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something being produced by the masses and conveying the representations of the masses. On the contrary, such involvement of the masses is only apparent, or a type of seeming democratic participation. Adorno contends that what is actually occurring is a type of "defrauding of the masses". Horkheimer and Adorno deliberately chose the term "culture industry" instead of "mass culture" or "mass media". "The culture industry perpetually cheats its consumers of what it perpetually promises." The culture industry even encroaches upon the small distractions of leisure activity: "Amusement has become an extension of labor under late capitalism." Horkheimer and Adorno, above all, in their critical analyses, delve into what they call "the fraying of art" and the "de-artification of art", and discuss how the arts are defused by the culture industry. Works of art have become commodified:
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change. Marx's theory depended on the willingness of the working class to overthrow the ruling class, but Adorno and
Horkheimer postulated that the culture industry has undermined the revolutionary movement. Adorno's idea that the mass of the people are only objects of the culture industry is linked to his feeling that the time when the working class could be the tool of overthrowing capitalism is over.
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1000:. Authentic culture fosters the capacity of human imagination by presenting suggestions and possibilities, but in a different way than the culture industry does since it leaves room for independent thought. Authentic culture does not become channeled into regurgitating reality but goes levels beyond such. Authentic culture is unique and cannot be forced into any pre-formed schemas.
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appeal to vast audiences and therefore both the intellectual stimulation of high art and the basic release of low art. The essay does not suggest that all products of this system are inherently inferior, simply that they have replaced other forms of entertainment without properly fulfilling the important roles played by the now-defunct sources of culture.
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in which the audience could identify with the patriotism either sincerely (the thesis) or ironically (the antithesis) and so set the tone of the interpretation for the remainder of the film. However, the film is manipulating specific historical events, not only as entertainment, but also as a form of
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As for discovering the causes of the development of the culture industry, Horkheimer and Adorno contend that it arises from companies' pursuit of the maximization of profit, in the economic sense. However, this cannot be said to be culture, or what culture is supposed to be. It can only be described
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Movies serve as an example. "All films have become similar in their basic form. They are shaped to reflect facts of reality as closely as possible. Even fantasy films, which claim to not reflect such reality, don't really live up to what they claim to be. No matter how unusual they strive to be, the
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homogenized and whatever diversity remains is constituted of small trivialities. Everything becomes compressed through a process of the imposition of schemas under the premise that what's best is to mirror physical reality as closely as possible. Psychological drives become stoked to the point where
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Wiggershaus states: "The other side of Adorno's apparently paradoxical definition was ignored: that rational objectivity was still possible for the modern work of art, in any significant sense, only as a product of subjectivity". This would deny Adorno contemporary political significance, arguing
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Adorno is also accused of a lack of consistency in his claims to be implementing
Marxism. Whereas he accepted the classical Marxist analysis of society, showing how one class exercises domination over another, he deviated from Marx in his failure to use dialectics as a method to propose ways to
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The culture industry argument is often assumed to be fundamentally pessimistic in nature because its purveyors seem to condemn "mass media" and their consumers. However, for Adorno, the term "culture industry" does not refer to "mass culture", or the culture of the masses of people in terms of
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The essay is concerned with the production of cultural content in capitalist societies. It critiques the extortionate nature of cultural economies as well as the apparently inferior products of the system. Horkheimer and Adorno argue that mass-produced entertainment aims, by its very nature, to
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and the
American film industry. They highlight the presence of mass-produced culture, created and disseminated by exclusive institutions and consumed by a passive, homogenised audience in both systems. This illustrates the logic of domination in post-enlightenment modern society, by monopoly
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argued that Adorno's work has a renewed importance in the digital age: "The pop hegemony is all but complete, its superstars dominating the media and wielding the economic might of tycoons...Culture appears more monolithic than ever, with a few gigantic corporations—Google, Apple, Facebook,
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Horkheimer and Adorno contend that industrially produced culture robs people of their imagination and takes over their thinking for them. The culture industry delivers the "goods" so that the people then only have left the task of consuming them. Through mass production, everything becomes
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capitalism or the nation state. Horkheimer and Adorno draw attention to the problems associated with a system that 'integrates its consumers from above', arguing that in attempting to realise enlightenment values of reason and order, the holistic power of the individual is undermined.
