The counter-culture of the late 1960s and early 1970s is typically represented as a global youth cultural phenomenon that casts itself in opposition to the technocracy of Western capitalist society. Central to this oppositional stance was a rejection of mainstream societal values which, in addition to the core ideologies of industrial capitalism itself, also extended to associated institutions – notably marriage, the nuclear family and organized religion. Although, the term “counter-culture” actually encompasses a wide range of quite diverse groups and interests (Clecak 1983), and although the oppositional nature of the counter-culture frequently has been romanticized and misrepresented, there is little doubt that the counter-cultural era brought with it an openness to alternative ideologies, spiritualities and aesthetic beliefs, many of which continue to manifest themselves in current youth cultures and music scenes (A. Bennett 2001).

A key aspect of the counter-culture's oppositional stance was its drawing on ideas and practices associated with pre-modern ideology, including elements of Paganism. Among these was a back-to-the-land ethos exemplified in the rural hippie communes that sprang up across North America and Europe; this was also evident at some counter-cultural rock festivals – notably the 1969 Woodstock Music and Art Fair, which took place at a greenfield site in upper New York state (see A. Bennett 2004). As the example of Woodstock suggests, significant elements of the counter-cultural ideology were communicated through the popular music of the era, and this extended to the traces of Pagan belief evident in the counter-culture.

In 1993, the first international Pagan studies conference was held, bringing together scholars from all over the world in fields as diverse as psychology, theology and ecology. In Researching Paganisms, published in 2004, Blain, Ezzy and Harvey cite multiplicity as central to the discipline of Pagan studies, and note that just as contemporary Paganisms are still evolving, so are the methodologies and approaches of those who choose to study them. Popular music studies is one area in which Pagan studies activity is only just emerging, yet – as seen in a Pagan history of celebration and story-telling through music – it is a voice through which Paganism might readily be expressed. Indeed, as this book explores, popular music has already proved a highly effective medium for the articulation of Pagan ideology and aesthetics. A diverse range of genres, from folk through punk and Goth to heavy metal, frequently embodies images and discourses drawn from Paganism. Similarly, a number of popular music artists profess a deep-seated investment in and expression of Paganism and Pagan identity through their music.

Depending on the interpretation, Paganism is a religion, a worldview, a way of life and even a human trait. This multiplicity varies according to modes of perception, reception and dissemination, and is represented in the range of topics discussed in the chapters of this book. This multiplicity is also reflected in the range of readers to whom this book will appeal: in the broad sense, it will be of benefit not only to those with an interest in Paganism and Pagan studies, but it will also raise questions for those engaged in studies of religion, particularly popular religion.