| Grunge, riot grrrl and the forgetting of women in popular culture C Strong Journal of Popular Culture 44 (2), 398-416, 2011 | 144 | 2011 |
| Grunge: Music and memory C Strong Routledge, 2016 | 139 | 2016 |
| Towards gender equality in the music industry: Education, practice and strategies for change C Strong, S Raine Bloomsbury Academic, 2019 | 62 | 2019 |
| The Routledge companion to popular music history and heritage S Baker, C Strong, L Istvandity, Z Cantillon Routledge, 2018 | 59 | 2018 |
| Australian women screen composers: Career barriers and pathways C Strong, F Cannizzo RMIT University, 2017 | 51 | 2017 |
| Gender politics in the music industry C Strong, S Raine IASPM Journal 8 (1), 2-8, 2018 | 42 | 2018 |
| Musical genius and/or nasty piece of work? Dealing with violence and sexual assault in accounts of popular music’s past C Strong, E Rush Continuum 32 (5), 569-580, 2018 | 39 | 2018 |
| ‘Put some balls on that woman’: Gendered repertoires of inequality in screen composers’ careers F Cannizzo, C Strong Gender, Work & Organization 27 (6), 1346-1360, 2020 | 32 | 2020 |
| Shaping the past of popular music: Memory, forgetting and documenting C Strong The Sage handbook of popular music, 418-433, 2015 | 29 | 2015 |
| Aesthetic cosmopolitan, national and local popular music heritage in Melbourne’s music laneways C Strong, F Cannizzo, I Rogers International Journal of Heritage Studies 23 (2), 83-96, 2017 | 28 | 2017 |
| Understanding challenges to the Victorian music industry during COVID-19 C Strong, F Cannizzo Victorian Office for Women, Victorian Music Development Office, 2020 | 27 | 2020 |
| Popular music heritage, grass-roots activism and web 2.0: The case of the ‘save the palace’campaign A Bennett, C Strong Cultural Sociology 12 (3), 368-383, 2018 | 26 | 2018 |
| ‘We love the bands and we want to keep them on the walls’: gig posters as heritage-as-praxis in music venues C Strong, S Whiting Continuum 32 (2), 151-161, 2018 | 25 | 2018 |
| All the girls in town: The missing women of Australian rock, cultural memory and coverage of the death of Chrissy Amphlett C Strong Perfect Beat 15 (2), 149-166, 2014 | 21 | 2014 |
| "... it sucked because it was written for teenage girls": Twilight, anti-fans and symbolic violence C Strong The Australian Sociological Association (TASA) Conference, 1-11, 2009 | 21 | 2009 |
| Qualified careers: Gendered attitudes towards screen composition education in Australia C Strong, F Cannizzo Towards gender equality in the music industry: Education, practice and …, 2019 | 15 | 2019 |
| Towards gender equality in the music industry: an introduction C Strong, S Raine Towards Gender Equality in the Music Industry, 1, 2019 | 14 | 2019 |
| The Triple J hottest 100 of all time 2009 and the dominance of the rock canon C Strong Meanjin 69 (2), 122-127, 2010 | 14 | 2010 |
| Zelmarie Cantillon, eds S Baker, C Strong, L Istvandity The Routledge companion to popular music history and heritage, 2018 | 13 | 2018 |
| Laneways of the dead: Memorialising musicians in Melbourne C Strong Death and the Rock Star, 103-118, 2016 | 13 | 2016 |
