The Resisting Muse: Popular Music and Social ProtestIan Peddie Ashgate, 2006 - 228 páginas 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. |
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... Women's Liberation - a term first used in 1968. Although there was a women's movement in the early 1960s , dating either from John Kennedy's Federal Commission on the Status of Women in 1960 or from Betty Friedan's 1963 publication of ...
... Women's Liberation - a term first used in 1968. Although there was a women's movement in the early 1960s , dating either from John Kennedy's Federal Commission on the Status of Women in 1960 or from Betty Friedan's 1963 publication of ...
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... women's liberation themes . The song's heroine works in a factory and , although her kids are in high school , the boss still calls her ' girl ' . Despite her many problems , the song heroine always sees a brighter future for women ...
... women's liberation themes . The song's heroine works in a factory and , although her kids are in high school , the boss still calls her ' girl ' . Despite her many problems , the song heroine always sees a brighter future for women ...
Página 102
... women's rap , to quantify women's successes in rap or even to make a definitive statement about women's ' anomalousness ' in rap we find ourselves in a quagmire . Far removed from the inchoate days of the late 1980s when women were just ...
... women's rap , to quantify women's successes in rap or even to make a definitive statement about women's ' anomalousness ' in rap we find ourselves in a quagmire . Far removed from the inchoate days of the late 1980s when women were just ...
Contenido
so many and so few | 3 |
The decline and rebirth of folkprotest music | 17 |
Michelle Shocked | 30 |
Derechos de autor | |
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Términos y frases comunes
Aboriginal Aboriginal cultures aesthetic African-American album American artists audience authenticity of ethos authenticity of genre Babylon band's bands become Billy Bragg bitch Black Country blues Bob Dylan cassette cassette-tape concerts contemporary critics decades doo wop Dreamtime drugs early Edgers example experience fans feminist folk music Goldie Goldie's gothic gothic music Guthrie's heavy metal hip-hop home recording Ian Curtis identity independent music individual issues Jamaican Joy Division listeners live mainstream Mermaid Avenue Mondegreens multiracial musicians performers political engagement popular music protest music protest songs punk quoted racial rappers Rastafarian reggae reggae songs resistance rock music rock protest songs rock songs role roll sense sexual Shocked Shocked's sing singer-songwriter singers Snipehunt social movements social protest song's songwriters Sound Choice Springsteen straight edge subculture suggests tape topical traditional underclass vision Wirrinyga women Woody Guthrie youth