By Kim Phillips-Fein
Invisible Hands tells the tale of the way a small crew of yankee businessmen succeeded in construction a political move. lengthy sooner than the “culture wars” of the Nineteen Sixties sparked the Republican backlash opposed to cultural liberalism, those high-powered members actively resisted New Deal economics and sought to coach and arrange their friends. Kim Phillips-Fein recounts the little-known efforts of guys similar to W. C. Mullendore, Leonard learn, and Jasper Crane, drawing on meticulous examine and narrative presents to craft a compelling historical past of the function of massive and small company in American politics—and a blueprint for an individual who wishes perception into the best way that cash has been used to create political switch.
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Additional resources for Invisible Hands: The Businessmen's Crusade Against the New Deal
38. 2. 39. Adrian Thrills, ‘Up Slit Creek’, NME, 8 September 1979. 40. Toynbee, Making Popular Music, pp. ix–x. 41. Ray Gosling, ‘Dream Boy’, New Left Review 1, no. 3 (May–June 1960), 30–34. 42. 26. 43. 25. 44. Toynbee, Making Popular Music, pp. xi–xii. 45. 56–60. 46. 178. 47. 324–325. 48. 180. 49. 325. 50. Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock, 2nd ed. 43. 51. 7–8. 52. See, for example, Steve Taylor, ‘The Popular Press or How to Roll Your Own Records’, Time Out, 2 February 1979; Paul Morley and Adrian Thrills, ‘Independent Discs’, NME, 1 September 1979, p.
95 To draw on such elements, then, often invokes or unsettles particular connotations, as we will see in the following chapters in relation to post-punk’s expansive musical experiment. Music, in contrast to the linear flow of the novel, entails experiencing various signifying elements simultaneously as well as sequentially. 96 We should note, too, that popular music with lyrics actually com- POST-PUNK AND THE POLITICS OF POSTWAR POPULAR MUSIC 27 bines both processes. When analysing songs, it is necessary to investigate not only the significance of placing certain musical elements in synchronicity with one another but also their interaction with the accompanying lyrics.
173. 163. 145–146. ITV’s serialisation of Brideshead Revisited and the ‘nominal’ radicalism of postmodernist art came in for particular stick. See, for example, Jason Toynbee, Making Popular Music: Musicians, Creativity and Institutions (London: Arnold, 2000), pp. x–xii; Keith Negus, Popular Music in Theory (Cambridge: Polity, 1996), p. 151; David Hesmondhalgh, ‘Post-Punk’s Attempt to Democratise the Music Industry: The Success and Failure of Rough Trade’, Popular Music 16, no. 3 (October 1997), 255–274.