ia_2011_c_brodie

=Evaluation of Sources (250-400 words) Tips]=

EVALUATION OF SOURCES SOURCE 1: THE SHAPE OF PUNK TO COME This source is a political manifesto originating from the liner notes of Swedish band “Refused’s” album The Shape of Punk to Come, released in October 1998. The source evidently has its **uses**. In terms of **origins**, “Refused” were the pioneers of a strong vegan straight edge movement that took Sweden by storm throughout the 90s. Therefore their message of posing “//art as a threat//” [1] would have reflected the mindsets of countless fans and bands of that scene that were part of the straight edge movement. In terms of **message**, written in a concise 2, 000 words the manifesto cuts into the band’s strongest political beliefs, attacking capitalism //“Who runs the game show and who pays the salaries to the reporters?//” [2]. Despite its values and insights, the source also contains its **limitations**. Due to the manifesto originating from a source of creative output, it contains colourful examples and imagery: “//The awkward youngster touches his poster touches his poster and glances upon the stars and the heavens. **[3]** ”// It is acceptable to state, then, some of the manifesto’s messages and points are unclear behind the devices that cover it. This idea is reinforced when the prior album is taken into account. //Songs to Fan the Flames of Discontent (1996)// was released with “//a sort of fanzine//“ [4] explaining the politics and meanings behind each song. As a consequence, mainstream attention focused on the band’s politics and diet instead of their music. //The Shape of Punk to Come// would then ensure that the politics and creativity were balanced to ensure that musically the album was also acknowledged. “//Basically, it’s just hard to play in a band with the goal to change the world and turn everyone into a revolutionary...It’s a pretty big goal and it can lead to exhaustion.//” [5] In terms of origin, this only reflects the viewpoint of Sweden’s vegan straight edge scene at most.

SOURCE 2: TEN YARD FIGHT - PIT OF EQUALITY Boston based “Ten Yard Fight’s” Demo 1995, which features Pit of Equality, was released in 1995 at the same time as Refused’s first tour of North America. The source evidently has its **uses**. In terms of **origins**, “Ten Yard Fight” were a big name in the Youth Crew revival scene, reflecting what edge meant to many American straight edgers. “Ten Yard Fight” create a large, clear contrast from Sweden’s “Refused” as their **messages** always chose to cover personal politics instead of world revolutions: “//We’re all friends in the pit tonight / I’ll pick you up if you fall on me//” [6]. However, this source does have its **limitations** when regarded as a universal straight edge **message**. “Refused” vocalist Dennis Lyxzen’s criticism of American straight edge was that that politics were limited to “//demanding that ‘everyone should get along.’ Their goals in life were not a world revolution...Their goals in life were to play hardcore for a couple of years, get a decent job, and settle down with a white picket fence//.” Ten Yard Fight comply to this statement in the opening lines //“We Don’t care if you’re black or white / We’re all friends in the pit tonight//.” Regarding limitations of **origin**, Lyxzen’s further accusation - that many American straight edgers were “//just jocks//” [7] - are strengthened; “Ten Yard Fight” were an American football influenced hardcore band: “//Because Hardcore’s just a big football game...And We don’t tolerate any foul play//.” [8] This idea is reinforced in Simon Czerwinskyj’s analysis of Gabriel Kuhn’s book “Sober Living for the Revolution”, in which Americanised straight edge had politics “//largely subtracted from the equation//.” [9]

[1] Refused. “PROTEST SONG ‘68”. __The Shape of Punk to Come.__ Burning Heart Records (1998) [2] [] The manifesto published by Burning Heart Records. [3] Ibid. [4] Kuhn, p 58 [5] Ibid, p 59 [6] Ten Yard Fight. “Pit of Equality”. __Hardcore Pride.__ Equal Vision Records (1997) Note that this is a re-release of their 1995 demo which previously was not released on a label. [7] Kuhn, p 55 [8] Ibid [9] [|www.politicalmediareview.org/2010/06/sober-living-for-the-revolution/]