Popular music, today, has supposedly collapsed into a 'retromania' which, according to leading critic Simon Reynolds, has brought a 'slow and steady fading of the artistic imperative to be original.' Meanwhile, in the estimation of philosopher Alain Badiou, a significant political event will always require 'the dictatorial power of a creation ex nihilo'. Everywhere, it seems, at least amongst commentators of a certain age and type, pessimism prevails with regards to the predominant aesthetic preferences of the twenty first century: popular music, supposedly, is in a rut. Yet when, if ever, did the political engagement kindled by popular music amount to more than it does today? The sixties? The punk explosion of the late 1970s? Despite an on-going fixation upon these periods in much rock journalism and academic writing, this book demonstrates that the utilisation of popular music to promote political causes, on the one hand, and the expression of dissent through the medium of 'popular song', on the other hand, remain widely in practice today. This is not to argue, however, for complacency with regards to the need for expressions of political dissent through popular culture. Rather, the book looks carefully at actual usages of popular music in political processes, as well as expressions of political feeling through song, and argues that there is much to encourage us to think that the demand for radical change remains in circulation. The question is, though, how necessary is it for politically-motivated popular music to offer aesthetic novelty?

For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.

For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.

Engaging Students with Music Education is a groundbreaking book about using DJ decks and urban music in mainstream schools to re-engage disaffected learners and develop a curriculum which better reflects overall contemporary tastes. Many young learners are 'at risk' of exclusion; this book argues that for such individuals, the implications of such a shift in the music curriculum could be especially positive. Drawing extensively on the author's own wealth of teaching experience, and bridging the gap between practice and theory, this book demonstrates through case studies that DJ decks can prove extremely valuable in mainstream classroom situations across the secondary school age ranges. Addressing challenging and crucial topics, combining rigorous theoretical analysis with practical suggestions, the book addresses questions such as: Are DJ decks actually a musical instrument, and are they suitable for classroom teaching? Will Ofsted's school inspectors approve of music teaching involving DJ decks and urban music? If we bring urban music into the classroom, will this further marginalise classical music? Are DJing and MCing skills recognised within examination specifications, at least in the UK? Current teachers will find the practical advice on how to incorporate DJ decks and urban music into their classroom especially helpful, whilst educational researchers will be captivated by the critical discussion of the child-centred tradition and a theoretical approach which stretches from 'continental' philosophy to practice-based reflection. With an insistence that the starting point for music education should always be the interests and experiences of the learners, this book is essential reading for those music teachers and researchers interested in the benefits of non-standard music-making in the classroom.

Engaging Students with Music Education is a groundbreaking book about using DJ decks and urban music in mainstream schools to re-engage disaffected learners and develop a curriculum which better reflects overall contemporary tastes. Many young learners are 'at risk' of exclusion; this book argues that for such individuals, the implications of such a shift in the music curriculum could be especially positive. Drawing extensively on the author's own wealth of teaching experience, and bridging the gap between practice and theory, this book demonstrates through case studies that DJ decks can prove extremely valuable in mainstream classroom situations across the secondary school age ranges. Addressing challenging and crucial topics, combining rigorous theoretical analysis with practical suggestions, the book addresses questions such as: Are DJ decks actually a musical instrument, and are they suitable for classroom teaching? Will Ofsted's school inspectors approve of music teaching involving DJ decks and urban music? If we bring urban music into the classroom, will this further marginalise classical music? Are DJing and MCing skills recognised within examination specifications, at least in the UK? Current teachers will find the practical advice on how to incorporate DJ decks and urban music into their classroom especially helpful, whilst educational researchers will be captivated by the critical discussion of the child-centred tradition and a theoretical approach which stretches from 'continental' philosophy to practice-based reflection. With an insistence that the starting point for music education should always be the interests and experiences of the learners, this book is essential reading for those music teachers and researchers interested in the benefits of non-standard music-making in the classroom.

Popular music, today, has supposedly collapsed into a ‘retromania’ which, according to leading critic Simon Reynolds, has brought a ‘slow and steady fading of the artistic imperative to be original.’ Meanwhile, in the estimation of philosopher Alain Badiou, a significant political event will always require ‘the dictatorial power of a creation ex nihilo’. Everywhere, it seems, at least amongst commentators of a certain age and type, pessimism prevails with regards to the predominant aesthetic preferences of the twenty first century: popular music, supposedly, is in a rut. Yet when, if ever, did the political engagement kindled by popular music amount to more than it does today? The sixties? The punk explosion of the late 1970s? Despite an on-going fixation upon these periods in much rock journalism and academic writing, this book demonstrates that the utilisation of popular music to promote political causes, on the one hand, and the expression of dissent through the medium of ‘popular song’, on the other hand, remain widely in practice today. This is not to argue, however, for complacency with regards to the need for expressions of political dissent through popular culture. Rather, the book looks carefully at actual usages of popular music in political processes, as well as expressions of political feeling through song, and argues that there is much to encourage us to think that the demand for radical change remains in circulation. The question is, though, how necessary is it for politically-motivated popular music to offer aesthetic novelty?