusting the Contrast: British Television and Constructs of Race; Malik, S., Newton, D. M., Eds.; Manchester University Press: Manchester, 2018.
(114)
hooks, bell. Black Looks: Race and Representation; Routledge: New York, 2015.
(115)
Bhabha, H. ‘The "Other” Question’ Screen 24 (6). 1983.
(116)
Dyer, R. The Role of Stereotypes. In The matter of images: essays on representation; Routledge: London, 2002; pp 11–18.
(117)
Dyer, R. Chapter 13. In The matter of images: essays on representations; Routledge: London, 1993.
(118)
Dwyer, C. Contested Identities: Challenging Dominant Representations of Young British Muslim Women. In Cool places: geographies of youth cultures; 1998; pp 50–65.
(119)
Fanon, F. ‘The Fact of Blackness’. In Black skin, white masks; Grove Press: New York, 2008.
(120)
Fraley, T. A Man’s Gotta Have a Code: Identity, Racial Codes and HBO’s ‘The Wire’ | Darkmatter Journal. 2009.
(121)
Gilman, S. L. Difference and Pathology: Stereotypes of Sexuality, Race, and Madness; Cornell University Press: Ithaca, N.Y., 1985.
(122)
Gilroy, P. Ali G and the Oscars | openDemocracy. 2002.
(123)
Hall, S. The Work of Representation. In Representation; Open University/ SAGE: London, 2013; Vol. Culture, media and identities, pp 1–47.
(124)
Hall, S. New Ethnicities. In ‘Race’, culture and difference; Sage: London, 1992; pp 252–259.
(125)
Hall, S. What Is This Black in Black Popular Culture? In Stuart Hall: critical dialogues in cultural studies; Routledge: London, 1996; Vol. Comedia, pp 465–475.
(126)
Kelly, L. W. Casting ‘The Wire’: Complicating Notions of Performance, Authenticity, and ‘Otherness’ | Darkmatter Journal. 2009.
(127)
McNeil, D. White Negroes and ‘The Wire’ | Darkmatter Journal. 2009.
(128)
Malik, S. Representing Black Britain: A History of Black and Asian Images on British Television; SAGE Publications: London, 2002.
(129)
Mercer, K. ‘Reading Racial Fetishism’. In Welcome to the jungle: new positions in black cultural studies; Routledge: London, 1994.
(130)
Parker, D. Rethinking British Chinese Identities. In Cool places: geographies of youth cultures; Skelton, T., et al., Eds.; 1998.
(131)
Pickering, M. The Concept of the Stereotype. In Stereotyping: the politics of representation; Palgrave: Basingstoke, 2001; pp 1–21.
(132)
Ben Pitcher. Stories about Race: Knowledge and Form. In Consuming race; Routledge, Taylor & Francis Group: London, 2014; pp 129–143.
(133)
Ross, K. Black Fights Back Part I: Black Film-Making and Strategies of Opposition in Britain. In Black and white media: black images in popular film and television; Polity Press: Cambridge, 1996; pp 33–55.
(134)
Inglis, D.; Robertson, R. World Music and the Globalisation of Sound. In The sociology of art: ways of seeing; Palgrave: Basingstoke, 2005; pp 156–170.
(135)
Grazian, D. Demystifying Authenticity in the Sociology of Culture’. In Routledge handbook of cultural sociology; Grindstaff, L., Lo, M. M., Hall, J. R., Eds.; Routledge: London, 2019; pp 191–200.
(136)
Appadurai, A. Disjuncture and Difference in the Global Cultural Economy. Theory, Culture & Society 1990, 7 (2), 295–310. https://doi.org/10.1177/026327690007002017.
(137)
Barbalet, J. Globalization and Cosmopolitanism: Continuity and Disjuncture, Contemporary and Historical. Journal of Sociology 2014, 50 (2), 199–212. https://doi.org/10.1177/1440783312448686.
(138)
Barrett, J. World Music, Nation and Postcolonialism. Cultural studies. 1996, 237–247.
(139)
Biddle, I.; Knights, V. ‘Introduction: National Popular Musics: Betwixt and Beyond the Local and Global’. In Music, national identity and the politics of location: between the global and the local; Ashgate: Aldershot, 2007; Vol. Ashgate popular and folk music series, pp 1–15.
(140)
Born, G.; Hesmondhalgh, D. ‘Introduction: On Difference, Representation and Appropriation in Music’. In Western music and its others: difference, representation, and appropriation in music; University of California Press: Berkeley, Cal, 2000.
