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.

’...Recommended.’ Choice '... an insightful collection of essays written by college professors from around the country, each passionately offering a discourse on an array of anomalies in popular music.' The Anchorage Press ’The Resisting Muse opens up new ways of thinking about and exploring the diverse processes by which specific post-1975 music genres, and the artists associated with them, can be linked with aspects and forms of social protest... a valuable and challenging contribution to the field of popular music studies.' Popular Music

• Contents: Introduction. Part One Politics and the Parameters of Protest: Rock protest songs: so many and so few, Deena Weinstein; The decline and rebirth of protest music, Jerry Rodnitsky; Available rebels and folk authenticities: Michelle Shocked and Billy Bragg, Mark Willhardt; The pop star as politician: from Belafonte to Bono, from creativity to conscience, John Street. Part Two Monophony or Polyphony?: The future is history: hip-hop in the aftermath of (post)modernity, Russell Potter; Everyday people: popular music, race, and the articulation and formation of class identity, James Smethurst; Gender as anomaly: women in rap, Gail Woldu. Part Three The Problems of Place: The coherence of protest music?: international reggae music and the Rastafarian movement (1972-81), Stephen A. King; 'We have survived': popular music as representation of Australian aboriginal cultural loss and reclamation, Peter Dunbar-Hall; The bleak country?: the black country and the rhetoric of escape, Ian Peddie. Part Four The Paradox of Anti-Social Protest: A garage of one's own: heavy metal as a reinvention of social technology, Sean Kelly; The hand-made tale: authorship, privatization, and cassette-tape culture in the Pacific northwest independent music scene, Kathleen McConnell; Gothic music and the decadent individual, Kimberly Jackson; Alternative protest: straight-edge and other failings in the post-punk repertoire, Steven Hamelman. Bibliography; Index.

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.

’...Recommended.’ Choice '... an insightful collection of essays written by college professors from around the country, each passionately offering a discourse on an array of anomalies in popular music.' The Anchorage Press ’The Resisting Muse opens up new ways of thinking about and exploring the diverse processes by which specific post-1975 music genres, and the artists associated with them, can be linked with aspects and forms of social protest... a valuable and challenging contribution to the field of popular music studies.' Popular Music

• Contents: Introduction. Part One Politics and the Parameters of Protest: Rock protest songs: so many and so few, Deena Weinstein; The decline and rebirth of protest music, Jerry Rodnitsky; Available rebels and folk authenticities: Michelle Shocked and Billy Bragg, Mark Willhardt; The pop star as politician: from Belafonte to Bono, from creativity to conscience, John Street. Part Two Monophony or Polyphony?: The future is history: hip-hop in the aftermath of (post)modernity, Russell Potter; Everyday people: popular music, race, and the articulation and formation of class identity, James Smethurst; Gender as anomaly: women in rap, Gail Woldu. Part Three The Problems of Place: The coherence of protest music?: international reggae music and the Rastafarian movement (1972-81), Stephen A. King; 'We have survived': popular music as representation of Australian aboriginal cultural loss and reclamation, Peter Dunbar-Hall; The bleak country?: the black country and the rhetoric of escape, Ian Peddie. Part Four The Paradox of Anti-Social Protest: A garage of one's own: heavy metal as a reinvention of social technology, Sean Kelly; The hand-made tale: authorship, privatization, and cassette-tape culture in the Pacific northwest independent music scene, Kathleen McConnell; Gothic music and the decadent individual, Kimberly Jackson; Alternative protest: straight-edge and other failings in the post-punk repertoire, Steven Hamelman. Bibliography; Index.

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.

’...Recommended.’ Choice '... an insightful collection of essays written by college professors from around the country, each passionately offering a discourse on an array of anomalies in popular music.' The Anchorage Press ’The Resisting Muse opens up new ways of thinking about and exploring the diverse processes by which specific post-1975 music genres, and the artists associated with them, can be linked with aspects and forms of social protest... a valuable and challenging contribution to the field of popular music studies.' Popular Music

• Contents: Introduction. Part One Politics and the Parameters of Protest: Rock protest songs: so many and so few, Deena Weinstein; The decline and rebirth of protest music, Jerry Rodnitsky; Available rebels and folk authenticities: Michelle Shocked and Billy Bragg, Mark Willhardt; The pop star as politician: from Belafonte to Bono, from creativity to conscience, John Street. Part Two Monophony or Polyphony?: The future is history: hip-hop in the aftermath of (post)modernity, Russell Potter; Everyday people: popular music, race, and the articulation and formation of class identity, James Smethurst; Gender as anomaly: women in rap, Gail Woldu. Part Three The Problems of Place: The coherence of protest music?: international reggae music and the Rastafarian movement (1972-81), Stephen A. King; 'We have survived': popular music as representation of Australian aboriginal cultural loss and reclamation, Peter Dunbar-Hall; The bleak country?: the black country and the rhetoric of escape, Ian Peddie. Part Four The Paradox of Anti-Social Protest: A garage of one's own: heavy metal as a reinvention of social technology, Sean Kelly; The hand-made tale: authorship, privatization, and cassette-tape culture in the Pacific northwest independent music scene, Kathleen McConnell; Gothic music and the decadent individual, Kimberly Jackson; Alternative protest: straight-edge and other failings in the post-punk repertoire, Steven Hamelman. Bibliography; Index.