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is influenced by
European politics and the war by which the continent was consumed. Simultaneously, the American film industry was characterised by an unprecedented level of studio monopolisation, it was "Hollywood at its most classical, American mass culture at its most Fordist".
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s global brand, Zipes wrote, "It must conform to the standards of exception set by the mass media and promoted by the culture industry in general. To be a phenomenon means that a person or commodity must conform to the hegemonic groups that determine what makes up a phenomenon".
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that politics in a prosperous society is more concerned with action than with thought. He also notes that the young generation of critical theorists largely ignore Adorno's work which, in part, stems from Adorno's inability to draw practical conclusions from his theories.
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are only used in fragmentary forms when included in advertisement. According to
Critical Theory, "selling out" is not the decisive factor involved, but rather it's the manner in which art is commodified and how art and culture are changed that is the crucial issue.
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is the topic of "the
Enlightenment as Mass Deception." The term "culture industry" is intended to refer to the commercial marketing of culture, the branch of industry that deals specifically with the production of culture that is in contrast to "authentic culture."
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Adorno and
Horkheimer's work was influenced by both the broader socio-political environment in which it was written and by other major theorists. Written in California in the early 1940s in an era which characterized them as two ethnically Jewish, German émigrés,
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endings are usually easy to predict because of the existence of prior films which followed the same schemas. Also, for example, erotic depictions become so strong and so pronounced that a transformation to other forms is no longer possible."
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propaganda by demonstrating a link between success in strategic resource management situations and specified leadership qualities. Given that the subtext was instrumental and not "value-free", ethical and philosophical considerations arise.
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Normally, only high art criticizes the world outside its boundaries, but access to this form of communication is limited to the elite classes where the risks of introducing social instability are slight. A film like
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franchise. He argued that the commodities of the culture industry are "popular" because they are homogenous and obey standard conventions; the media then influences the tastes of children. In his analysis of
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as the eponymous
American general, was released at a time of considerable anti-war sentiment. The opening shot is of Patton in front of an American flag making an impassioned speech. This was a form of
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with their interchangeable plots and formulaic narrative conventions reflect standardized production techniques and the falling value of a mass-produced cultural product.
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is popular art which intends controversy in a world of social order and unity which, according to Adorno, is regressing into a cultural blandness. To Hegel, order is good
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circumstances. The inherent danger of the culture industry is the cultivation of false psychological needs that can only be met and satisfied by the products of
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146:(1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", of the book
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Zipes, J. (2002). Page 175 Sticks and Stones: The
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1707:. Translated by Edmund Jephcott. Stanford, California: Stanford University Press.
1608:(1st MIT Press pbk. ed.). Cambridge, Massachusetts: MIT Press. p. 513.
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The aims of the culture industry are—as in every industry—economic in nature.
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The Frankfurt School : its history, theories, and political significance
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Adorno, Theordor; Horkheimer, Max (2002). "Enlightenment as Mass Decption".
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Adorno, Theordor; Horkheimer, Max (2002). "Enlightenment as Mass Decption".
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The Frankfurt School: its History, Theories, and Political Significance
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A Sample of Adorno's ideas on the culture industry and popular music
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as being a form of commerce, just like any other kind of commerce.
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1560:. Hamburg, Germany: Europäische Verlagsanstalt. pp. 66–68.
1532:. Stanford, California: Stanford University Press. p. 106.
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1478:. Stanford, California: Stanford University Press. p. 94.
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Rolf, Wiggershaus; translated by: Michael, Robertson (1995).
1398:"Merlin | Theodor W. Adorno: The Culture Industry (Part 2)"
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Horkheimer and Adorno make consistent comparisons between
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whose purpose is to ensure the continued obedience of the
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Eros and civilization: a philosophical inquiry into Freud
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Authentic culture, however, is not goal-oriented, but is
699:, Adorno and Horkheimer theorized that the phenomenon of
1504:"THE CULTURE INDUSTRY: ENLIGHTENMENT AS MASS DECEPTION"
1424:"The Culture Industry: Enlightenment as Mass Deception"
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1450:"Merlin | Theodor W. Adorno: An Introduction (Part 1)"
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The Culture Industry: Enlightenment as Mass Deception
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Dialectic of Enlightenment: Philosophical Fragments
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1235:(4. pr. ed.). Boston, Massachusetts:
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1502:Horkheimer, Max; Adorno, Theodor (1947).
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1698:(2002). Noerr, Gunzelin Schmid (ed.).