(141)
Burke, P. Cultural Hybridity; Polity Press: Cambridge, 2009.
(142)
Byrne, D. MUSIC - Crossing Music’s Borders In Search Of Identity - ‘I Hate World Music’ - NYTimes.Com. 1999.
(143)
García Canclini, N.; Rosaldo, R.; Chiappari, C. L.; López, S. L. Hybrid Cultures: Strategies for Entering and Leaving Modernity; University of Minnesota Press: Minneapolis, 1995.
(144)
Erlmann, V. ‘The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s’, Public Culture 8. 1996, 467–487.
(145)
Frith, S. The Discourse of World Music. In Western music and its others: difference, representation, and appropriation in music; University of California Press: Berkeley, Cal, 2000; pp 305–322.
(146)
Reebee Garofalo. Culture Versus Commerce: The Marketing of Black Popular Music. Public Culture 1994, 7 (1), 275–287. https://doi.org/10.1215/08992363-7-1-275 10.1215/08992363-7-1-275.
(147)
Reebee Garofalo. Whose World, What Beat: The Transnational Music Industry, Identity, and Cultural Imperialism. The World of Music 1993, 35 (2), 16–32.
(148)
Connell, J.; Gibson, C. World Music: Deterritorializing Place and Identity. Progress in Human Geography 2004, 28 (3), 342–361. https://doi.org/10.1191/0309132504ph493oa.
(149)
Gilroy, P. Sounds Authentic: Black Music, Ethnicity, and the Challenge of a ‘Changing’ Same. Black Music Research Journal 1991, 11 (2). https://doi.org/10.2307/779262.
(150)
Gilroy, P. The Black Atlantic: Modernity and Double Consciousness; Verso: London, 1993.
(151)
Haynes, J. Music Affinity. In Music, difference and the residue of race; Routledge: New York, 2013; Vol. Routledge research in race and ethnicity, pp 113–144.
(152)
Haynes, J. In the Blood:The Racializing Tones of Music Categorization. Cultural Sociology 2010, 4 (1), 81–100. https://doi.org/10.1177/1749975509356862.
(153)
Haynes, J. World Music and the Search for Difference. Ethnicities 2005, 5 (3), 365–385. https://doi.org/10.1177/1468796805054961.
(154)
Machin, D. Chapter1 Discourses of Popular Music.Pdf.
(155)
Hutnyk, J. Hybridity. Ethnic and Racial Studies.
(156)
Papastergiadis, N. Hybridity and Ambivalence. Theory, Culture & Society 2005, 22 (4), 39–64. https://doi.org/10.1177/0263276405054990.
(157)
Pieterse, J. N. Hybridity, So What? Theory, Culture & Society 2001, 18 (2–3), 219–245. https://doi.org/10.1177/026327640101800211.
(158)
Massey, D. The Spatial Construction of Youth Cultures. In Cool places: geographies of youth cultures; 1998.
(159)
Taylor, T. D. Global Pop: World Music, World Markets; Routledge: New York, 1997.
(160)
Taylor, T. D. World Music, Value and Memory - Popularmusikforschung42_07_Taylor.Pdf.
(161)
Fraley, T. I Got a Natural Skill…: Hip-Hop, Authenticity, and Whiteness. Howard Journal of Communications 2009, 20 (1), 37–54. https://doi.org/10.1080/10646170802664979.
(162)
Rose, T. A Style Nobody Can Deal With: Politics, Style and the PostIndustrial City in Hip-Hop. In Microphone fiends: youth music and youth culture; Routledge: London, 1994; pp 71–88.
(163)
Barron, L. The Sound of Street Corner Society: UK Grime Music as Ethnography. European Journal of Cultural Studies 2013, 16 (5), 531–547. https://doi.org/10.1177/1367549413491937.
(164)
Bennett, A. The Significance of Locality. In Popular music and youth culture: music, identity and place; Macmillan: London, 2000; pp 52–70.
(165)
Bennett, A. Hip Hop Am Main: The Localization of Rap Music and Hip Hop Culture. Media, Culture & Society 1999, 21 (1), 77–91. https://doi.org/10.1177/016344399021001004.
(166)
Brooks, S.; Conroy, T. Hip-Hop Culture in a Global Context: Interdisciplinary and Cross-Categorical Investigation. American Behavioral Scientist 2011, 55 (1), 3–8. https://doi.org/10.1177/0002764210381723.
