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Berger, G. (2009). The Story of Crass. (320). Binghamton, New York: PM Press.
Abstract: << Crass was the anarcho-punk face of a revolutionary movement founded by radical thinkers and artists Penny Rimbaud, Gee Vaucher, and Steve Ignorant. When punk ruled the waves, Crass waived the rules and took it further, putting out their own records, films, and magazines and setting up a series of situationist pranks that were dutifully covered by the world’s press. Not just another iconoclastic band, Crass was a musical, social, and political phenomenon.
Commune dwellers who were rarely photographed and remained contemptuous of conventional pop stardom; their members explored and finally exhausted the possibilities of punk-led anarchy. They have at last collaborated on telling the whole Crass story, giving access to many never-before-seen photos and interviews. >>
(SOURCE: https://pmpress.org/index.php?l=product_detail&p=101)
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Boman, B. (2026). Masks, Slipknot, and Nu-metal: Beyond Transformation, Originality, and Mimicking. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 121–134). London, U.K.: Palgrave Macmillan Cham.
Abstract: << With the emergence of Slipknot as both a discursive node and point of departure, the chapter focuses on the next wave of alternative metal, often described as nu-metal due to bringing a new flavor to metal by mixing the genre’s typical elements such as groovy guitar riffs with other genres such as hip-hop, industry, and pop-style choruses. Besides Slipknot, other masked bands, for instance Mushroomhead and Mudvayne, are highlighted in the same context. Moreover, the predecessor of masked nu-metal, Mr. Bungle, is also accentuated. Attention is also paid to originality vis-à-vis mimicking earlier groups, as well as the function and meaning of masks in the context of transformation.
The findings underline that the transformative characteristics of masks in metal music are often exaggerated as band members often act “normal” and agreeable when they wear their masks. However, in live settings some of the transformative features might be a part of specific stage persona. In the nu-metal scene, it appears as if fans are more concerned about being the first to wear masks than the band members themselves. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_12]
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