ABSTRACT
Having identified the various ways in which Anti-psychiatric ideas are embodied both verbally and musically within discrete songs, the greater part of this conclusion aims to examine the extent to which the analysed texts are interconnected in terms of their constituent themes and processes. In general this is intended to demonstrate that such Anti-psychiatric stances were not merely coincidental, but a particular feature of the historical period in question. A number of additional songs and artists, drawn from a variety of styles and periods, are alluded to in order to strengthen this argument and point to possible avenues for future investigation and analysis. The final sections of this conclusion offer possible reasons as to why the links between popular music and Anti-psychiatry occurred and then subsequently diminished. Some general observations are also included concerning the appeal of madness as a topic for musical exploration.