(167)
Gibson, M. "That’s Hip-Hop to Me!”: Race, Space, and Temporal Logics of Authenticity in Independent Cultural Production | Elsevier Enhanced Reader. Poetics 2014.
(168)
Herson, B. A Historical Analysis of Hip-Hop’s Influence in Dakar from 1984 - 2000. American Behavioral Scientist 2011, 55 (1), 24–35. https://doi.org/10.1177/0002764210381727.
(169)
Ilan, J. ‘The Industry’s the New Road’: Crime, Commodification and Street Cultural Tropes in UK Urban Music. Crime, Media, Culture: An International Journal 2012, 8 (1), 39–55. https://doi.org/10.1177/1741659011433367.
(170)
Lipsitz, G. ‘Chapter 2: Diasporic Noise: History, Hip Hop and the Post-Colonial Politics of Sound’. In Dangerous crossroads: popular music, postmodernism, and the poetics of place; Verso: London, 1997; pp 23–48.
(171)
Qirko, H. Consumer Authentication of Popular Music in the Global Postmodern - 03007766.2013.798552. Popular Music & Society 2014, 37 (3).
(172)
Reitsamer, R.; Prokop, R. Keepin’ It Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria. Cultural Sociology 2018, 12 (2), 193–207. https://doi.org/10.1177/1749975517694299.
(173)
Rose, T. Black Noise: Rap Music and Black Culture in Contemporary America; Wesleyan University Press: Middletow, Conn, 1994; Vol. Music/culture.
(174)
Thomas Solomon. ‘Living Underground Is Tough’: Authenticity and Locality in the Hip-Hop Community in Istanbul, Turkey. 2005.
(175)
Swedenburg, T. Homies in the Hood: Rap’s Commodification of Insubordination. New formations a journal of culture theory politics. 1992, 53–66.
(176)
Cohen, S. ‘Chapter 1: Music and the City: Cultural Diversity in a Global Cosmopolis’. In Decline, renewal and the city in popular music culture: beyond the Beatles; Ashgate: Aldershot, 2007; Vol. Ashgate popular and folk music series, pp 9–40.
(177)
Connell, J.; Gibson, C. Sounds and Scenes: A Place for Music? In Sound tracks: popular music, identity and place; Routledge: London, 2003; Vol. Critical geographies, pp 90–116.
(178)
Dresser, M.; Fleming, P.; Burton, E.; Hillaby, J.; Maisokwadzo, F. Bristol: Ethnic Minorities and the City 1000-2001; Phillimore: Chichester, 2007; Vol. An England’s past for everyone paperback.
(179)
Haynes, J. Embodied Minstrelsy, Racialization and Redemption in Reggae. European Journal of Cultural Studies 2019. https://doi.org/10.1177/1367549419847111.
(180)
Hyder, R.; Henning, M. . ‘Chapter 7: 'Locating the Bristol Sound: Archiving the Music as Everyday Life’. In Sites of popular music heritage: memories, histories, places; Cohen, S., Knifton, R., Leonard, M., Roberts, L., Eds.; Routledge, Taylor & Francis Group: New York, 2015; Vol. Routledge studies in popular music.
(181)
Hyder, R. Black Music and Cultural Exchange in Bristol. In Black popular music in Britain since 1945; Stratton, J., Zuberi, N., Eds.; Ashgate: Farnham, Surrey, 2014; Vol. Ashgate popular and folk music series, pp 85–99.
(182)
Johnson, P. Straight Outa Bristol: Massive Attack, Portishead, Tricky and the Roots of Trip-Hop; Sceptre: London, 1997.
(183)
Kruse, H. Local Identity and Independent Music Scenes, Online and Off. Popular Music and Society 2010, 33 (5).
(184)
Mitchell, T. Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania; Leicester University Press: London, 1996.
(185)
Webb, P. Interrogating the Production of Sound and Place: The Bristol Phenomenon, from Lunatic Fringe to Worldwide Massive. In Music, space and place: popular music and cultural identity; Ashgate: Aldershot, 2004; Vol. Ashgate popular and folk music series, pp 66–85.
(186)
Bennett, A.; Peterson, R. A. Music Scenes: Local, Translocal and Virtual; Vanderbilt University Press: Nashville, Tenn, 2004.
