Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University and previously held academic positions in the UK and Canada. His areas of research specialism include youth culture, popular music scenes, history and heritage, local music industries, DIY culture and practice and qualitative research methods. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging, British Progressive Pop 1970 – 1980 and Music Scenes (co-edited with Richard A. Peterson). He is a member of the International Association for the Study of Popular Music (IASPM) and a former Chair of the UK and Ireland IASPM branch. In 1999 he co-founded the British Sociological Association Youth Study Group. He is also a member of The Australian Sociological Association (TASA) and former Editor in Chief of the Journal of Sociology. He is a Faculty Fellow of the Yale Center for Cultural Sociology, an Adjunct of the Institute of Sociology at the University of Porto, an International Research Fellow of the Finnish Youth Research Network, a founding member of the Consortium for Youth, Generations and Culture and a founding member of the Regional Music Research Group. He is also co-founder of KISMIF, a biennial conference focusing on DIY cultures and practice. Steve Waksman is Professor of Music and American Studies at Smith College, Massachusetts, USA. His works include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press, 2009), the latter of which was awarded the 2010 Woody Guthrie Award for best scholarly book on popular music by the US chapter of the International Association for the Study of Popular Music. With Reebee Garofalo he co-authored the sixth edition of Rockin’ Out: Popular Music in the U.S.A. (Pearson, 2013). His essays have appeared in Guitar Cultures, The Cambridge Companion to the Guitar, Listen Again: A Momentary History of Pop, and Metal Rules the Globe: Heavy Metal Music Around the World. Currently he is researching a book on the cultural history of live music and performance in the US, tentatively titled Live Music in America: A History, 1850–2000.

The Sage Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard textbook in popular music.  The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship.  International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field.

• Introduction - Andy Bennett and Steve WaksmanSECTION 1: Theory and Method - Introduction by Andy BennettThe Many Worlds of Popular Music: Ethnomusicological - Kevin DaweNotes on Sociological Theory and Popular Music Studies - Motti RegevWaiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert B. Rodman(Re)Generations of Popular Musicology - Serge LacasseArchival Research and the Expansion of Popular Music - Christine Feldman-BarrattSECTION 2: The Business of Popular Music - Introduction by Steve WaksmanPower, Production and the Pop Process - Reebee GarofaloIntermediaries and Intermediation - Devon PowersPopular Musical Labor in North America - Matt StahlMusic in Advertising in the U.S.: History and Issues - Timothy D. TaylorSECTION 3: Popular Music History - Introduction by Steve WaksmanGrinding out Hits at the Song Factory - Keir KeightleyPopular Music Genres: Aesthetics, Commerce and Identity - David BrackettLive Music History - Matt BrennanSECTION 4: The Global and the Local - Introduction by Andy BennettObservations on African, African-American, Middle Eastern - Tony MitchellElectronic Dance Music Cultures, Ritualization and the Case - Graham St. John“Everything Louder than Everyone Else’: The Origins and Persistence of Heavy Metal and Its Global Cultural Impact - Andy BrownPunk Rock Globalization - Ross HaenflerSECTION 5: The Star System - Introduction by Steve WaksmanRock Stars as Icons - David ShumwayEverybody’s in Show Biz: Performing Star Identity in Popular Music - Philip AuslanderMidnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop - Jacqueline WarwickDark Cosmos: Making Race, Shaping Stardom - C. Riley SnortonSECTION 6: Body and Identity - Introduction by Andy BennettBlurred lines, gender and Popular Music - Sheila WhiteleyPopular Music, Race and Identity - Jon StrattonDancing the Popular: The Expressive Interface of Bodies, Sound and Motion - Sherril DoddsShaping the Past of Popular music: Memory, Forgetting and Documenting - Catherine StrongSECTION 7: Media - Introduction by Andy BennettIn Print and On Screen: The Changing Character of Popular Music Journalism - Simon WarnerSight and Sound in Concert? The Interrelationship Between Music and Television - Tim Wall and Paul LongViewing with Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema - Scott HendersonBeyond Napster: Popular Music and the ‘Normal’ Internet - Nick PriorSECTION 8: Technology - Introduction by Steve WaksmanPhonography and the ‘Recording’ in Popular Music - Patrick FeasterGhosts of Electricity: Amplification - Peter DoyleUbiquitous Musics: Technology, Listening, and Subjectivity - Anahid KassabianSECTION 9: Digital Economies - Introduction by Steve WaksmanModes of Production: The Value of Modal Analysis for Popular Music Studies - Tim AndersonMusic, Copies and Essences - Joanna DemersAuthorship, Ownership, and Musical Appropriation - Kembrew McLeodMusic Cartels and the Dematerialization of Power - Aram Sinnreich

Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University and previously held academic positions in the UK and Canada. His areas of research specialism include youth culture, popular music scenes, history and heritage, local music industries, DIY culture and practice and qualitative research methods. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging, British Progressive Pop 1970 – 1980 and Music Scenes (co-edited with Richard A. Peterson). He is a member of the International Association for the Study of Popular Music (IASPM) and a former Chair of the UK and Ireland IASPM branch. In 1999 he co-founded the British Sociological Association Youth Study Group. He is also a member of The Australian Sociological Association (TASA) and former Editor in Chief of the Journal of Sociology. He is a Faculty Fellow of the Yale Center for Cultural Sociology, an Adjunct of the Institute of Sociology at the University of Porto, an International Research Fellow of the Finnish Youth Research Network, a founding member of the Consortium for Youth, Generations and Culture and a founding member of the Regional Music Research Group. He is also co-founder of KISMIF, a biennial conference focusing on DIY cultures and practice. Steve Waksman is Professor of Music and American Studies at Smith College, Massachusetts, USA. His works include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press, 2009), the latter of which was awarded the 2010 Woody Guthrie Award for best scholarly book on popular music by the US chapter of the International Association for the Study of Popular Music. With Reebee Garofalo he co-authored the sixth edition of Rockin’ Out: Popular Music in the U.S.A. (Pearson, 2013). His essays have appeared in Guitar Cultures, The Cambridge Companion to the Guitar, Listen Again: A Momentary History of Pop, and Metal Rules the Globe: Heavy Metal Music Around the World. Currently he is researching a book on the cultural history of live music and performance in the US, tentatively titled Live Music in America: A History, 1850–2000.

The Sage Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard textbook in popular music.  The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship.  International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field.

• Introduction - Andy Bennett and Steve WaksmanSECTION 1: Theory and Method - Introduction by Andy BennettThe Many Worlds of Popular Music: Ethnomusicological - Kevin DaweNotes on Sociological Theory and Popular Music Studies - Motti RegevWaiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert B. Rodman(Re)Generations of Popular Musicology - Serge LacasseArchival Research and the Expansion of Popular Music - Christine Feldman-BarrattSECTION 2: The Business of Popular Music - Introduction by Steve WaksmanPower, Production and the Pop Process - Reebee GarofaloIntermediaries and Intermediation - Devon PowersPopular Musical Labor in North America - Matt StahlMusic in Advertising in the U.S.: History and Issues - Timothy D. TaylorSECTION 3: Popular Music History - Introduction by Steve WaksmanGrinding out Hits at the Song Factory - Keir KeightleyPopular Music Genres: Aesthetics, Commerce and Identity - David BrackettLive Music History - Matt BrennanSECTION 4: The Global and the Local - Introduction by Andy BennettObservations on African, African-American, Middle Eastern - Tony MitchellElectronic Dance Music Cultures, Ritualization and the Case - Graham St. John“Everything Louder than Everyone Else’: The Origins and Persistence of Heavy Metal and Its Global Cultural Impact - Andy BrownPunk Rock Globalization - Ross HaenflerSECTION 5: The Star System - Introduction by Steve WaksmanRock Stars as Icons - David ShumwayEverybody’s in Show Biz: Performing Star Identity in Popular Music - Philip AuslanderMidnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop - Jacqueline WarwickDark Cosmos: Making Race, Shaping Stardom - C. Riley SnortonSECTION 6: Body and Identity - Introduction by Andy BennettBlurred lines, gender and Popular Music - Sheila WhiteleyPopular Music, Race and Identity - Jon StrattonDancing the Popular: The Expressive Interface of Bodies, Sound and Motion - Sherril DoddsShaping the Past of Popular music: Memory, Forgetting and Documenting - Catherine StrongSECTION 7: Media - Introduction by Andy BennettIn Print and On Screen: The Changing Character of Popular Music Journalism - Simon WarnerSight and Sound in Concert? The Interrelationship Between Music and Television - Tim Wall and Paul LongViewing with Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema - Scott HendersonBeyond Napster: Popular Music and the ‘Normal’ Internet - Nick PriorSECTION 8: Technology - Introduction by Steve WaksmanPhonography and the ‘Recording’ in Popular Music - Patrick FeasterGhosts of Electricity: Amplification - Peter DoyleUbiquitous Musics: Technology, Listening, and Subjectivity - Anahid KassabianSECTION 9: Digital Economies - Introduction by Steve WaksmanModes of Production: The Value of Modal Analysis for Popular Music Studies - Tim AndersonMusic, Copies and Essences - Joanna DemersAuthorship, Ownership, and Musical Appropriation - Kembrew McLeodMusic Cartels and the Dematerialization of Power - Aram Sinnreich

Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University and previously held academic positions in the UK and Canada. His areas of research specialism include youth culture, popular music scenes, history and heritage, local music industries, DIY culture and practice and qualitative research methods. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging, British Progressive Pop 1970 – 1980 and Music Scenes (co-edited with Richard A. Peterson). He is a member of the International Association for the Study of Popular Music (IASPM) and a former Chair of the UK and Ireland IASPM branch. In 1999 he co-founded the British Sociological Association Youth Study Group. He is also a member of The Australian Sociological Association (TASA) and former Editor in Chief of the Journal of Sociology. He is a Faculty Fellow of the Yale Center for Cultural Sociology, an Adjunct of the Institute of Sociology at the University of Porto, an International Research Fellow of the Finnish Youth Research Network, a founding member of the Consortium for Youth, Generations and Culture and a founding member of the Regional Music Research Group. He is also co-founder of KISMIF, a biennial conference focusing on DIY cultures and practice. Steve Waksman is Professor of Music and American Studies at Smith College, Massachusetts, USA. His works include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press, 2009), the latter of which was awarded the 2010 Woody Guthrie Award for best scholarly book on popular music by the US chapter of the International Association for the Study of Popular Music. With Reebee Garofalo he co-authored the sixth edition of Rockin’ Out: Popular Music in the U.S.A. (Pearson, 2013). His essays have appeared in Guitar Cultures, The Cambridge Companion to the Guitar, Listen Again: A Momentary History of Pop, and Metal Rules the Globe: Heavy Metal Music Around the World. Currently he is researching a book on the cultural history of live music and performance in the US, tentatively titled Live Music in America: A History, 1850–2000.

The Sage Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard textbook in popular music.  The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship.  International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field.

• Introduction - Andy Bennett and Steve WaksmanSECTION 1: Theory and Method - Introduction by Andy BennettThe Many Worlds of Popular Music: Ethnomusicological - Kevin DaweNotes on Sociological Theory and Popular Music Studies - Motti RegevWaiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert B. Rodman(Re)Generations of Popular Musicology - Serge LacasseArchival Research and the Expansion of Popular Music - Christine Feldman-BarrattSECTION 2: The Business of Popular Music - Introduction by Steve WaksmanPower, Production and the Pop Process - Reebee GarofaloIntermediaries and Intermediation - Devon PowersPopular Musical Labor in North America - Matt StahlMusic in Advertising in the U.S.: History and Issues - Timothy D. TaylorSECTION 3: Popular Music History - Introduction by Steve WaksmanGrinding out Hits at the Song Factory - Keir KeightleyPopular Music Genres: Aesthetics, Commerce and Identity - David BrackettLive Music History - Matt BrennanSECTION 4: The Global and the Local - Introduction by Andy BennettObservations on African, African-American, Middle Eastern - Tony MitchellElectronic Dance Music Cultures, Ritualization and the Case - Graham St. John“Everything Louder than Everyone Else’: The Origins and Persistence of Heavy Metal and Its Global Cultural Impact - Andy BrownPunk Rock Globalization - Ross HaenflerSECTION 5: The Star System - Introduction by Steve WaksmanRock Stars as Icons - David ShumwayEverybody’s in Show Biz: Performing Star Identity in Popular Music - Philip AuslanderMidnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop - Jacqueline WarwickDark Cosmos: Making Race, Shaping Stardom - C. Riley SnortonSECTION 6: Body and Identity - Introduction by Andy BennettBlurred lines, gender and Popular Music - Sheila WhiteleyPopular Music, Race and Identity - Jon StrattonDancing the Popular: The Expressive Interface of Bodies, Sound and Motion - Sherril DoddsShaping the Past of Popular music: Memory, Forgetting and Documenting - Catherine StrongSECTION 7: Media - Introduction by Andy BennettIn Print and On Screen: The Changing Character of Popular Music Journalism - Simon WarnerSight and Sound in Concert? The Interrelationship Between Music and Television - Tim Wall and Paul LongViewing with Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema - Scott HendersonBeyond Napster: Popular Music and the ‘Normal’ Internet - Nick PriorSECTION 8: Technology - Introduction by Steve WaksmanPhonography and the ‘Recording’ in Popular Music - Patrick FeasterGhosts of Electricity: Amplification - Peter DoyleUbiquitous Musics: Technology, Listening, and Subjectivity - Anahid KassabianSECTION 9: Digital Economies - Introduction by Steve WaksmanModes of Production: The Value of Modal Analysis for Popular Music Studies - Tim AndersonMusic, Copies and Essences - Joanna DemersAuthorship, Ownership, and Musical Appropriation - Kembrew McLeodMusic Cartels and the Dematerialization of Power - Aram Sinnreich