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Music, class, and protest. hard hats and hoodies: the songs of two working-class British protest singers

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dc.contributor.author Dillane, Aileen
dc.contributor.author Power, Martin J.
dc.date.accessioned 2020-05-26T13:25:26Z
dc.date.issued 2020
dc.identifier.citation Dillane, A. and Power, M. (2020) 'Hard Hats and Hoodies: The Songs of Two Working-Class, British Protest Singers' In: The Bloomsbury Handbook of Popular Music and Social Class. London : Bloomsbury Press. en_US
dc.identifier.uri http://hdl.handle.net/10344/8867
dc.description peer-reviewed en_US
dc.description The full text of this article will not be available in ULIR until the embargo expires on the 02/12/2020
dc.description.abstract This chapter is concerned with what popular music protest song texts (music and words) and their performance/performers tell us about society and the class system, and how, in the process of doing so, articulate a class politics. Any critical reading of a singer/song/performance requires both broad theoretical and contextual readings of class and protest, along with fine-grained analysis of specific examples. In order to illustrate the complex relationship between popular music, protest, and class, we hone in on two artists from British, working-class backgrounds and from different popular music genres. Folk singer-songwriter Billy Bragg (1957-) and hip-hop MC Lady Sovereign (1985-) are treated as particular kinds of exemplars in the study of white, working-class, protest singers from the UK. These case studies do not attempt to offer all-encompassing theoretical or methodological approaches to studying popular music, class, and protest, particularly given the many variables and intersectional issues any artist, music genre, or geographic/temporal location brings. However, our intention is to illustrate that any discussion of class and protest within popular music needs to rigorously define what constitutes class as well as critically appraise how protesting becomes aligned with class identity, as illustrated through specific music examples. In this chapter, Bragg’s “Between the Wars” (1985) represent a critique of neo-liberal capitalism and the concomitant decimation of working-class lives, while Lady Sovereign’s “Hoodie” (2006) speaks to the demonisation of working-class youths and the stigmatisation they receive for their sartorial choices (that are viewed as deviant), which in turn has real-life implications for the wearers. en_US
dc.language.iso eng en_US
dc.publisher Bloomsbury Press en_US
dc.relation.ispartofseries The Bloomsbury Handbook of Popular Music and Social Class. Peddie, Ian (ed);chapter 13
dc.relation.uri https://www.bloomsbury.com/us/the-bloomsbury-handbook-of-popular-music-and-social-class-9781501345388/
dc.subject popular music protest songs en_US
dc.subject society en_US
dc.subject class system en_US
dc.title Music, class, and protest. hard hats and hoodies: the songs of two working-class British protest singers en_US
dc.type info:eu-repo/semantics/bookPart en_US
dc.type.supercollection all_ul_research en_US
dc.type.supercollection ul_published_reviewed en_US
dc.date.updated 2020-05-15T12:16:08Z
dc.description.version ACCEPTED
dc.date.embargoEndDate 2020-12-02
dc.embargo.terms 2020-12-02 en_US
dc.rights.accessrights info:eu-repo/semantics/embargoedAccess en_US
dc.internal.rssid 2928576
dc.internal.copyrightchecked Yes
dc.identifier.journaltitle The Bloomsbury Handbook of Popular Music and Social Class
dc.description.status Peer reviewed


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