@article{ref1,
title="Blowin' in the wind? The musical response to the war on terror",
journal="Studies in conflict and terrorism",
year="2023",
author="Jones, David Martin and Smith, M. L. R.",
volume="46",
number="12",
pages="2454-2477",
abstract="Popular music was the most immediate way in which the cultural response to 9/11 manifested itself. Initially music offered a way of mourning and coping with grief. As the United States moved toward the invasion of Iraq, pop music also began to reflect the divisions in society between patriot-artists who supported the invasion, most notably in country music, and protest-artists who articulated critical attitudes to war. These anti-war songs did not attain the stature of those that characterized the era of protest during the Vietnam War, nor did they offer a musical accompaniment to a social movement with any enduring political significance. One little observed dissonance that a longitudinal survey of the musical response to political violence reveals, however, is that over time the attitudes of protest songwriters and the patriots transvalued. Ironically, interventionist &quot;rednecks&quot; became disillusioned with the endless wars of intervention, whilst the &quot;protest&quot; writers lost their voices after President Obama came to power. Ironically, icons of popular music instead turned their ire on those who voted for an anti-establishment President Trump who vowed not to involve the U.S. in further military adventures.<p /> <p>Language: en</p>",
language="en",
issn="1057-610X",
doi="10.1080/1057610X.2021.1930862",
url="http://dx.doi.org/10.1080/1057610X.2021.1930862"
}