(187)
Doreen Massey. The Spatial Construction of Youth Cultures. In Cool Places: Geographies of Youth Culture; G. Valentine, T. S., Ed.; pp 122–130.
(188)
Radano, R. On Ownership and Value - Blacmusiresej.30.2.0363.Pdf. Black Music Research Journal 2010, 30 (2).
(189)
Michael Bull. No Dead Air! The iPod and the Culture of Mobile Listening’. Leisure Studies 2005. https://doi.org/10.1080/0261436052000330447.
(190)
Nick Prior. The Rise of the New Amateurs: Popular Music, Digital Technology and the Fate of Cultural Production. In Handbook of Cultural Sociology; Laura Grindstaff, J. R. H., Ming Cheng Miriam Lo, Eds.
(191)
Sexton, J. ‘Digital Music: Consumption, Distribution and Production’. In Digital cultures; McGraw-Hill Open University Press: Maidenhead, 2009.
(192)
Richard James Burgess. The History of Music Production; Oxford University Press, 2014.
(193)
Anderson, C.; Anderson, C. The Long Tail: How Endless Choice Is Creating Unlimited Demand; Random House Business Books: London, 2006.
(194)
Avdeef, M. ‘Technological Engagement and Musical Eclecticism: An Examination of Contemporary Listening Practices’, Participations, 9(2). 2012.
(195)
Bartmanski, D.; Woodward, I. The Vinyl: The Analogue Medium in the Age of Digital Reproduction. Journal of Consumer Culture 2015, 15 (1), 3–27. https://doi.org/10.1177/1469540513488403.
(196)
Baym, N. K. "Fans or Friends?: Seeing Social Media Audiences as Musicians Do” Participations 9 (2). 2012, 286–316.
(197)
Beer, D. Making Friends with Jarvis Cocker: Music Culture in the Context of Web 2.0. Cultural Sociology 2008, 2 (2), 222–241. https://doi.org/10.1177/1749975508091034.
(198)
Beer, D. THE ICONIC INTERFACE AND THE VENEER OF SIMPLICITY:MP3 Players and the Reconfiguration of Music Collecting and Reproduction Practices in the Digital Age. Information, Communication & Society 2008, 11 (1), 71–88. https://doi.org/10.1080/13691180701858919.
(199)
Beer, D. Mobile Music, Coded Objects and Everyday Spaces. Mobilities 2010.
(200)
Bennett, L. ‘If We Stick Together We Can Do Anything’: Lady Gaga Fandom, Philanthropy and Activism through Social Media - 19392397.2013.813778. Celebrity Studies 2014.
(201)
Jesse C. Bockstedt, Robert J. Kauffman and Frederick J. Riggins. The Move to Artist-Led On-Line Music Distribution: A Theory-Based Assessment and Prospects for Structural Changes in the Digital Music Market. International Journal of Electronic Commerce 2006, 10 (3), 7–38.
(202)
Bull, M. Sound Moves: iPod Culture and Urban Experience; Routledge: Abingdon, 2007.
(203)
Choi, H.; Burnes, B. The Internet and Value Co-Creation: The Case of the Popular Music Industry. Prometheus 2013, 31 (1), 35–53. https://doi.org/10.1080/08109028.2013.774595.
(204)
Edmond, M. Here We Go Again. Television & New Media 2014, 15 (4), 305–320. https://doi.org/10.1177/1527476412465901.
(205)
Frith, S. Art versus Technology: The Strange Case of Popular Music. Media, Culture & Society 1986, 8 (3), 263–279. https://doi.org/10.1177/016344386008003002.
(206)
Goodwin, A. ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’. In On record: rock, pop and the written word; Routledge: London, 1990; pp 258–273.
(207)
Hayes, D. Take Those Old Records Off the Shelf’: Youth and Music Consumption in the Postmodern Age. Popular Music & Society 2006.
(208)
Haynes, J.; Marshall, L. Beats and Tweets: Social Media in the Careers of Independent Musicians. New Media & Society 2018, 20 (5), 1973–1993. https://doi.org/10.1177/1461444817711404.
(209)
Haynes, J.; Marshall, L. Reluctant Entrepreneurs: Musicians and Entrepreneurship in the ‘New’ Music Industry. The British Journal of Sociology 2018, 69 (2), 459–482. https://doi.org/10.1111/1468-4446.12286.
(210)
Hesmondhalgh, D. ‘Digitalisation, Music and Copyright’, CRESC Working Paper Series, Working Paper No. 30, 2007.
