Suchergebnisse

The purpose of this book is to undertake an analysis from a variety of scholarly standpoints of the innovative ways in which both the political process and the entertainment industry appeal to voters under 30 and how these endeavors are received by the intended audience. Along the way, the book sheds light on the state of the modern American political system and its relationship to entertainment and popular culture

Although many books and articles have been written in the popular and academic press about the punk movements of the 1970s in England and the United States, few have gone beyond examining the canonical bands and movements. Works such as Legs McNeil's and Gillian McCain's Please Kill me: The Uncensored Oral History of Punk and Clinton Heylin's From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World offer valuable insights into the motivations of the American and British punk movements' pioneers. However, they do not adequately examine several important aspects of the punk movement, namely the political and social motivations of many of the major band involved. The two bands I examine here, Crass and Throbbing Gristle, did have to work with distribution systems to which they were opposed on principle, but they did so more in the spirit of subversion than in acquiescence to the dominant hierarchy. They attempted to make a radical statement within the confines of a commodified musical distribution system. Many other more popular bands were simply posturing, but Crass and Throbbing Gristle were the true fathers of radical politics and anarchy in the British punk movement.

After years of alternately being declared either dead, irrelevant, or simply too outrageous to be accepted into the fabric of American culture, and almost thirty years after it first reared it's mohawk'd head in public, the musical genre known as "punk rock" has finally been accepted as part of mainstream American culture. This is unfortunately not the result of changing musical tastes or a growing acceptance of subversive subcultures on the part of the American audience, but rather, is due to a single factor loathed by most participants in (the wide and diverse variety of) insular punk communities, the increasing ubiquity of the music itself in television commercials.

This book explores researcher identity related to insider/outsider roles regarding the groups studied. Scholars use various research methods and discuss the value of insider/outsider perspectives, problems faced as insiders and outsiders, strategies to overcome related obstacles, and implications for advocating on behalf of a group being studied.

For more than 40 years, hardcore and punk have promised to offer an alternative to what is perceived as the norm and as mainstream. Hardcore Research: Punk, Practice, Politics provides a comprehensive insight into the most active, outspoken, and widely received scholarly positions in the academic discourses on hardcore and punk and combines them with a variety of new and emerging voices. The book brings together scholars with personal ties to past and present hardcore and punk scenes, who present both insightful and critical examinations of the rich and varied histories of this subcultural phenomenon and its current reverberations at the intersection of cultural practice and academic research