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Methodologically the book relies on historical analyses conducted by the author, mainly by consulting online sources.

Especially people’s attraction to ‘extreme’ music in general, the many potential reasons for flirting with totalitarian symbolism in music and art, and specific cases of ideologically ambiguous artists such as Böhse Onkelz, Boyd Rice and Michael Moynihan, are topics that would have benefited from a more distanced socio-theoretical and less normative approach.

Chapters 2 to 5 all deal with specific global regions that host white-power music scenes or networks.

This chapter is followed by a discussion of continental Western Europe (Germany, Sweden, Norway and—briefly discussed—France, Spain and Italy).

Dyck’s decision to treat each case separately pays off here, as it becomes clear how national contexts (e.g.

Julian Schaap est doctorant et chargé de cours au Department of Arts and Culture Studies de l’Erasmus University Rotterdam, en Hollande.

Ses recherches portent sur la stratification sociale associée à la blanchité, l’ethnicité et le genre dans divers domaines culturels.

rarely offers sociological or cultural analyses of the actual music and content that white-power musicians provide(d), nor does it apply common theoretical frameworks to this such as reception theory (Holub, 2013) or Hall’s encoding-decoding model (Hall, 1980).