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1767:. New York: The Seabury Press. (1973)
1661:The Subtlety of Horkheimer and Adorno
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848:Relevant discussion may be found on
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152:(1947), wherein they proposed that
1792:. Rowman & Littlefield. (1996)
1785:. Stanford University Press (2002)
555:Cultural Marxism conspiracy theory
306:The Theory of Communicative Action
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1781:Adorno, T., & Horkheimer, M.
1592:Horkheimer & Adorno, page 129
1583:Horkheimer & Adorno, page 145
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1448:CCC, Merlin (30 December 2018).
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1217:Horkheimer & Adorno, p.107
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808:or discuss these issues on the
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1983:Two-step flow of communication
1804:The Cultural Economy of Cities
1790:The Culture Industry Revisited
1628:Ross, Alex (8 September 2014)
315:Age of Mechanical Reproduction
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1327:. Thousand Oaks, California:
1932:Social aspects of television
1659:Durham Peters, John (2003).
1161:– for copyright implications
659:were much influenced by the
1663:. Cambridge: Polity Press.
1422:Adorno; Horkheimer (1947).
860:the claims made and adding
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1813:. Cambridge: Polity (2003)
1783:Dialectic of Enlightenment
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690:Dialectic of Enlightenment
241:Dialectic of Enlightenment
149:Dialectic of Enlightenment
1825:Adorno on Popular Culture
1360:Scannell (2007) pp.37–44.
1227:Marcuse, Herbert (1966).
492:Communicative rationality
162:mass communications media
2681:Society of the Spectacle
2076:Structural functionalism
1737:Scannell, Paddy (2007).
1321:Scannell, Paddy (2007).
2562:Influence of mass media
2367:Narcotizing dysfunction
1899:Influence of mass media
1797:The Cultural Industries
1739:Media and Communication
1556:Behrens, Roger (2002).
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986:is no longer possible.
661:dialectical materialism
2727:Industries (economics)
2223:Freedom of information
1104:in 2014, music critic
971:A center point of the
665:historical materialism
313:The Work of Art in the
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2610:Exploitation of women
1846:). pp. 94–136. (
1371:"instrumental reason"
850:Talk:Culture industry
711:to market interests.
605:Philosophy portal
290:Reason and Revolution
255:Eros and Civilization
1311:Scannell (2007) p.47
1302:Scannell (2007) p.45
1159:Cultural expressions
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739:The Culture Industry
657:The Frankfurt School
200:The Frankfurt School
135:) was coined by the
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2656:Advanced capitalism
2342:Cult of personality
2256:Advanced capitalism
1827:. Routledge. (2003)
1820:. MIT Press. (1994)
1765:Negative Dialectics
1680:New German Critique
758:commodity fetishism
696:Negative Dialectics
687:. In works such as
512:Legitimation crisis
482:Advanced capitalism
283:One-Dimensional Man
276:Negative Dialectics
262:Escape from Freedom
2722:Service industries
2577:Semiotic democracy
2501:Civil disobedience
2413:Media manipulation
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2326:Tabloid journalism
2240:Media transparency
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1978:Semiotic democracy
1973:Opinion leadership
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1696:Adorno, Theodor W.
1509:. pp. 2–4, 22
1351:Hansen (1992) p.46
1293:Durham (2003) p.71
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1275:Durham (2003) p.68
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617:Society portal
476:Important concepts
137:critical theorists
58:"Culture industry"
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2017:Notable academics
1850:at Marxists.org.)
1795:Hesmondhalgh, D.
1748:978-1-4129-0269-4
1670:978-0-7456-2934-6
1558:Kritische Theorie
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1848:Alternate copy
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1833:External links
1831:
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1806:. Sage. (2001)
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1799:. Sage. (2002)
1793:
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1763:Adorno, T. W.
