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.
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