ABSTRACT
Introduction Despite lofty sentiments and rhetorical flourishes, America has never been particularly tolerant of dissent, dissenters or others who are unwilling/unable to march in lockstep to hegemonic cadences. While the foci of this intolerance are numerous, this chapter addresses one set of domestic cultural targets: youth music culture, with particular attention to Marilyn Manson and their young fans. As such, it examines the ways in which epistemic bricoleurs transform discontent, alienation, and ‘sociological’ critiques embedded in style, imagery and artistic production into criminality through mass-mediated deligitimisation and Othering.
