The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror
by
Brian Flota
Book Details
Format
Paperback / Softback
ISBN-10
1138273414
ISBN-13
9781138273412
Publisher
Taylor & Francis Ltd
Imprint
Routledge
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Nov 17th, 2016
Print length
232 Pages
Weight
384 grams
Dimensions
15.70 x 23.30 x 2.00 cms
Product Classification:
Rock & Pop musicSocial & cultural anthropology, ethnography
Ksh 10,800.00
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Seeking to extend discussions of 9/11 music beyond the acts typically associated with the September 11th attacks”U2, Toby Keith, The Dixie Chicks, Bruce Springsteen”this collection interrogates the politics of a variety of post-9/11 music scenes. Contributors add an aural dimension to what has been a visual conceptualization of this important moment in US history by articulating the role that lesser-known contemporary musicians have played”or have refused to play”in constructing a politics of protest in direct response to the trauma inflicted that day. Encouraging new conceptualizations of what constitutes ''political music,'' The Politics of Post-9/11 Music covers topics as diverse as the rise of Internet music distribution, Christian punk rock, rap music in the Obama era, and nostalgia for 1960s political activism.
Seeking to extend discussions of 9/11 music beyond the acts typically associated with the September 11th attacks”U2, Toby Keith, The Dixie Chicks, Bruce Springsteen”this collection interrogates the politics of a variety of post-9/11 music scenes. Contributors add an aural dimension to what has been a visual conceptualization of this important moment in US history by articulating the role that lesser-known contemporary musicians have played”or have refused to play”in constructing a politics of protest in direct response to the trauma inflicted that day. Encouraging new conceptualizations of what constitutes ''political music,'' The Politics of Post-9/11 Music covers topics as diverse as the rise of Internet music distribution, Christian punk rock, rap music in the Obama era, and nostalgia for 1960s political activism.
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