MARC Record from marc_columbia

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001 14730324
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006 m o d
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008 171110s2017 enk o 000 0 eng d
035 $a(OCoLC)on1011111516
035 $a(NNC)14730324
040 $aTYFRS$beng$erda$epn$cTYFRS$dOCLCQ$dUWO$dTYFRS$dOCLCO$dOCLCF$dOCLCQ$dOCLCO$dYDX$dOCLCO
019 $a1108431484
020 $a9781351218061$q(e-book)
020 $a1351218069
020 $z0754651134
020 $z9780754651130
020 $z0754651142
020 $z9780754651147
035 $a(OCoLC)1011111516$z(OCoLC)1108431484
050 4 $aML3918.P67$bP433 2017
072 7 $aMUS000000$2bisacsh
082 04 $a306.48424
084 $a24.65$2bcl
084 $aLS 48000$2rvk
049 $aZCUA
100 1 $aPeddie, Ian,$eeditor.
245 14 $aThe Resisting Muse: Popular Music and Social Protest.
250 $aFirst edition.
264 1 $aLondon :$bTaylor and Francis,$c2017.
300 $a1 online resource :$btext file, PDF
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aAshgate popular and folk music series
520 2 $a"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."--Provided by publisher.
505 00 $tPart, One Politics and the Parameters of Protest --$tchapter 1 Rock protest songs: so many and so few /$rDeena Weinstein --$tchapter 2 The decline and rebirth of folk-protest music /$rJerry Rodnitsky --$tchapter 3 Available rebels and folk authenticities: Michelle Shocked and Billy Bragg /$rMark Willhardt --$tchapter 4 The pop star as politician: from Belafonte to Bono, from creativity to conscience /$rJohn Street --$tpart, Two Monophony Or Polyphony? --$tchapter 5 The future is history: hip-hop in the aftermath of (post)modernity /$rRussell A. Potter --$tchapter 6 Everyday people: popular music, race and the articulation and formation of class identity in the United States /$rJames Smethurst --$tchapter 7 Gender as anomaly: women in rap /$rGail Hilson Woldu --$tpart, Three The Problems of Place --$tchapter 8 Protest music as 'ego-enhancement': reggae music, the Rastafarian movement and the re-examination of race and identity in Jamaica /$rStephen A. King --$tchapter 9 'We have survived': popular music as a representation of Australian Aboriginal cultural loss and reclamation /$rPeter Dunbar-Hall --$tchapter 10 The bleak country? The Black Country and the rhetoric of escape /$rIan Peddie --$tpart, Four The Paradox of Anti-Social Protest --$tchapter 11 Communities of resistance: heavy metal as a reinvention of social technology /$rSean K. Kelly --$tchapter 12 The handmade tale: cassette-tapes, authorship, and the privatization of the Pacific Northwest independent music scene /$rKathleen McConnell --$tchapter 13 Gothic music and the decadent individual /$rKimberley Jackson --$tchapter 14 Straight, narrow and dull: the failure of protest in straight edge rock 'n' roll /$rSteven Hamelman.
504 $aIncludes bibliographical references (pages 206-221) and index.
504 $aIncludes discography.
650 0 $aPopular music$xSocial aspects.
650 0 $aPopular music$xPolitical aspects.
650 0 $aProtest songs$xHistory and criticism.
650 7 $aPopular music$xPolitical aspects.$2fast$0(OCoLC)fst01071452
650 7 $aPopular music$xSocial aspects.$2fast$0(OCoLC)fst01071460
650 7 $aProtest songs.$2fast$0(OCoLC)fst01079869
650 6 $aMusique populaire$xAspect social.
650 6 $aMusique populaire$xAspect politique.
650 6 $aChansons contestataires$xHistoire et critique.
650 7 $aPopmusik$2gnd
650 7 $aSport$2gnd
650 17 $aSociaal protest.$2gtt
650 17 $aPopulaire muziek.$2gtt
650 17 $aSubcultuur.$2gtt
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 0 $z9781351218054$z9781351218047
830 0 $aAshgate popular and folk music series.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14730324$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS