Ian Peddie – författare

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.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

Examining how writers and musicians respond to attempts to define and categorize inequality in moral terms, Culture, the Arts and Inequality: American Artists and Social Justice analyzes the writers and artists who challenge the moral categories through which inequality has been maintained and mobilized.Beginning with the work of Langston Hughes, whose fears for the African American community echo fifty years later in Stevie Wonder’s urban chronicles, and including key American voices such as Nelson Algren, Thomas McGrath, Ann Petry, and Gwendolyn Brooks, as well as “Godfather of Rap” Gil Scott-Heron, this book tackles the mechanisms that compelled writers and musicians to reassert the worth and value of those they wrote about, opposing the fixing in place of moral classifications applied to cultures and people deemed of little worth. Without adequate analysis of those classifications, and particularly the role of moral attribution in identifying and categorizing those deemed unworthy, we struggle to understand inequality’s impact on society and individuals—leading to a partial conceptualization of how it is understood and experienced.Recognizing that new ways of thinking about class, dominated by moral questions but with real material effects, and its impact on writers, musicians, and society are at stake, this interdisciplinary project redefines discourses on inequality in the United States today.

Examining how writers and musicians respond to attempts to define and categorize inequality in moral terms, Culture, the Arts and Inequality: American Artists and Social Justice analyzes the writers and artists who challenge the moral categories through which inequality has been maintained and mobilized.Beginning with the work of Langston Hughes, whose fears for the African American community echo fifty years later in Stevie Wonder’s urban chronicles, and including key American voices such as Nelson Algren, Thomas McGrath, Ann Petry, and Gwendolyn Brooks, as well as “Godfather of Rap” Gil Scott-Heron, this book tackles the mechanisms that compelled writers and musicians to reassert the worth and value of those they wrote about, opposing the fixing in place of moral classifications applied to cultures and people deemed of little worth. Without adequate analysis of those classifications, and particularly the role of moral attribution in identifying and categorizing those deemed unworthy, we struggle to understand inequality’s impact on society and individuals—leading to a partial conceptualization of how it is understood and experienced.Recognizing that new ways of thinking about class, dominated by moral questions but with real material effects, and its impact on writers, musicians, and society are at stake, this interdisciplinary project redefines discourses on inequality in the United States today.

This volume of essays brings together some of the best writing on music and protest from the last thirty years. Encompassing a variety of genres, from classical to many different kinds of popular music, the collection selects articles on a broad range of topics - including revolutions and uprisings, environmentalism, class, identity, struggles for self-determination as well as rights and the historical legacy of protest music - and from at least fifteen different countries, confirming the contention that music is one of the primary languages of protest. Written by leading researchers and educators from different countries and cultures, this volume, which documents the importance of music and protest, is an indispensable collection for those working in the fields of music, cultural studies, politics, history, anthropology and area studies.

Examining how writers and musicians respond to attempts to define and categorize inequality in moral terms, Culture, the Arts and Inequality: American Artists and Social Justice analyzes the writers and artists who challenge the moral categories through which inequality has been maintained and mobilized.Beginning with the work of Langston Hughes, whose fears for the African American community echo fifty years later in Stevie Wonder's urban chronicles, and including key American voices such as Nelson Algren, Thomas McGrath, Ann Petry, and Gwendolyn Brooks, as well as "e;Godfather of Rap"e; Gil Scott-Heron, this book tackles the mechanisms that compelled writers and musicians to reassert the worth and value of those they wrote about, opposing the fixing in place of moral classifications applied to cultures and people deemed of little worth. Without adequate analysis of those classifications, and particularly the role of moral attribution in identifying and categorizing those deemed unworthy, we struggle to understand inequality's impact on society and individuals-leading to a partial conceptualization of how it is understood and experienced.Recognizing that new ways of thinking about class, dominated by moral questions but with real material effects, and its impact on writers, musicians, and society are at stake, this interdisciplinary project redefines discourses on inequality in the United States today.

Examining how writers and musicians respond to attempts to define and categorize inequality in moral terms, Culture, the Arts and Inequality: American Artists and Social Justice analyzes the writers and artists who challenge the moral categories through which inequality has been maintained and mobilized.Beginning with the work of Langston Hughes, whose fears for the African American community echo fifty years later in Stevie Wonder's urban chronicles, and including key American voices such as Nelson Algren, Thomas McGrath, Ann Petry, and Gwendolyn Brooks, as well as "e;Godfather of Rap"e; Gil Scott-Heron, this book tackles the mechanisms that compelled writers and musicians to reassert the worth and value of those they wrote about, opposing the fixing in place of moral classifications applied to cultures and people deemed of little worth. Without adequate analysis of those classifications, and particularly the role of moral attribution in identifying and categorizing those deemed unworthy, we struggle to understand inequality's impact on society and individuals-leading to a partial conceptualization of how it is understood and experienced.Recognizing that new ways of thinking about class, dominated by moral questions but with real material effects, and its impact on writers, musicians, and society are at stake, this interdisciplinary project redefines discourses on inequality in the United States today.

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.

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.

This volume of essays brings together some of the best writing on music and protest from the last thirty years. Encompassing a variety of genres, from classical to many different kinds of popular music, the collection selects articles on a broad range of topics - including revolutions and uprisings, environmentalism, class, identity, struggles for self-determination as well as rights and the historical legacy of protest music - and from at least fifteen different countries, confirming the contention that music is one of the primary languages of protest. Written by leading researchers and educators from different countries and cultures, this volume, which documents the importance of music and protest, is an indispensable collection for those working in the fields of music, cultural studies, politics, history, anthropology and area studies.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

A 2019 Choice Outstanding Academic TitleThe Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.

A 2019 Choice Outstanding Academic TitleThe Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.

A 2019 Choice Outstanding Academic TitleThe Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.