Political Rock features luminary figures in rock music that have stood out not only for their performances, but also for their politics. The book opens with a comparative, cultural history of artists who have played important roles in social movements. Individual chapters are devoted to The Clash and Fugazi, Billy Bragg, Bob Dylan, Rage Against the Machine, Pearl Jam, Sinead O'Connor, Peter Gabriel, Ani DiFranco, Bruce Cockburn, Steve Earle and Kim Gordon. These artists have been chosen for their status as rock musicians and connections to political moments, movements, and art. The artists and authors show that rock retains a critical strain, continuing a tradition of rock politics that matters to fans, activists, and movements alike.
Contents: An introduction to political rock: history, genre, and politics, Mark Pedelty and Kristine Weglarz; The Clash and Fugazi: punk paths toward revolution, Mark Andersen; Peter Gabriel: the masked activist, Mark Pedelty; Bob Dylan: someone else’s stage, Keith Nainby; Bruce Cockburn: Canadian, Christian, conservationist, Aaron S. Allen; Billy Bragg: mixing pop and politics, Douglas M. McLeod; Sinéad O’Connor: a collision of bodies, Marcy R. Chvasta; Steve Earle: the politics of empathy, Mark Mattern; Kim Gordon: ordinary, feminist, musician, Norma Coates; Ani DiFranco: making feminist waves, Nancy S. Love; Pearl Jam: the conscience of arena rock, Kristine Weglarz; Rage Against the Machine: militant poetics, Michael LeVan; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.