Titlebook: Historical Theory and Methods through Popular Music, 1970–2000; “Those are the New S Kenneth L. Shonk, Jr.,Daniel Robert McClure Book 2017

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Kenneth L. Shonk,Daniel Robert McClureanzinnovation auch in Deutschland m?glich ist, wobei diese Finanzinnovation die Struktur des deutschen Sozialversicherungswesens berücksichtigen muss, sie gleichzeitig aber auch als St?rke mit einbeziehen kann. Dabei soll au?erdem untersucht werden, ob sich das Finanzierungsinstrument der Verm?gensv

彎曲的人

Kenneth L. Shonk,Daniel Robert McClureanzinnovation auch in Deutschland m?glich ist, wobei diese Finanzinnovation die Struktur des deutschen Sozialversicherungswesens berücksichtigen muss, sie gleichzeitig aber auch als St?rke mit einbeziehen kann. Dabei soll au?erdem untersucht werden, ob sich das Finanzierungsinstrument der Verm?gensv

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,“400 Years”: Modernity, The ,, and Jamaican Music,ialism, the Atlantic Slave system, capitalism, the Enlightenment, the nation-state (or nationalism), and imperialism. Reggae music in the 1970s exemplified the time-space compression characterizing the experience of people of African descent caught in the deep legacies of modernity. Through pop song

arbiter

,“This Charming Man”: Queer and Alternative Masculinities, 1970–1994,d Bowie, to Devo, to Pansy Division, to Pearly Jam, among others, offered performative forms of masculinity that challenged or undermined the general concept of what it meant to be a man in the late twentieth century. In turn, this chapter utilizes queer and masculine theory to demonstrate how alter

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,“Will the Wolf Survive?”: Punk Rock and Chicana/o Identity in Los Angeles,ctively worked to break from their Mexican cultural roots. This chapter argues that the LA punk scene of the 1970s and 1980s was a further example of .—that is, hybridization as an act of resistance and survival. What resulted was the furthering of a distinctly syncretic Mexican-American identity. B

Basilar-Artery

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,,: MTV and the “Quiet” Feminism of the 1980s,s as Madonna, Blondie, Joan Jett, the Go-Gos, and Cyndi Lauper, among others, built off the intellectual positionality and energies of Second Wave Feminism in their efforts to ensure that the voice of the unconventional woman could be heard. Moreover, this chapter argues that the sex-positivity and

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,: The Celtic Moment in 1980s Alternative Rock,orms of nationalistic resistance to the neoliberal order central to the socio-economic agenda of British Prime Minister Margaret Thatcher. Different in scope, these nationalisms reflect the fundamental critique found in 1980s Britain and Ireland. As such, this chapter seeks to recontextualize the mu