Popular Music and Human Rights, Tom 1
Ashgate Publishing, Ltd., 2011 - 440
Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. This two-volume set comprises Volume I: British and American Music, and Volume II: World Music.
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accessed aesthetic African Americans American Indian Amos Amos’s ara’s artists audience Australia Bad Brains band Beijing beneﬁt albums beneﬁt concerts Bikini Kill Blues Bragg British celebrity China Chinese rock Clash conﬂict contemporary context Crass critical critique Croatia Cui Jian cultural dance deﬁning discourse Dniepropetrovsk ensemble ethnic event expression fans ﬁeld ﬁgure ﬁlm ﬁnal ﬁnd ﬁrst folk music folklore freedom Fun-da-Mental genre global guitar heavy metal Hedwig human rights identiﬁed identity ideological Indigenous industrial inﬂuence Jara’s Katrina King King’s Komsomol listener live London metal scenes metalheads musicians narrative neo-folklore movement Nepali ofﬁcial performance Personal interview played popular music protest punk punk rock Records Red Power reﬂected resistance response revolution rock music Scott-Heron Serbian sexual violence signiﬁcant singer singing social society song Soviet speciﬁc Springsteen struggle traditional University Press urban Victor Jara voice West’s women Yirrkala Yothu Yindi youth