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Cited by

• 2012The new ‘tween’ music industry: The Disney Channel, Kidz Bop and an emerging childhood counterpublic81 cited
• 2011Claiming Space: Discourses on Gender, Popular Music, and Social Change60 cited
• 2010Queer Temporalities and the Significance of ‘Music Scene’ Participation in the Social Identities of Middle-aged Queers59 cited
• 2017‘It’s a man’s man’s man’s world’: Music groupies and the othering of women in the world of rock30 cited
• 2021Ethnomusicology and the Meeting of Knowledges in Music21 cited
• 2021Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone20 cited
• 2021Ethnomusicological Praxis18 cited
• 2021Music for Global Human Development18 cited
• 2011Queering informal pedagogy: sexuality and popular music in school18 cited
• 2021Love and Business: Taylor Swift as Celebrity, Businesswoman, and Advocate18 cited
• 2008Slappers who gouge your eyes: vocal performance as exemplification of disturbing inertia in gender equality16 cited
• 2021Ethical Friction13 cited
• 2010The perpetuation of hegemonic male power and the loss of boyhood innocence: case studies from the music industry12 cited
• 2018Rock-and-Roll Kinderwhore: Gender, Genre, and “Girlville” in Liz Phair’sGirly Sound(1991)