Overview

Revelations of neoliberal capitalism's effects on pop music, challenging its longstanding status as defying the status quo. Traditionally, popular music has long been said to intrinsically contest, resist, and defy the powers that be. This new book challenges this long-standing orthodoxy, arguing that popular music is not so much a form of resistance to authority, but it often perpetuates the very power it is supposed to be raging against: neoliberal capitalism. This misconception of popular music came to dominance in the mid-1980s and persists today, even when the vast majority of people have been disempowered, impoverished, and marginalized at home, at work, and in politics. This book explains why such a robust, pervasive, and persistent set of ideas about popular music has taken such a tenacious hold despite substantive evidence to the contrary.

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9781835950494

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Charles Fairchild is an Associate Professor of Popular Music at the University of Sydney and the author of Musician in the Museum: Display and Power in Neoliberal Popular Culture (Bloomsbury Academic, 2021), Sounds, Screens, and Speakers (Bloomsbury, 2019), Danger Mouse’s The Grey Album (Bloomsbury, 2014), and Music, Radio and the Public Sphere (Palgrave, 2012). His work focuses on cultural mediation in the music industry, focusing especially on the period from 1975 to the present, examining how intermediaries within different kinds of institutions shape the ways people consume and make meaning from music.

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