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May 01, 2006
Theodore Gracyk states in his Rock Music and the Politics of Identity that popular music is always more popular as a resource for circulating familar ideas than as a source of new ideas. He adds:
What's at issue, then, is what can be done within the context of rock to resist its conservative impulses as a mass art whilst recapturing some of its earlier disruptive power.
Gracyk answers this in terms of 'woman in rock' and the performance of gender within a dominant phallocentric discourse.
The standard form of resistance to the conservative impulses of popular music is the calculated outrage of rock. That disruptive strategy has worn rather thin --for example, the bad boy behaviour of Oasis is tiresome and designed to sell product. This calculated outrage has little disruptive power.
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