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                <text>Teppisti, ultras, writers, vandali, autonomi, coatti, zanza, lumpen, drogati, cavallini, picchiatori del sabato sera, microdelinquenti, marginali tout court… mille parole per una pluralità di contesti, anche estremamente eterogenei, che, a partire dagli anni Sessanta, continuano a parlare della costante criminalizzazione dei giovani e delle loro sottoculture. Un pregiudizio – in realtà un dispositivo materiale di controllo e repressione – che intreccia la classe sociale con l’età dei soggetti presi di mira dal main stream, rispetto al quale il concetto di «teppa» si rivela essere un prezioso strumento di indagine; una via in grado di restituire la realtà di ciò che si agita nel ventre sempre più esteso della sconosciuta, temuta e vituperata periferia italiana.&#13;
&#13;
CONTRIBUTI DI: Norma Baldino, Fabio Bertoni, Andrea Caroselli, Lorenzo De Vidovich, Alessandro Gerosa, Giulia Giorgi, Nacira Guénif-Souilamas, Lorenzo Pedrini, Enrico Petrilli, Elia Rosati, Pietro Saitta, Pasquale Schiano, Luca Sterchele e Davide Tidoni.</text>
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                <text>Una serie di saggi che hanno definito e definiscono ancora oggi le pratiche libertarie e liberate di soggetti e movimenti. Dalle comunità dei pirati di Capitano Mission al nomadismo psichico, dalla poesia al sufismo, dall'anarchia alla filosofia radicale. La vita vissuta, la presenza reale, l'avventura, il rischio, l'amore: la felicità rivoluzionaria si può raggiungere anche a partire dalla quotidianità, costruendo e inventando Zone Autonome Temporanee. Un libro - ma soprattutto un'attitudine - che ha ispirato scrittori e artisti di ogni campo e immaginazione umane, festival selvaggi e illegali nei boschi o organizzati come Burning Man, nuove comuni e altre forme abitative alternative, militanti creativi di tutto il mondo dall'inizio degli anni Novanta fino alle recenti rivolte americane. Un po' manifesto, un po' poesia, T.A.Z è un inno alla poetica della liberazione.</text>
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                <text>Dai primi nuclei di b-boys fino al recente successo di Clementino, dalle piazze del centro storico fino ai quattro angoli della periferia. Una breve storia del rap di Partenope, narrata dalla voce dei suoi protagonisti. Le vicende di un movimento artistico, ma anche trent'anni di vita cittadina, ai margini della "storia ufficiale".</text>
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                <text>Come molti gruppi indipendenti, anche i Giardini di Mirò nascono in un garage. La storia di una delle band più influenti della scena underground italiana parte alla fine degli anni Novanta a Cavriago: nel paese in provincia di Reggio Emilia due amici e compagni di scuola - Corrado Nuccini e Giuseppe Camuncoli - provano a formare un gruppo, influenzati in egual misura dal rock americano dei Sonic Youth e da quello italiano dei Massimo Volume. Dopo poco si uniscono a loro Jukka Reverberi, Mirko Venturelli, Luca di Mira ed Emanuele Reverberi: nuove voci che danno al combo un respiro più internazionale. Il libro ripercorre la parabola artistica del gruppo dagli inizi infatuati delle sonorità del post-rock fino alle sperimentazioni della maturità con l'hip-hop, l'elettronica e la musica da film. Il viaggio è arricchito dalle interviste ai musicisti, produttori e amici che hanno lavorato con il gruppo.</text>
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                <text>Tracce&lt;br /&gt;01. E sia 02. Dammi a voce distesa 03. La veglia (feat. Andrea Chimenti) 04. Esergo 05. Il cuore sotto le scarpe sporche 06. Non ho più 07. Amore e mito 08. Epilogo</text>
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                <text>C.F.F. e il Nomade Venerabile</text>
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                <text>INV: 79</text>
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                <text>La provincia odia</text>
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                <text>A1 Sàmbini A Soi &lt;br /&gt;A2 Biddas Scarèscias &lt;br /&gt;B1 Costruito In Sardigna &lt;br /&gt;B2 Figlio Di Papà Recensioni</text>
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                <text>Rumagna Sgroza, Fire And Flames Music, Sirboni Records, Ostia Records, Fast'n'Loud Records Tifiamo Rivolta Co-produzioni, Radio Punk</text>
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                <text>Vinile, 7", 33 !/2 RPM, EP</text>
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                <text>INV. 242</text>
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                <text>Congestione mentale</text>
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                <text>combat punk</text>
