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and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass began in Russia and became one of the rare cultural devel- opments that, for various political, demographic, economic, and social reasons, may be seen through the lens of an East-to-West cultural transfer. Given the mass accessibility of audiovisual recording tools such as smart- phones with built-in cameras, recordings of hardbass performances—typically ONDREJ DANIEL 154 3-4-minute videos of masked dancers in public spaces promoting

deviant social movements are relatively new phenomena, having originated only in the second half of the twentieth century. Vikings are also convenient archetypes for the white- supremacist movement because they are easily recognizable in non- raeist popular culture, with a well-defined set of characteristics and values. As Trafford and Pluskowski argue, they carry with them a familiar - albeit not necessarily historically accurate - set of material culture, which appears often in hate rock songs about Vikings: ''They are big and strong with blond or red hair

frame. Again, institutions them- selves serve as strong frames. Performing at contemporary clubs and pop 6 Sociologists of social movements have highlighted the importance of aligning frames (Benford/Snow 2000). The more framing strategies correspond to exis- ting ideologies and cultural practices the more they succeed. ANDREAS GEBESMAIR 100 festivals governed the expectations and perceptions of listeners who in- creasingly regarded Balkan music as a new opportunity to regenerate pop culture

is that it is experienced by its members as such. In the book Music Media Multiculture, music’s role as catalyst in the process of creating such imagined communities is discussed. The music gives us a sense of belonging – perhaps one of the reasons why music has such a central position in different social movements – around sports, religion, and many other collective activities. Technical conquests and progress have always changed the conditions for communication. Today, in the era of mobile telephones, nobody needs to keep meeting places or exact points of

call social movements. In this respect, musical pleasure is not derived from fantasy – it is not mediated by daydreams – but is experienced directly: music gives us real experience of what the ideal could be.«81 Aber was Frith schildert – die Verbindung aus realem, körperlichen Er- leben und Imagination – ist die perfekte Realisierung eines Tagtraums, wie ihn Campbell beschreibt. Das Hören von Musik bietet eine einfache und vor allem effektive Methode, um eine kontrollierte emotionale Emp- findung zuzulassen. Gleichzeitig erlaubt ihre fehlende Denotation, sie