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The political has always been part of popular music, but how does
that play out in today's musical and political landscape? Mixing
Pop and Politics: Political Dimensions of Popular Music in the 21st
Century provides an innovative exploration of the complex politics
of popular music in its contemporary formations. Amid the shifting
paradigms of power in the 2020s, the chapters in this book go
beyond the idea of popular music as protest to explore how
resistance, subversion, containment, and reconciliation all
interact in the popular music realm. Covering a wide range of
international artists and genres, from South African hip-hop to
Polish punk, and addressing topics such as climate change and
environmentalism, feminism, diasporic identity, political parties,
music-making as labour, the far right, conservatism and nostalgia,
and civic engagement, the contributors expand our understanding of
how popular music is political. For students and scholars of music,
popular culture, and politics, the volume offers a broad, exciting
snapshot of the latest scholarship on contemporary popular music
and politics.
The political has always been part of popular music, but how does
that play out in today's musical and political landscape? Mixing
Pop and Politics: Political Dimensions of Popular Music in the 21st
Century provides an innovative exploration of the complex politics
of popular music in its contemporary formations. Amid the shifting
paradigms of power in the 2020s, the chapters in this book go
beyond the idea of popular music as protest to explore how
resistance, subversion, containment, and reconciliation all
interact in the popular music realm. Covering a wide range of
international artists and genres, from South African hip-hop to
Polish punk, and addressing topics such as climate change and
environmentalism, feminism, diasporic identity, political parties,
music-making as labour, the far right, conservatism and nostalgia,
and civic engagement, the contributors expand our understanding of
how popular music is political. For students and scholars of music,
popular culture, and politics, the volume offers a broad, exciting
snapshot of the latest scholarship on contemporary popular music
and politics.
Defining 'Australian metal' is a challenge for scene members and
researchers alike. Australian metal has long been situated in a
complex relationship between local and global trends, where the
geographic distance between Australia and metal music's seemingly
traditional centres in the United States and United Kingdom have
meant that metal in Australia has been isolated from international
scenes. While numerous metal scenes exist throughout the country,
'Australian metal' itself, as a style, as a sound, and as a
signifier, is a term which cannot be easily defined. This book
considers the multiple ways in which 'Australianness' has been
experienced, imagined, and contested throughout historical periods,
within particular subgenres, and across localised metal scenes. In
doing so, the collection not only explores what can be meant by
Australian metal, but what can be meant by 'Australian' more
generally. With chapters from researchers and practitioners across
Australia, each chapter maps the distinct ways in which
'Australianness' has been grappled with in the identities, scenes,
and cultures of heavy metal in the country. Authors address the
question of whether there is anything particularly 'Australian'
about Australian metal music, finding that often the
'Australianness' of Australian metal is articulated through wider,
mythologised archetypes of national identity. However, this
collection also reveals how Australianness can manifest in metal in
ways that can challenge stereotypical imaginings of national
identity, and assert new modes of being metal 'downungerground'.
This book addresses how whiteness is represented in heavy metal
scenes and practices, both as a site of academic inquiry and force
of cultural significance. The author argues that whiteness, and
more specifically white masculinity, has been given normative value
which obscures the contributions of women and people of colour, and
affirms the exclusory understandings of 'belonging' which have
featured in the metal scenes of Norway, South Africa, and
Australia. Utilizing critical discourse analysis and critical
textual analysis of musical texts, promotional material, and
participant-based observation ethnographies, it explores how the
texts, discourses, and practices produced and articulated by metal
scene members and scholars alike have presented heavy metal as a
white, masculine pastime, yet also considers the vital work done by
scene members to confront expressions of exclusory misogyny and
racism when they emerge in metal scenes. The book will be of
interest to researchers and scholars in the fields of metal music
studies, leisure studies, sociology of culture and sociology of
racism.
This book addresses how whiteness is represented in heavy metal
scenes and practices, both as a site of academic inquiry and force
of cultural significance. The author argues that whiteness, and
more specifically white masculinity, has been given normative value
which obscures the contributions of women and people of colour, and
affirms the exclusory understandings of 'belonging' which have
featured in the metal scenes of Norway, South Africa, and
Australia. Utilizing critical discourse analysis and critical
textual analysis of musical texts, promotional material, and
participant-based observation ethnographies, it explores how the
texts, discourses, and practices produced and articulated by metal
scene members and scholars alike have presented heavy metal as a
white, masculine pastime, yet also considers the vital work done by
scene members to confront expressions of exclusory misogyny and
racism when they emerge in metal scenes. The book will be of
interest to researchers and scholars in the fields of metal music
studies, leisure studies, sociology of culture and sociology of
racism.
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Nadine Gordimer
Paperback
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R398
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Discovery Miles 3 300
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