Seeking to extend discussions of 9/11 music beyond the acts typically associated with the September 11th attacksaU2, Toby Keith, The Dixie Chicks, Bruce Springsteenathis 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 playedaor have refused to playain 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.In her essay, Aisha Staggers argues that mainstream hip-hop since 9/11 has shirked the political engagement it proudly displayed during the Golden Age of Hip-Hop. ... American patriotism has been fused a or, rather, confused a with constructions of femininity, masculinity, and religion. ... Iraq War experience, all of which contest and substantiate the claim in the title of his essay that aWar is Heavy Metal.
|Title||:||The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror|
|Author||:||Dr Brian Flota, Dr Joseph P Fisher|
|Publisher||:||Ashgate Publishing, Ltd. - 2013-01-28|