LEADER 00000cam  2200493 i 4500 
001    on1121085577 
003    OCoLC 
005    20201007044427.0 
008    191001t20202020nyu      b    001 0 eng   
010      2019044699 
020    9780190908232|qhardcover 
020    0190908238|qhardcover 
020    |z9780190908256|qelectronic publication 
035    (OCoLC)1121085577 
040    DLC|beng|erda|cDLC|dOCLCO|dOCLCF|dERASA|dYDX|dGZN|dTJC 
042    pcc 
043    n-us--- 
049    CKEA 
050 00 ML3534.3|b.M385 2020 
082 00 306.4/84260973|223 
100 1  Mattson, Kevin,|d1966-|eauthor. 
245 10 We're not here to entertain :|bpunk rock, Ronald Reagan, 
       and the real culture war of 1980s America /|cKevin 
       Mattson. 
246 3  We are not here to entertain 
264  1 New York, NY :|bOxford University Press,|c[2020] 
264  4 |c©2020 
300    xvi, 388 pages ;|c25 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 295-365) and 
       index. 
505 0  Preface : From memory ... to history -- Prelude (1979-
       1980) : When punk broke ... and opened -- Teeny punks : 
       Pioneer your own culture! (1980-1981) -- It can and will 
       happen everywhere (1982-1983) -- It's 1984! (1984) -- 
       Marching toward the "alternative" (1985-?) -- Epilogue : 
       Punk breaks again... 
520    "Many remember the 1980s as the era of Ronald Reagan, a 
       conservative decade populated by preppies and yuppies 
       dancing to a soundtrack of electronic synth pop music. In 
       some ways, it was the "MTV generation." However, the 
       decade also produced some of the most creative works of 
       punk culture, from the music of bands like the Minutemen 
       and the Dead Kennedys to avant-garde visual arts, 
       literature, poetry, and film. In We're Not Here to 
       Entertain, Kevin Mattson documents what Kurt Cobain once 
       called a "punk rock world" --the all-encompassing hardcore
       -indie culture that incubated his own talent. Mattson 
       shows just how widespread the movement became--ranging 
       across the nation, from D.C. through Ohio and Minnesota to
       LA--and how democratic it was due to its commitment to Do-
       It-Yourself (DIY) tactics. Throughout, Mattson puts the 
       movement into a wider context, locating it in a culture 
       war that pitted a blossoming punk scene against the new 
       president. Reagan's talk about end days and nuclear 
       warfare generated panic; his tax cuts for the rich and 
       simultaneous slashing of school lunch program funding made
       punks, who saw themselves as underdogs, seethe at his 
       meanness. The anger went deep, since punks saw Reagan as 
       the country's entertainer-in-chief; his career, from radio
       to Hollywood and television, synched to the very world 
       punks rejected. Through deep archival research, Mattson 
       reignites the heated debates that punk's opposition 
       generated in that era-about everything from "straight 
       edge" ethics to anarchism to the art of dissent. By 
       reconstructing the world of punk, Mattson demonstrates 
       that it was more than just a style of purple hair and torn
       jeans. In so doing, he reminds readers of punk's 
       importance and its challenge to simplistic assumptions 
       about the 1980s as a one-dimensional, conservative epoch"-
       -Publisher's website. 
600 10 Reagan, Ronald. 
648  7 1981-1990|2fast 
650  0 Punk rock music|zUnited States|y1981-1990|xHistory and 
       criticism. 
650  0 Rock music|zUnited States|y1981-1990|xHistory and 
       criticism. 
650  7 Punk rock music.|2fast|0(OCoLC)fst01084153 
650  7 Rock music.|2fast|0(OCoLC)fst01099204 
651  7 United States.|2fast|0(OCoLC)fst01204155 
655  7 Criticism, interpretation, etc.|2fast|0(OCoLC)fst01411635 
776 08 |iOnline version:|aMattson, Kevin, 1966-|tWe're not here 
       to entertain|dNew York : Oxford University Press, 2020.
       |z9780190908256|w(DLC)  2019044700 
994    C0|bCKE