(211)
Hosokawa, S. The Walkman Effect - Walkman_effect.Pdf. Popular Music 1984, 4.
(212)
Hughes, J.; Lang, K. R. If I Had a Song: The Culture of Digital Community Networks and Its Impact on the Music Industry. International Journal on Media Management 2003, 5 (3), 180–189. https://doi.org/10.1080/14241270309390033.
(213)
IFPI Digital Music Report 2013 Engine of a Digital World.
(214)
Jones, S. MUSIC THAT MOVES: POPULAR MUSIC, DISTRIBUTION AND NETWORK TECHNOLOGIES. Cultural Studies 2002, 16 (2), 213–232. https://doi.org/10.1080/09502380110107562.
(215)
Jones, S. Music and the Internet. Popular Music 2000.
(216)
Leyshon, A. Scary Monsters? Software Formats, Peer-to-Peer Networks, and the Spectre of the Gift. Environment and Planning D: Society and Space 2003, 21 (5), 533–558. https://doi.org/10.1068/d48j.
(217)
Leyshon, A.; Webb, P.; French, S.; Thrift, N.; Crewe, L. On the Reproduction of the Musical Economy after the Internet. Media, Culture & Society 2005, 27 (2), 177–209. https://doi.org/10.1177/0163443705050468.
(218)
Lingel, J.; Naaman, M. You Should Have Been There, Man: Live Music, DIY Content and Online Communities. New Media & Society 2012, 14 (2), 332–349. https://doi.org/10.1177/1461444811417284.
(219)
McCourt, T.; Burkart, P. When Creators, Corporations and Consumers Collide: Napster and the Development of On-Line Music Distribution. Media, Culture & Society 2003, 25 (3), 333–350. https://doi.org/10.1177/0163443703025003003.
(220)
Magaudda, P. When Materiality ?Bites Back?: Digital Music Consumption Practices in the Age of Dematerialization. Journal of Consumer Culture 2011, 11 (1), 15–36. https://doi.org/10.1177/1469540510390499.
(221)
Marshall, L. Let’s Keep Music Special. Fuck Spotify: On-Demand Streaming and the Controversy over Artist Royalties. Creative Industries Journal 2015, 8 (2), 177–189. https://doi.org/10.1080/17510694.2015.1096618.
(222)
Marshall, P. D. The Promotion and Presentation of the Self: Celebrity as Marker of Presentational Media. Celebrity Studies 2010.
(223)
Morris, J. W. Making Music Behave: Metadata and the Digital Music Commodity. New Media & Society 2012, 14 (5), 850–866. https://doi.org/10.1177/1461444811430645.
(224)
Marwick, A.; boyd, danah. To See and Be Seen: Celebrity Practice on Twitter. Convergence: The International Journal of Research into New Media Technologies 2011, 17 (2), 139–158. https://doi.org/10.1177/1354856510394539.
(225)
Nowak, R. The Material Modalities of Music Consumption. In Consuming music in the digital age: technologies, roles and everyday life; Palgrave Macmillan: Basingstoke, 2016.
(226)
Potts, L. ‘Amanda Palmer and the #LOFNOTC: How Online Fan Participation Is Rewriting Music Labels’. Participations, 9(2). 2012, 360–382.
(227)
Simun, M. My Music, My World: Using the MP3 Player to Shape Experience in London. New Media & Society 2009, 11 (6), 921–941. https://doi.org/10.1177/1461444809336512.
(228)
Rodman, G. B.; Vanderdonckt, C. MUSIC FOR NOTHING OR, I WANT MY MP3. Cultural Studies 2006, 20 (2–3), 245–261. https://doi.org/10.1080/09502380500495734.
(229)
Sandywell, B.; Beer, D. Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture. Convergence: The International Journal of Research into New Media Technologies 2005, 11 (4), 106–121. https://doi.org/10.1177//1354856505061057.
(230)
Schradie, J. The Digital Production Gap: The Digital Divide and Web 2.0 Collide. Poetics 2011, 39 (2), 145–168. https://doi.org/10.1016/j.poetic.2011.02.003.
(231)
Serazio, M. The Apolitical Irony of Generation Mash?Up: A Cultural Case Study in Popular Music. Popular Music and Society 2008, 31 (1), 79–94. https://doi.org/10.1080/03007760701214815.
(232)
Sterne, J. MP3: The Meaning of a Format; Duke University Press: Durham, N.C., 2012; Vol. Sign, storage, transmission.
