Critical Investigation academic research GOOGLE SCHOLAR

Ten different relevant quotes
1. http://books.google.co.uk/books?hl=en&lr=&id=r42C8NAGseUC&oi=fnd&pg=PR3&dq=representation+women+in+the+music+industry&ots=LHzHMv6JRB&sig=aWF7G7aXAHOuIvdSZJyOlslk0YE#v=onepage&q=representation%20women%20in%20the%20music%20industry&f=false
From the book "Women and popular music sexuality, identity and subjectivity"

Joni Mitchell was a singer in the 1960’s she was trapped of the dilemma in wanting a man but at the same time needing to be free. And she knew how to sign about it and demonstrated that she was capable of earning a living through selling her creativity. She was the woman who represented how all the women were like at that time trying to come to terms with her identity. In the 1970’s there was a norm created where women stayed at home and looked after the children whilst men were outside the home potentially to generate political structure.

As we live in a time where there is popular music over the past 20 years no more than five women have been appointed heads of any UK based record companies, major or otherwise in the US. Women in the music industry get frustrated of working in a record label company where it’s dominated by males.

2. http://books.google.co.uk/books?hl=en&lr=&id=VAof87kvK84C&oi=fnd&pg=PP2&dq=+representation+of+women+in+the+music+industry+&ots=_F5loZ14iZ&sig=LO_4QMgZNdwp5kdeGsTimrriMgs#v=onepage&q=representation&f=false

From the book: "Gender, Branding and the modern music industry"

The music industry is in a state of constant flux, but for female pop stars, some things never change. For more than 3 decades there has been an imperative to look beautiful and be willing to emphasize sexuality in order to sell their music. Today technology speeding the pace of the industry and ever-younger starlets popping up, the impulse to sell sex above music is stronger than ever. 

3. http://www.tandfonline.com/doi/abs/10.1080/09589236.2012.681184#.Uoojy8TIZA1

Book: Images of powerful women in the age of 'choice feminism'

A number of scholars and journalists have argued that Western culture has become ‘sexualized’. Both women and men, they maintain, are highly sexualized in popular media. At the same time, scholars have examined the sexualization of women as part of a broader cultural ‘backlash’ against the gains of second-wave feminism and women's increasing power in society. We contribute to both of these fields with a longitudinal content analysis of four decades of Rolling Stone magazine covers. First, we analyze whether both women and men have become more sexualized over time and, if so, whether such increases have been proportionate. Second, we examine whether there is a relationship between women's increasing power in the music industry(as measured by popularity) and their sexualization on the cover of Rolling Stone. In the first case, we do not find evidence that US culture as a whole has become sexualized, as only women– but not men – have become both more frequently and more intensely sexualized on the cover of Rolling Stone. In the second case, we find evidence that sexualized images may be part of a backlash against women's gains since, as women musicians' popularity increased, they were increasingly sexualized and under-represented on the cover of Rolling Stone.

As in my question I am discussing specifically about texts, and one of the texts include a magazine. In this case it is Rolling Stone' and from this website they have identified how women's popularity has increased and have become continuously represented on the magazines and become more frequent and intensely sexuality.

                

                                

4. http://books.google.co.uk/books?hl=en&lr=&id=QkPzCfr2Ei0C&oi=fnd&pg=PP1&dq=miley+cyrus+bio&ots=BgnnbaKcdJ&sig=y2K91WivbCjTfbVBCyPNHrF4Ycc#v=onepage&q=miley%20cyrus%20bio&f=false

Miley Cyrus: A Biography

 By KIMBERLY DILLON SUMMERS

That little Miley Cyrus.. she’s like a little Elvis. The kids love her because she is Hannah Montana, but what people don’t realize about her is she is such a fantastic singer and songwriter. She writes songs like she’s 40 years old! She’s really deep! Music and the ability to perform are in Miley’s blood. To understand Miley, her values, and her work ethic, one must look at her background where it all started.

5. http://abs.sagepub.com/content/45/3/383.short

 Internet tools have become a significant conduit of social life and work life. The surveys of the Pew Internet & American Life Project in 2000 show that more than 52 million Americans went online each day, and there are significant differences in use between men and women, young and old, those of different races and ethnic groups, and those of different socioeconomic status. A user typology can be built around two variables: the length of time a person has used the Internet and the frequency with which he or she logs on from home. The authors contend that use of e-mail helps people build their social networks by extending and maintaining friend and family relationships.

6.http://www.jstor.org/discover/10.2307/591311?uid=2&uid=4&sid=21102950720057

Social media technologies let people connect by creating and sharing content. We examine the use of Twitter by famous people to conceptualize celebrity as a practice. On Twitter, celebrity is practiced through the appearance and performance of ‘backstage’ access. Celebrity practitioners reveal what appears to be personal information to create a sense of intimacy between participant and follower, publicly acknowledge fans, and use language and cultural references to create affiliations with followers. Interactions with other celebrity practitioners and personalities give the impression of candid, uncensored looks at the people behind the personas. But the indeterminate ‘authenticity’ of these performances appeals to some audiences, who enjoy the game playing intrinsic to gossip consumption. While celebrity practice is theoretically open to all, it is not an equalizer or democratizing discourse. Indeed, in order to successfully practice celebrity, fans must recognize the power differentials intrinsic to the relationship.

7.