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            <description>An account of the resource</description>
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                <text>&lt;p&gt;Tracce&lt;/p&gt;
&lt;p&gt;01. Magnacci nucleari (04:18) 02. Occhi spenti (02:49) 03. A foras sa lega (04:20) 04. Scorre ancora (03:12) 05. Un'altra notte (03:40) 06. c4 (04:35) 07. Congestione mentale (02:45) 08. Iskida Sardigna (04:29) 09. L'onda (03:00) 10. Pagherete caro, pagherete tutto (03:58) 11. La degna rabbia (03:14)&lt;/p&gt;</text>
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                <text>C4 Combat Rock</text>
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                <text>Autoproduzione / HITH Records</text>
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                <text>2012</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>INV: 23</text>
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                <text>NBM CD SAR C4 CON</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Silì, Oristano</text>
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                <text>Se l’Irlanda è conosciuta per Oscar Wilde, la Guinness e gli U2, la Valle d’Aosta è famosa per le montagne, la fontina e i Kina.&#13;
&#13;
Come hanno fatto tre ragazzi nati in una piccola città circondata dalle Alpi a incendiare i palchi più combattivi di mezza Europa per oltre un decennio?&#13;
Come macchine impazzite è un intreccio di due narrazioni ambientate in epoche diverse ma sullo stesso asse geografico (Aosta-Torino-Berlino), entrambe girano sulla giostra della vita mosse dalla contraddittoria energia del punk.&#13;
La prima, raccontata dalla voce del bassista Gianpiero Capra, è la cronaca dell’avventura di un gruppo seminale della scena hardcore italiana, i Kina. Una vicenda vissuta in prima fila nelle trincee degli anni ottanta, tra interminabili tour, sfide all’ultimo accordo e notti trascorse sui materassi più precari di un’Europa ancora divisa.&#13;
La seconda storia è quella di Stephania Giacobone, una giovane della Valle d’Aosta che s’appassiona a una band nata dalle sue parti tanti anni prima, al punto da prendere dalla musica e dal loro immaginario, gli strumenti adatti per iniziare un percorso di riscatto personale.&#13;
L’incontro di Stephania con Gianpiero segnerà la chiusura del cerchio che ha come esito un libro scritto sul crinale di una memoria in grado di agire sul presente, in contrapposizione all’oblio nostalgico.&#13;
L’ultima parte del volume è dedicata all’apparato iconografico e alle testimonianze dei partecipanti al viaggio dei Kina, tra cui il chitarrista Alberto e il batterista Sergio.</text>
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                <text>Agenzia X</text>
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                <text>2014</text>
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                <text>pp. 256; ill.</text>
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                <text>782.421660922  CAP COM     &#13;
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                <text>INV. 262</text>
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                <text>Il mutamento delle subculture</text>
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                <text>Dai teddy boy alla scena trap</text>
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                <text>Dai teddy boy del Secondo dopoguerra ai punk della fine degli anni ’70, passando per rocker e modder, le sottoculture giovanili hanno affascinato generazioni di ragazzi e intimorito generazioni di adulti, quasi mai in grado di comprenderle e analizzarle fino in fondo. Questo fino alla loro scomparsa, complice la progressiva espansione della cultura hip-hop, partita dalla New York degli anni ’70 e culminata col fenomeno trap. Parlare di “sottocultura” trap, infatti, appare semanticamente errato: di sotterraneo e nascosto c’è poco o nulla, gli artisti trap svettano nelle classifiche globali e il tardo-capitalismo fagocita tutto ciò che può essere reso vendibile. Francesco Caroli prova ad analizzare il fenomeno con un approccio sociologico, cercando di indagarne le significazioni per i giovani e studiandone gli aspetti dissacranti rispetto ai valori della società tradizionale, con l’obiettivo di categorizzare il genere musicale secondo le nuove forme di aggregazione sociale.</text>
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                <text>Meltemi</text>
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                <text>306.1 CAR MUT</text>
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                <text>INV. 401</text>
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