Suburbia, Penelope Spheeris, 1983

No news to anyone who read my last post, but¬†Suburbia feels like an obvious starting point for the project- it’s certainly sensationalized, but I think it does a good job of getting at a sense of belonging that gets exploited by far right groups in the context of subculture

ARA Flier, 1984, maximumrocknroll

This image is taken from an Anti Racist Action flier, from a 1989 interview ARA members did with the punk magazine, Maximumrocknroll. To understand the relationship between far-right radicalization and extreme music, it’s important to understand the opposition to it, especially noting the ways that they aesthetically influenced each other. Aesthetics are so important to subcultures, but rarely translate outside of them, so they often come off as frivolous, even though their impact is anything but.

and fucking gone (partial reconstruktion - 7.22.95). Banks Violette. 2002 drum hardware, polystyrene, polyester, epoxy, plywood, sterling sliver chain, and hand-cast pewter 54 x 138 x 118 inches Exhibited in Arroyo Grande 7.22.95 2002

Banks Violette’s 2002 installation Arroyo Grande was based around the 1995 murder of¬†Elyse Marie Pahler in Arroyo Grande, California, attributed at the time to the violent influence of song lyrics by the thrash metal band Slayer. While heavy metal music being scapegoated for violence is another matter for the most part, Violette’s depiction of the crime as a fantastical world of dark and light symbols gets at something hard to land out about the inner life of music you listen to and it’s relationship to reality.