(233)
Sterne, J. The Mp3 as Cultural Artifact. New Media & Society 2006, 8 (5), 825–842. https://doi.org/10.1177/1461444806067737.
(234)
Wikström, P. The Music Industry: Music in the Cloud; Polity: Cambridge, 2009; Vol. Digital media and society series.
(235)
Schiermer, B. Late-Modern Hipsters. Acta Sociologica 2014, 57 (2), 167–181. https://doi.org/10.1177/0001699313498263.
(236)
Featherstone, M. Theories of Consumer Culture. In Consumer culture and postmodernism; Sage: London, 1991; Vol. Theory, culture&society, pp 13–27.
(237)
Lury, C. Material Culture and Consumer Culture. In Consumer culture; Polity Press: Cambridge, 1996; pp 10–51.
(238)
Baudrillard, J. ‘Consumer Society’. In Jean Baudrillard: selected writings; Stanford University Press: Stanford, Calif, 2001; pp 32–59.
(239)
Bocock, R. ‘The Emergence of the Consumer Society’. In The Polity reader in cultural theory; Polity Press in association with Blackwell: Cambridge, 1994.
(240)
Bennett, A. Culture and Everyday Life; SAGE: London, 2005.
(241)
Chessel, M.; Dubuisson-Ouellier, S. The Making of the Consumer: Historical and Sociological Perspectives. In The SAGE Handbook of Consumer Culture; SAGE Publications, 2017.
(242)
MacKinnon, N. The British Folk Scene: Musical Performance and Social Identity; Open University Press: Buckingham, 1993; Vol. Popular music in Britain.
(243)
Cohen, S. Rock Culture in Liverpool: Popular Music in the Making; Clarendon Press: Oxford, 1991.
(244)
Edwards, T. Contradictions of Consumption: Concepts, Practices and Politics in Consumer Society; Open University Press: Buckingham, 2000.
(245)
Ewen, S. Captains of Consciousness: Advertising and the Social Roots of the Consumer Culture, 25th anniversary ed.; BasicBooks: New York, 2001.
(246)
Health, J. The Structure of Hip Consumerism. Philosophy & Social Criticism 2001, 27 (6), 1–17. https://doi.org/10.1177/019145370102700601.
(247)
Heath, J.; Potter, A. Chapter 7: 'From Status Seeking to Coolhunting’. In The rebel sell: how the counterculture became consumer culture; Capstone: Chichester, 2006.
(248)
Jameson, J. ‘Postmodernism and Consumer Society’. In Studying culture: an introductory reader; Arnold: London, 2002.
(249)
Leiss, W. The Icons of the Marketplace. Theory, Culture & Society 1983, 1 (3), 10–21. https://doi.org/10.1177/026327648300100302.
(250)
Lunt, P. K.; Livingstone, S. M. Mass Consumption and Personal Identity: Everyday Economic Experience; Open University Press: Buckingham, 1992.
(251)
McGuigan, J. Apprentices to Cool Capitalism. Social Semiotics 18 (3).
(252)
McGuigan, J. From Cultural Populism to Cool Capitalism. Art & the Public Sphere 2011, 1 (1), 7–18. https://doi.org/10.1386/aps.1.1.7_1.
(253)
Magaudda, P. When Materiality ‘Bites Back’: Digital Music Consumption Practices in the Age of Dematerialization. Journal of Consumer Culture 2011, 11 (1), 15–36. https://doi.org/10.1177/1469540510390499.
(254)
McGuigan, J. Cool Capitalism; Pluto: London, 2009.
(255)
Miles, S. The Emergence of Contemporary Consumer Culture. In The SAGE Handbook of Consumer Culture; SAGE Publications, 2017; pp 37–52.
(256)
Miller, D. Consumption and Its Consequences; Polity: Cambridge, 2012.
(257)
Mullins, P. R. The Materiality of Consumer Culture. In The SAGE Handbook of Consumer Culture; SAGE Publications, 2017.
(258)
Paterson, M. Consumption and Everyday Life; Routledge: London, 2006; Vol. The new sociology.
(259)
Sassatelli, R. Consumer Culture: History, Theory and Politics, 1st ed.; SAGE Publications: Los Angeles, 2007.
(260)
Trentmann, F. The Making of the Consumer: Knowledge, Power and Identity in the Modern World; Berg: Oxford, 2006; Vol. Cultures of consumption series.
