The politically-oriented Anglo-American popular music of the 1960s was notable for its ability to inspire activism in cultures around the globe. In this paper I focus on the relationship between popular music and political activism in Wales, and suggest that 1968 was but one brief point on a much longer timeline: an arbitrary marker in local political terms, but part of a larger global motion toward radical social change.
DaviesJ. (2014). The Welsh Language: A history (2nd ed.).
Cardiff, Wales:
University of Wales Press.
2.
DenisoffR. S. (1972). The evolution of the American protest song. In R. S. Denisoff & R. A. Peterson (Eds.), The sounds of social change: Studies in popular culture (pp. 15–25). Chicago, IL: Rand McNally.
3.
GriffithsD.HillS. (2005). Postcolonial music in contemporary Wales: Hybridities and weird geographies. In J. Aaron & C. Williams (Eds.) Postcolonial Wales (pp. 215–233). Cardiff, Wales: University of Wales Press.
4.
HerbertT.JonesG. E. (Eds.). (1995). Post-war Wales.
Cardiff, Wales:
University of Wales Press.
HillS. (2007). “Blerwytirhwng?” The place of Welsh pop music.
Aldershot, England:
Ashgate.
7.
HillS. (2013). “This is my country”: American popular music and political engagement in 1968. In B. Kutschke & B. Norton (Eds.), Music and protest in 1968 (pp. 46–63). Cambridge, England: Cambridge University Press.
8.
JamesE. W. (2005).
Dafydd Iwan and the Welsh protest ballad. Folk Music Journal,
8(5), 594–618.
9.
JonesC. O. (2013, Summer). “Songsof malice and spite”? Wales, Prince Charles, and an Anti-Investiture ballad of Dafydd Iwan.Music and Politics,
7(2).
10.
ThomasW. (2013). Hands off Wales: Nationhood and militancy.
Llandysul, Wales:
Gomer.
