In this pioneering study, Hisham Aidi—an expert on globalization and social movements—takes us into the musical subcultures that have emerged among Muslim youth worldwide over the last decade. He shows how music—primarily hip-hop, but also rock, reggae, Gnawa and Andalusian—has come to express a shared Muslim consciousness in face of War on Terror policies. This remarkable phenomenon extends from the banlieues of Paris to the favelas of Rio de Janeiro, from the park jams of the South Bronx to the Sufi rock bands of Pakistan. The United States and other Western governments have even tapped into these trends, using hip hop and Sufi music to de-radicalize Muslim youth abroad. Aidi situates these developments in a broader historical context, tracing longstanding connections between Islam and African-American music. Thoroughly researched, beautifully written, Rebel Music takes the pulse of a revolutionary soundtrack that spans the globe.

A volume in Critical Constructions: Studies on Education and Society Series Editor: Curry Stephenson Malott, West Chester University of Pennsylvania Arising from the street corners and underground clubs, Rebel Music: Resistance through Hip Hop and Punk, challenges standardized schooling and argues for equity, peace, and justice. Rebel Music is an important, one-of-a-kind book that takes readers through fun, radical, educational chapters examining Hip Hop and Punk songs, with each section addressing a particular social issue. Rebel Music values the experiences found in both movements as cultural capital that is de-valued in the current oppressive, standard, test-driven, rule-bound, and corporate schooling experience, making youth "just another brick in the wall." This collection is a "rebel yell" to administrators, teachers, parents, police, politicians, and counselors who demonize Hip Hop and Punk to listen up and respect youth culture. Finally, Rebel Music is a celebration of radical voices and an organizing tool for those who use music to challenge oppression.

Arising from the street corners and underground clubs, Rebel Music: Resistance through Hip Hop and Punk, challenges standardized schooling and argues for equity, peace, and justice. Rebel Music is an important, one-of-a-kind book that takes readers through fun, radical, educational chapters examining Hip Hop and Punk songs, with each section addressing a particular social issue. Rebel Music values the experiences found in both movements as cultural capital that is de-valued in the current oppressive, standard, test-driven, rule-bound, and corporate schooling experience, making youth “just another brick in the wall.” This collection is a “rebel yell” to administrators, teachers, parents, police, politicians, and counselors who demonize Hip Hop and Punk to listen up and respect youth culture. Finally, Rebel Music is a celebration of radical voices and an organizing tool for those who use music to challenge oppression.

The signing of the Good Friday Agreement on April 10, 1998, marked the beginning of a new era of peace and stability in Northern Ireland. As the public overwhelmingly rejected a return to the violence of the Troubles, loyalist and republican groups sought other outlets to continue their struggle. Music, which has long been used to celebrate cultural identity in the North of Ireland, became a key means of facilitating the continuation of pre-Agreement identity narratives in a “post-conflict” era. Sounding Dissent draws on three years of sustained fieldwork within Belfast's rebel music scene, in-depth interviews with republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland.The book examines the potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but also play a central role in the reproduction of conflict and exclusion in times of peace.

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

A penetrating account of the religious critics of American liberalism, pluralism, and democracy--from the Revolution until today "A chilling consideration of persistent mutations of American thought still threatening our pluralist democracy."--Kirkus Reviews (starred review) The conversation about the proper role of religion in American public life often revolves around what kind of polity the Founders of the United States envisioned. Advocates of a "Christian America" claim that the Framers intended a nation whose political values and institutions were shaped by Christianity; secularists argue that they designed an enlightened republic where church and state were kept separate. Both sides appeal to the Founding to justify their beliefs about the kind of nation the United States was meant to be or should become. In this book, Jerome E. Copulsky complicates this ongoing public argument by examining a collection of thinkers who, on religious grounds, considered the nation's political ideas illegitimate, its institutions flawed, and its church-state arrangement defective. Beholden to visions of cosmic order and social hierarchy, rejecting the increasing pluralism and secularism of American society, they predicted the collapse of an unrighteous nation and the emergence of a new Christian commonwealth in its stead. By engaging their challenges and interpreting their visions we can better appreciate the perennial temptations of religious illiberalism--as well as the virtues and fragilities of America's liberal democracy.

Daniel Fischlin is a leading Canadian humanities researcher who has written over twenty books. Also a musician and community organizer, he chairs the Board of Silence, a community art space in Guelph, and is the founding director of the newly launched MA/PhD program in Critical Studies in Improvisation at the University of Guelph. Ajay Heble is the founding director of the International Institute for Critical Studies in Improvisation (IICSI) and professor of English in the School of English and Theatre Studies at the University of Guelph. He is the founding artistic director of the award-winning Guelph Jazz Festival and Colloquium and a founding co-editor of the peer-reviewed journal Critical Studies in Improvisation. Heble is also an accomplished pianist who, with Daniel Fischlin, records and performs with the improvising quartet, The Vertical Squirrels.