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The politics of post-9/11 music; sound, trauma, and the music industry in the time of terror.


The politics of post-9/11 music; sound, trauma, and the music industry in the time of terror.

Ed. by Joseph P. Fisher and Brian Flota.

Ashgate Publishing Co.

211 pages



Ashgate popular and folk music series


Fisher, a learning specialist in disability support services at George Washington U., and Flota (library and information science, U. of Illinois at Urbana-Champaign) compile 14 essays by US and Canadian scholars working in American studies, visual and cultural studies, English, music, counseling, improvisation, community, and social practice, and other areas who consider how post-9/11 music has been influenced by artistic and technological attempts to deconstruct the split between the past and the present. They explore the impact of the increasing digitization of music after 2001 in the form of video games, websites, mp3 files, iPods, movie trailers, and YouTube clips, as well as the recent revival of the cassette culture; subversive musical responses to 9/11, including underground, improvised jazz, Radiohead's Hail to the Thief and In Rainbows, and Nine Inch Nails' Year Zero; and musical protest, its absence in mainstream hip-hop, the apolitical 60s sound of acts like Grizzly Bear and Fleet Foxes, the rise of conservative punk around the 2004 presidential campaign, and responses of late-punk groups Alkaline Trio and Green Day. The last section addresses the relationship of the rhetoric of American patriotism to femininity, masculinity, and religion, with essays on punk, the Dixie Chicks and Carrie Underwood, the Christian, screamo punk band Underoath, and how films about the Iraq War use heavy metal music. (A[c] Book News, Inc., Portland, OR)

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Publication:Reference & Research Book News
Article Type:Book review
Date:Jun 1, 2012
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