In the umbrella community of Paganism within the United States, this is certainly no less true than for other traditions (Clifton & Harvey 2004: 1). Certain songs have become shorthand for concepts of divinity and gender, for organizational identity and for criticizing other non-Pagan traditions (especially Christianity). It is precisely these forms of discursive “coding” to which I wish to turn, for Pagan music itself openly articulates theological identities and boundaries. To understand the role of popular music in Paganism, we need a sense of the religious claims for truth (and thus claims for power) being made. Obviously, music and its typologies constitute an enormous topic, so we need more clarication as to the subject-matter of this chapter.