He! I suppose I could've asked you a question about cats, but I was in the midst of reading that tome when I was thinking of a question.
I enjoyed reading the first part of the book, but I felt he was perhaps being overanalytical. And I thought he was ducking some other questions, but just when I was expecting 120 more pages of academic masturbation, lo and behold he tackles the very topics I was thinking about!
My main problem with Reed's analysis is that he feels there needs to be one Tah dah! My thoughts exactly.
loaded with unexamined privilege. Spot on!
The industrial scene in the Bay Area is a lot more mixed. Equal parts women and men, and women at shows and in the scene are not seldom perceived as "the girlfriends". Even so, I have yet to see an analysis of how the mainstream influences the indsutrial music scene, such as the overriding cool component, where industrial bands and imagery are obsessed with being cool, cutting edge, and macho. (Even so with a lot of bands with female influences.) As far as characterizing it as a rebelious form of music, it's attack comes out on symbloic levels.
You can listen to Neubauten go on about feeding an ego, but let's face it, most of their fans listen to that stuff becuase they think it soudns cool, not because their deconstructing any meanings or messages. Punk and hip hop don't mince words. I can tell you that The Exploited wrote a song called "Fuck the USA", and without hearing any more lyrics or getting any more background on the song, you can pretty much figure out where it's going. (Also "Fuck the Police." No analysis needed. Rebellion on steroids!)
And I could go on. I think he hung around race longer than gender, but the one thing I didn't read was that gender gaps in industrial music follow the same gaps in all other genres. And yeah, I could go on there as well...
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Date: 2013-12-14 12:24 am (UTC)I enjoyed reading the first part of the book, but I felt he was perhaps being overanalytical. And I thought he was ducking some other questions, but just when I was expecting 120 more pages of academic masturbation, lo and behold he tackles the very topics I was thinking about!
My main problem with Reed's analysis is that he feels there needs to be one Tah dah! My thoughts exactly.
loaded with unexamined privilege. Spot on!
The industrial scene in the Bay Area is a lot more mixed. Equal parts women and men, and women at shows and in the scene are not seldom perceived as "the girlfriends". Even so, I have yet to see an analysis of how the mainstream influences the indsutrial music scene, such as the overriding cool component, where industrial bands and imagery are obsessed with being cool, cutting edge, and macho. (Even so with a lot of bands with female influences.) As far as characterizing it as a rebelious form of music, it's attack comes out on symbloic levels.
You can listen to Neubauten go on about feeding an ego, but let's face it, most of their fans listen to that stuff becuase they think it soudns cool, not because their deconstructing any meanings or messages. Punk and hip hop don't mince words. I can tell you that The Exploited wrote a song called "Fuck the USA", and without hearing any more lyrics or getting any more background on the song, you can pretty much figure out where it's going. (Also "Fuck the Police." No analysis needed. Rebellion on steroids!)
And I could go on. I think he hung around race longer than gender, but the one thing I didn't read was that gender gaps in industrial music follow the same gaps in all other genres. And yeah, I could go on there as well...