Sounding Dissent

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 has overwhelmingly rejected a return to the violence of the Troubles (1968–1998), loyalist and republican groups have sought other outlets to continue their struggle. Music has long been used to celebrate cultural identity in the North of Ireland: from street parades to football chants, and from folk festivals to YouTube videos, music facilitates the continuation of pre-Agreement identity narratives in a “post-conflict” era. Sounding Dissent draws on original in-depth interviews with Irish 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 hagiographic 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 play a central role in the reproduction of conflict and exclusion in times of peace.

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change.The book covers a wide range of performance forms from Broadway musicals to educational theatre, from Somali drama to grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. Science in performance is essential reading for researchers, students and practitioners working between science and the arts within fields such as theatre and performance studies, science communication, interdisciplinary arts and health humanities.

During the Cold War, state-sponsored musical performances were central to the diplomatic agendas of the United States and the Soviet Union. But states on the periphery of the conflict also used state-funded performances to articulate their positions in the polarized global network. In Albania in particular, the postwar government invested heavily in public performances at home, effectively creating a new genre of popular music: the wildly popular light music. In Audible States: Socialist Politics and Popular Music in Albania, author Nicholas Tochka traces an aural history of Albania's government through a close examination of the development and reception of light music at Radio-Television Albania's Festival of Song. Drawing on a wide range of archival resources and over forty interviews with composers, lyricists, singers, and bureaucrats, Tochka describes how popular music became integral to governmental projects to improve society--and a major concern for both state-socialist and postsocialist regimes between 1945 and the present. Tochka's narrative begins in the immediate postwar period, arguing that state officials saw light music as a means to cultivate a modern population under socialism. As the Cold War ended, postsocialist officials turned again to light music, now hoping that these musicians could help shape Albania into a capitalist, "European" state. Interweaving archival research with ethnographic interviews, Audible States demonstrates that modern political orders do not simply render social life visible, but also audible. Incorporating insights from ethnomusicology, governmentality studies, and post-socialist studies, Audible States presents an original perspective on music and government that reveals the fluid, pervasive, but ultimately limited nature of state power in the modern world. A remarkably researched and engagingly written study, Audible States is a foundational text in the growing literature on popular music and culture in post-socialist Europe and will be of great interest for readers interested in popular music, sound studies, and the politics of the Cold War.

Few men have been more important to the life of Kentucky than three of those who governed it between 1930 and 1963—Albert B. Chandler, Earle C. Clements, and Bert T. Combs. While reams of newspaper copy have been written about them, the historical record offers little to mark their roles in the drama of Kentucky and the nation. In this authoritative and sometimes intimate view of Bluegrass State politics and government at ground level, John Ed Pearce—one of Kentucky's favorite writers—helps fill this gap. In half a century as a close observer of Kentucky politics—as reporter, editorial writer, and columnist for the Louisville Courier-Journal—Pearce has seen the full spectacle. He watched "Happy" Chandler vault into national prominence with his flamboyant campaign style. He was shaken by Earle Clements for asking an awkward question. He joined in the laughter when a striptease artist was commissioned a Kentucky Colonel during the Combs administration. And he watched as the successive governors struggled to move the state forward, each in his own way. Yet this is more than a newsman's account of events. Pearce probes for the roots of the troubles that have slowed Kentucky's progress. He traces the divisions that have plagued the state for almost two centuries, divisions springing from the nature of Kentucky's beginnings. He studies the lack of leadership that has hampered the always dominant Democratic party and the bitter factionalism that has kept the party from developing a cohesive philosophy. When the candidate of one faction has taken office, he shows, the losing faction has usually made political hay by bolting to the opposition party or torpedoing the governor's efforts in the legislature instead of uniting behind a progressive party program. The outcome of such long-term factionalism is a state that must now run fast to catch up.