Resisting Muse: Popular Music and Social Protest
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aboriginal
Aboriginal Popular Music
black
Cassette Culture
Category=AVL
Category=JHMC
Central Australian Aboriginal Media Association
cultural resistance studies
Deena Weinstein
DJ Culture
DJ Spooky
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Fire Fly
Gail Hilson Woldu
Gothic Music
Hard Travelin
Hip Hop Headz
Home Recording Technologies
identity politics in music
Independent Music
Independent Woman
James Smethurst
Jerry Rodnitsky
John Street
Joy Division
judas
Kathleen McConnell
Kimberley Jackson
Mark Willhardt
Michelle Shocked
music sociology
Peter Dunbar-Hall
political activism through contemporary music
Political Music
Pop Star
priest
protest song analysis
Protest Songs
race and gender in popular music
Rastafarian Movement
Recording Rights
Reggae Music
Reggae Songs
Russell A. Potter
sabbath
Sean K. Kelly
songs
Sound Choice
Stephen A. King
Steven Hamelman
Straight Edge
subcultural music movements
Tragic Flaw
Young Man
Product details
- ISBN 9780754651147
- Weight: 470g
- Dimensions: 156 x 234mm
- Publication Date: 28 Mar 2006
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Popular music has traditionally served as a rallying point for voices of opposition, across a huge variety of genres. This volume examines the various ways popular music has been deployed as anti-establishment and how such opposition both influences and responds to the music produced. Implicit in the notion of resistance is a broad adversarial hegemony against which opposition is measured. But it would be wrong to regard the music of popular protest as a kind of dialogue in league against 'the establishment'. Convenient though they are, such 'us and them' arguments bespeak a rather shop-worn stance redolent of youthful rebellion. It is much more fruitful to perceive the relationship as a complex dialectic where musical protest is as fluid as the audiences to which it appeals and the hegemonic structures it opposes. The book's contemporary focus (largely post-1975) allows for comprehensive coverage of extremely diverse forms of popular music in relation to the creation of communities of protest. Because such communities are fragmented and diverse, the shared experience and identity popular music purports is dependent upon an audience collectivity that is now difficult to presume. In this respect, The Resisting Muse examines how the forms and aims of social protest music are contingent upon the audience's ability to invest the music with the 'appropriate' political meaning. Amongst a plethora of artists, genres, and themes, highlights include discussions of Aboriginal rights and music, Bauhaus, Black Sabbath, Billy Bragg, Bono, Cassette culture, The Capitol Steps, Class, The Cure , DJ Spooky, Drum and Bass, Eminem, Farm Aid, Foxy Brown, Folk, Goldie, Gothicism, Woody Guthrie, Heavy Metal, Hip-hop, Independent/home publishing, Iron Maiden, Joy Division, Jungle, Led Zeppelin, Lil'Kim, Live Aid, Marilyn Manson, Bob Marley, MC Eiht, Minor Threat, Motown, Queen Latifah, Race, Rap, Rastafarianism, Reggae, The Roots, Diana Ross, Rush, Salt-n-Pepa, 7 Seconds, Roxanne Shanté, Siouxsie and the Banshees, The Sisters of Mercy, Michelle Shocked, Bessie Smith, Straight edge Sunrize Band, Bunny Wailer, Wilco, Bart Willoughby, Wirrinyga Band, Zines.
Ian Peddie has taught at Florida Gulf Coast University, the University of Sydney, and West Texas A&M University. His books include The Resisting Muse: Popular Music and Social Protest (Ashgate, 2006) and a study of class in American literature. He has published widely on twentieth century British and American culture. He is currently editing a collection on music and protest since 1900.
