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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Página 5
... youth long after that youth was gone . They have listened to their old vinyl LPs , bought the songs again when CDs were introduced , listened to the classic rock radio format which plays a canonical set of these songs , bought them ...
... youth long after that youth was gone . They have listened to their old vinyl LPs , bought the songs again when CDs were introduced , listened to the classic rock radio format which plays a canonical set of these songs , bought them ...
Página 80
... youth culture and generational resentment . This may be true , but I argue that , in the 1950s , this youth culture was actually a vision of a significantly multiracial working class subculture , at least in the imagination , if not in ...
... youth culture and generational resentment . This may be true , but I argue that , in the 1950s , this youth culture was actually a vision of a significantly multiracial working class subculture , at least in the imagination , if not in ...
Página 85
... youth in a central role is a mixture of black consciousness and gangster tropes , at one point posing the contradiction from which the speaker ( or multiple speakers ) is trying to escape as choosing between ' getting paid or getting ...
... youth in a central role is a mixture of black consciousness and gangster tropes , at one point posing the contradiction from which the speaker ( or multiple speakers ) is trying to escape as choosing between ' getting paid or getting ...
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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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