1. Constructing the Popular: Cultural Production and Consumption: C. Lee Harrington and Denise D. Bielby.
Part I: What is Popular?:.
2. Making Artistic Music Popular Music: The Goal of True Folk: John Blacking.
3. Batman, Deviance, and Camp: Andy Medhurst.
4. Take Me Out to the Ball Game: The Transformation of Production–Consumption.
Relations in Professional Team Sport: Kimberly S. Schimmel.
5. Art Appreciation at Caesar′s Palace: Mel McCombie.
Part II: Cultural Production/Commodification:.
6. Art as Collection Action: Howard S. Becker.
7. Commodity Lesbianism: Danae Clark.
8. Alternative to What?: Tom Frank.
9. Imagineering the Inner City?: Landscapes of Pleasure and the Commodification of Cultural Spetacle in the Postmodern City: Scott Salmon.
Part III: Taste, Reception, and Resistance: .
11. (Male) Desire and (Female) Disgust: Reading Hustler: Laura Kipnis.
12. Hang Up My Rock and Roll Shoes: The Cultural Production of Rock and Roll: Harris Friedberg.
13. Site Reading?: Globalization, Identity and the Consumption of Place in Popular Music: Minelle Mahtani and Scott Salmon.
14. Diasporic Noise: History, Hip Hop, and the Post–colonial Politics of Sound: George Lipsitz.
Part IV: Authoring Texts/Readers Reading: .
15. The Concept of Formula in the Study of Popular Literature: John G. Cawelti.
16. The Task of the Translator: An Introduction to the Translation of Baudelaire′s Tableux Parisien: Walter Benjamin.
17. Intertextuality: John Fiske.
18. On Reading Soaps: A Semiotic Primer: Robert C. Allen.
19. Don′t Have to DJ No More: Sampling and the "Autonomous" Creator: David Sanjek.
Part V: Celebrity and Fandom:.
20. The Assembly Line of Greatness: Celebrity in Twentieth–Century America: Joshua Gamson.
21. Mountains of Contradictions: Gender, Class, and Region in the Star Image of Dolly Parton: Pamela Wilson.
22. Fandom as Pathology: Joli Jenson.
23. Scottish Fans, not English Hooligans! Scots, Scottishness, and Scottish Football: Gary P. T. Finn and Richard Giulianotti.
"This book is a most welcome addition to the field of media studies. Harrington and Bielby have chosen wisely by including a range of historical and more contemporary pieces that explore the production–consumption nexus in fresh and innovative ways. Art, music, prime–time television, movies, sports, video games, urban landscapes, all of this and more, will lead students and scholars alike to think comparatively about popular culture." Ron Lembo, Amherst College