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1045:This section
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845:
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839:This section
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174:mass-produced
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63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2676:Post-Fordism
2666:Mass society
2660:
2635:Transparency
2581:
2448:Noam Chomsky
2426:Philosophers
2372:Recuperation
2357:Media circus
2347:Dumbing down
2213:Media policy
2187:Social media
2005:
1998:
1953:Echo chamber
1947:
1909:Mass society
1824:
1817:
1810:
1803:
1796:
1789:
1782:
1764:
1756:
1755:
1738:
1726:. Retrieved
1719:the original
1700:
1683:
1679:
1660:
1653:Bibliography
1652:
1651:
1641:
1632:
1624:
1604:
1597:
1588:
1557:
1529:
1523:
1511:. Retrieved
1475:
1469:
1457:. Retrieved
1453:
1443:
1431:. Retrieved
1429:. p. 21
1417:
1405:. Retrieved
1401:
1391:
1379:. Retrieved
1374:
1365:
1356:
1347:
1323:
1316:
1307:
1298:
1289:
1280:
1271:
1237:Beacon Press
1230:
1222:
1196:. Retrieved
1192:
1170:
1169:
1125:Harry Potter
1124:
1119:Harry Potter
1117:
1111:
1099:
1097:
1093:
1089:
1074:
1065:
1054:Please help
1049:verification
1046:
1028:Observations
1023:
1006:
1002:
995:
992:
988:
980:
972:
970:
967:Mass culture
958:
951:teleological
946:
942:
939:
922:
920:
909:
894:
876:
870:January 2017
867:
840:
816:
809:
803:
802:Please help
799:
774:Georg Lukacs
744:
738:
735:
722:
718:
708:
704:
701:mass culture
694:
688:
654:
517:Non-identity
501:
304:
295:
288:
281:
274:
267:
260:
253:
246:
239:
158:mass society
147:
124:
122:
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
2555:In academia
2541:Review bomb
2362:Media event
2299:Advertising
2271:Consumerism
2192:State media
1068:August 2012
984:sublimation
916:soap operas
768:rationality
655:Members of
575:Reification
570:Recognition
454:Sohn-Rethel
399:Kirchheimer
234:Major works
2701:Categories
2620:Media bias
2521:Occupation
2453:Guy Debord
2335:Techniques
2304:Propaganda
2201:Principles
2177:News media
2157:Mass media
2064:Approaches
2029:Elihu Katz
1454:Merlin CCC
1402:Merlin CCC
1239:. p.
1166:References
1114:Jack Zipes
960:status quo
854:improve it
805:improve it
754:alienation
732:Influences
715:The theory
379:Horkheimer
186:creativity
170:capitalism
69:newspapers
2600:Anonymity
2309:Fake news
2285:Deception
2182:Old media
2167:New media
1838:Adorno. "
1788:Cook, D.
1513:24 August
1459:25 August
1433:25 August
1407:25 August
1381:24 August
1106:Alex Ross
1010:Beethoven
955:communism
934:dialectic
912:use value
858:verifying
852:. Please
811:talk page
764:Max Weber
750:Karl Marx
669:Karl Marx
532:Privatism
507:Dialectic
414:Löwenthal
404:Kompridis
190:happiness
178:high arts
123:The term
2649:Synonyms
2640:Violence
2516:Graffiti
2249:Ideology
1728:4 August
1135:See also
1112:Scholar
947:a priori
781:Elements
673:idealism
424:McCarthy
409:Kuhlmann
394:Kracauer
369:Habermas
359:GrĂĽnberg
344:Benjamin
209:a series
207:Part of
166:economic
2625:Privacy
2531:Protest
2486:Boycott
2352:Framing
1844:Archive
1776:Archive
1198:19 July
464:Wingert
459:Wellmer
449:Schmidt
444:Pollock
434:Neumann
419:Marcuse
374:Honneth
182:freedom
83:scholar
2593:Issues
2391:Others
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1377:. 1998
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1018:Wagner
1014:Mozart
943:Patton
924:Patton
709:masses
527:Praxis
384:Jaeggi
334:Adorno
211:on the
129:German
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71:
64:
56:
2292:Forms
2125:Media
1722:(PDF)
1705:(PDF)
1686:(56).
1507:(PDF)
1427:(PDF)
1171:Notes
1128:'
677:Hegel
389:Kluge
364:Geuss
354:Forst
349:Fromm
90:JSTOR
76:books
2536:Punk
2321:Spin
1743:ISBN
1730:2016
1709:ISBN
1694:and
1665:ISBN
1610:ISBN
1562:ISBN
1534:ISBN
1515:2023
1480:ISBN
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1435:2023
1409:2023
1383:2023
1333:ISBN
1245:ISBN
1200:2022
1016:and
756:and
693:and
663:and
439:Offe
429:Negt
339:Apel
62:news
1842:" (
1241:136
1058:by
856:by
766:'s
675:of
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