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Informationen zum Autor Adrian Renzo is Lecturer in Music at Macquarie University. A former DJ, he has written about 1980s medley records, mash-up productions and Spanish megamixes, and has research interests in music tastes and aesthetics. His work has appeared in journals such as Popular Music and Society and The International Review of the Aesthetics and Sociology of Music . Liz Giuffre is Senior Lecturer in Communication for the Faculty of Arts and Social Sciences at University of Technology Sydney, Australia. Liz teaches Music and Sound Design and the Communications Core, and her research explores popular music and popular cultures, including audience studies, genre studies and (post) broadcast radio and television. She is also an arts journalist, podcaster and non-practicing musician. Klappentext Kylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star 'crossed over' to music with hit writer/producers SAW - and the shamelessly commercial approach of all involved saw the 'real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with 'mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a 'high art' canon? This text sheds light on the way that notions of 'mainstream' and 'other' play out in a local context-specifically, Australia and New Zealand music on a global stage. Vorwort Discusses Kylie Minogue’s reception by critics as “too formulaic” or “too commercial,” and interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Zusammenfassung Kylie Minogue’s self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children’s television star ‘crossed over’ to music with hit writer/producers SAW — and the shamelessly commercial approach of all involved saw the ‘real’ music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with ‘mainstream’ pop without denigrating the music and (just as importantly) without validating it according to the terms of a ‘high art’ canon? This text sheds light on the way that notions of ‘mainstream’ and ‘other’ play out in a local context—specifically, Australia and New Zealand music on a global stage. Inhaltsverzeichnis Acknowledgements Introduction K - Kinda Girlie, Kinda Gay Y - Youth L - Long Player I - Industry E - Endurance Outro References Index ...
