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Papers by seth hague
The British Journal of Politics and International Relations, 2008
Music and politics have long been connected. One of the most recent examples was Live 8 in July 2... more Music and politics have long been connected. One of the most recent examples was Live 8 in July 2005, when a series of concerts was used to put pressure on G8 leaders to change their policy on third world debt. While the connection is often observed, it is rarely analysed in any detail. This article is an attempt to provide some of that detail. It begins by asking whether participating in music can also mean participating in politics. It goes on to explore the conditions that are necessary for this conjunction of politics and music. It does this by comparing two UK examples of music-based political movements, Jubilee 2000 (which culminated in Live 8) and Rock Against Racism. It ends by arguing that the link between politics and music has to be understood along three dimensions: the organisation of the link, its legitimation and its cultural performance.
Cultural Politics, 2008
This article explores the ways in which popular musicians, in particular Bob Geldof, have come to... more This article explores the ways in which popular musicians, in particular Bob Geldof, have come to assume a central role in the campaign to alter economic and political relationships between the developed and developing worlds. It focuses on the example of Live 8, but traces this back through Make Poverty History, Jubilee 2000, and Live Aid; and it makes contrasts with another example of music’s use for political ends: Rock Against Racism. What we are concerned to show is how Geldof’s role was constituted both by the political and aesthetic ideology that he evolved and by the processes that legitimated him as a representative of, and expert on, the cause he espoused. We set this analysis against the background of the specific literature on music’s role in social movements; the general literature on post-democracy; and the rise of celebrity politics. While these literatures, we argue, provide a general framework for understanding the role of musicians in politics, they are vague on th...
The British Journal of Politics and International Relations, 2008
Music and politics have long been connected. One of the most recent examples was Live 8 in July 2... more Music and politics have long been connected. One of the most recent examples was Live 8 in July 2005, when a series of concerts was used to put pressure on G8 leaders to change their policy on third world debt. While the connection is often observed, it is rarely analysed in any detail. This article is an attempt to provide some of that detail. It begins by asking whether participating in music can also mean participating in politics. It goes on to explore the conditions that are necessary for this conjunction of politics and music. It does this by comparing two UK examples of music-based political movements, Jubilee 2000 (which culminated in Live 8) and Rock Against Racism. It ends by arguing that the link between politics and music has to be understood along three dimensions: the organisation of the link, its legitimation and its cultural performance.
Cultural Politics, 2008
This article explores the ways in which popular musicians, in particular Bob Geldof, have come to... more This article explores the ways in which popular musicians, in particular Bob Geldof, have come to assume a central role in the campaign to alter economic and political relationships between the developed and developing worlds. It focuses on the example of Live 8, but traces this back through Make Poverty History, Jubilee 2000, and Live Aid; and it makes contrasts with another example of music’s use for political ends: Rock Against Racism. What we are concerned to show is how Geldof’s role was constituted both by the political and aesthetic ideology that he evolved and by the processes that legitimated him as a representative of, and expert on, the cause he espoused. We set this analysis against the background of the specific literature on music’s role in social movements; the general literature on post-democracy; and the rise of celebrity politics. While these literatures, we argue, provide a general framework for understanding the role of musicians in politics, they are vague on th...