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001 ocm49699241;

003 OCoLC;

005 20141212165726.0;

008 020425s2003 paua b 000 0 eng ;

010 a| 2002020419;

020 a| 1566399890 (cloth : alk. paper);

020 a| 1566399904 (pbk. : alk. paper);

035 a| (Sirsi) o49699241;

035 a| (OCoLC)49699241;

042 a| pcc;

049 a| EREM;

050 00 a| ML3918.P67b| P65 2003;

082 00 a| 306.4/842| 21;

245 00 a| Policing pop /c| edited by Martin Cloonan and Reebee Garofalo.;

260 a| Philadelphia :b| Temple University Press,c| 2003.;

300 a| x, 241 pages :b| illustrations ;c| 27 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Sound matters;

504 a| Includes bibliographical references.;

520 a| Fans and detractors of popular music tend to agree on one thing: popular music is a bellwether of an individual's political and cultural values. In the United States, for example, one cannot think of the counterculture apart from its music. For that reason, in virtually every country in the world, some group identifies popular music as a source of potential danger and wants to regulate it. This book looks into the many ways in which popular music and artists around the world are subjected to censorship, ranging from state control and repression to the efforts of special interest or religious groups to limit expression. The essays collected here focus on the forms of censorship as well as specific instances of how the state and other agencies have attempted to restrict the types of music produced, recorded and performed within a culture. Several show how even unsuccessful attempts to exert the power of the state can cause artists to self-censor. Others point to material that taxes even the most liberal defenders of free speech. Taken together, these essays demonstrate that censoring agents target popular music all over the world, and they raise questions about how artists and the public can resist the narrowing of cultural expression.;

650 0 a| Popular musicx| Censorship.=| ^A47423;

650 0 a| Popular musicx| Social aspects.=| ^A47423;

650 0 a| Popular musicx| Political aspects.=| ^A47423;

700 1 a| Cloonan, Martin,e| editor.=| ^A534150;

700 1 a| Garofalo, Reebee,e| editor.=| ^A299671;

830 0 a| Sound matters.=| ^A439112;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2003-02-26b| 19.95d| 1.33e| 18.95f| 162200;

596 a| 3;

998 a| 903050;

999 a| ML3918.P67 P65 2003w| LCc| 1i| 30372011422000d| 7/17/2014e| 11/18/2008f| 4/25/2024g| 4l| MSTm| JMUSICn| 4p| $18.95r| Ys| Yt| MGESBKu| 3/11/2003x| BOOKz| MCIRCo| .STAFF. enhanced 2/5/24 -jjab;

Policing pop / edited by Martin Cloonan and Reebee Garofalo.

Other author	Cloonan, Martin, editor.
Other author	Garofalo, Reebee, editor.
Format	Book
Publication Info	Philadelphia : Temple University Press, 2003.
Description	x, 241 pages : illustrations ; 27 cm.
Subjects	Popular music--Censorship. Popular music--Social aspects. Popular music--Political aspects.

Series	Sound matters Sound matters. ^A439112
Contents	Call that censorship?: problems of definition / Martin Cloonan -- I want my MP3: who owns internet music? / Reebee Garofalo -- Twenty years of music censorship around the world / Vanessa Bastian and Dave Laing -- Remote control: legal censorship of the creative process / Steve Greenfield and Guy Osborn -- Death Metal and the limits of musical expression / Keith Kahn-Harris -- Marxists in the marketplace / Mike Jones -- Argh Fuck Kill... Canadian hardcore goes on trial: the case of the Dayglo Abortions / Rob Bowman -- Strelnikoff: censorship in contemporary Slovenia / David Parvo -- Music in the struggle to end apartheid: South Africa / Michael Drewett -- Confusing Confucius: rock in contemporary China / Jeroen de Kloet -- German Nazi bands: between provocation and repression / Alenka Barber-Kersovan -- Popular music and policing in Brazil / José Roberto Zan -- Challenging music as expression in the United States / Paul D. Fischer.
Abstract	Fans and detractors of popular music tend to agree on one thing: popular music is a bellwether of an individual's political and cultural values. In the United States, for example, one cannot think of the counterculture apart from its music. For that reason, in virtually every country in the world, some group identifies popular music as a source of potential danger and wants to regulate it. This book looks into the many ways in which popular music and artists around the world are subjected to censorship, ranging from state control and repression to the efforts of special interest or religious groups to limit expression. The essays collected here focus on the forms of censorship as well as specific instances of how the state and other agencies have attempted to restrict the types of music produced, recorded and performed within a culture. Several show how even unsuccessful attempts to exert the power of the state can cause artists to self-censor. Others point to material that taxes even the most liberal defenders of free speech. Taken together, these essays demonstrate that censoring agents target popular music all over the world, and they raise questions about how artists and the public can resist the narrowing of cultural expression.
Bibliography note	Includes bibliographical references.
LCCN	2002020419
ISBN	1566399890 (cloth : alk. paper)
ISBN	1566399904 (pbk. : alk. paper)

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Music	Music Stacks	ML3918.P67 P65 2003	✔ Available	Place Hold

Policing pop / edited by Martin Cloonan and Reebee Garofalo.

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