Kom, Brian S. R.2014-02-042014-02-0420142014http://hdl.handle.net/10393/30559http://dx.doi.org/10.20381/ruor-3537Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.enBillboardCurriculumCurriculum theoryEducationMental healthMusicPedagogyPopular culturePopular musicRadioPublic pedagogyYouth cultureThesis