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BRING THE NOISE: HYPERMASCULINITY IN HEAVY METAL AND RAP
Author(s) -
Grant Judith
Publication year - 1996
Publication title -
journal of social philosophy
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.353
H-Index - 31
eISSN - 1467-9833
pISSN - 0047-2786
DOI - 10.1111/j.1467-9833.1996.tb00235.x
Subject(s) - sound (geography) , hammer , bar (unit) , acoustics , french horn , art , nothing , visual arts , engineering , meteorology , geography , physics , philosophy , structural engineering , epistemology
“The Subliminal K i d moved in and took over bars cafes and jukeboxes of the world cities and installed radio transmitters and microphones in each bar so that the music and talk of any bar could be heard in all his bars and he had tape recorders in each bar that played and recorded at arbitrary intervals and his agents moved back and forth with portable tape recorders and brought back street sound and talk and music and poured it into his recorder array so he set waves and eddies and tornadoes of sound down all your streets and by the river of all language‐Word dust drifted streets of broken music car horn and air hammers—The Word broken pounded twisted exploded in smoke—.Nothing is true—Everything is permitted—1 —William Burroughs, Nova Express