Guarda fuori. Dove? Laggiugrave;; non vedi? No; non vedo nulla. La notte si sta ritirando; ma io non vedo; ho negli occhi ancora gli abbagli delle luci del luna park; nelle orecchie il battito pulsante e ossessivo della tekno di merda degli autoscontri. Sento la mano sulla spalla; immagino unalba stracciata arrampicare su dal fondo del mare; ma i miei occhi sono avvolti di buio. Ricordo i flash delle luci al neon; il brucomela che arranca sui binari stretti; il tunnel dellorrore carico di paurosa attesa. E poi cegrave; il luna punk che appare e scompare; un miraggio; il paese degli straziati balocchi che se per caso ci vai poi non torni piugrave;.
#3547916 in eBooks 2014-06-13 2014-06-13File Name: B00KYTS982
Review
2 of 3 people found the following review helpful. SOMEWHAT INFORMATIVE BUT BIASEDBy Sammy Jackson 14/88While this book does provide a general introduction to RAC music; it falls flat because of the predictable bias against this art form. The author constantly refers to White Power Rock n Roll as "hate music;" and seems to believe that this music is inherently . . . I dont know; evil. No other art form has encountered such Orwellian balderdash in recent memory. And; as usual; we are told that RAC music--and apparently no other music; no movies; no books; no anything else--is used to seduce people. It is a gateway drug; if you will. It appears that the author believes that all white kids have to do is listen to a few Skrewdriver classics; and they will become cross-burning maniacs. Actually; what the author really seems to be saying is that when people get a chance to listen to this music; they like it. I dont see a problem with that. I know plenty of people who listen to rap music (I like Young Buck); and not a single one has smuggled drugs or participated in a drive-by shooting.Ultimately; to me; the author has an agenda; and "Reichsrock" is a book that promotes censorship. No thank you. I will decide for myself.1 of 2 people found the following review helpful. An academic study of white power music and culture that sees it as reflective of unacknowledged racism in the mainstream.By lyndonbrechtThis is a critical academic study of what might be called "white power" music. The book does not concern the music as such; and deliberately does not cite lyrics because; the author notes; of the difficulty of determining copyright owners (much of the music is underground with a changing cast of recording labels. Not much is known about audience size; number of recordings sold (or downloaded or otherwise consumed) or the numbers of attendees at events. Most of the research done to date is either in English or German; she says; with little study of the international connections.Here is a comment that outlines the authors point of view: "Far from being a fringe phenomenon; contemporary racism flourishes in the very structures that support Western life" and "This is not to say that the majority of contemporary Westerners listen to or espouse the ideologies expressed in white-power music; but rather to say that white power musicians and fans are exploring ideas that appear more often in mainstream Western socio-political discourse than many people who consider themselves non-racist would prefer to acknowledge."The book sees the music as a propaganda strategy and also--in the form of concerts and group activities--a social bonding mechanism.Chapter 2 studies white-power music in Britain. The music developed from skinhead culture in the late 1970s; which adopted a form of music often called "oi." The chapter is a fascinating one. Concern about nonwhite Britons and about immigration is a major theme. Chapter 3 investigates white power music in Western Europe; with a focus on where it is strongest; Germany. A particular focus of the music is Turkish immigrants in Germany; but there are also themes of master race and the third reich. Some white power groups in Germany (and elsewhere in Europe) have faced considerable government persecution. Despite tough anti-hate speech laws; Germany has the largest white-power music scene in the world. The chapter describes white power music in Sweden; Norway; and also in France; Spain and Italy. There are some regional elements as well; North Italian prejudice against Sothern Italy; and some suspicion of Spanish racial purity. In Italy and Spain theres less admiration for Third Reich history than for Italian fascism.Chapter 4 examines white power music in Eastern Europe. The focus there seems to be on Slavic identity; with the largest elements in Russia and Ukraine and Belarus. Chapter 5 looks at the history of white power music outside Europe; particularly in the US and Australia. Some of it exists in Latin America and quite oddly; in Japan. The music and subculture is focused on immigrants and on nonwhites in general.Dyck sees the culture and music as intermixed; and potentially dangerous; with some violence and a few murders committed by advocates. Throughout the book there is a description of groups coming together and breaking up; of volatile music groups constantly reforming.The book is arranged geographically rather than by theme. One of the fascinating aspects of the book is the differences. German music of this kind is concerned with Slavs and Jews and true German-ness; while American music is more explicitly focused on anger about black and brown people. Dyck says there is little connection other than core beliefs in Jewish conspiracies; hostility to sexual minorities and anyone visibly not white. The Jewish conspiracy commonly seen by such groups is one to breed the white race to extinction by race-mixing and intermarriage.
