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This chapter compares and contrasts the British invasion and punk rock as mystified, post-performance products. Expanding on Goffman's notion of mystification to discuss texts that emerged from performances and drawing on Mannheim's distinction between ideological and utopian perspectives, we discuss the British invasion as bound to elite interpretations of mystified products and punk rock as bound to more provincial and anti-elitist interpretations. We note that despite differences, both genres involve, to varying degrees, mystifying differences, mystifying legendary status, and mystifying popularity itself. The discussion of both musical genres compliments and affirms previous analyses, especially the analysis of punk rock as a dramaturgical and utopian version of play.

Purpose – To explain the unswerving loyalty given to Charles Manson by his followers from a religious perspective by drawing on Durkheim’s (1912/1976) theory of religion and Hall’s (2003, 2013) theory of religion and violence.

Design/methodology/approach – A qualitative analysis of archived multimedia either quoting, or written by, members of the Manson Family. Specifically, a theoretical thematic analysis is used to draw inferences on how members explained their participation in the 1969 murders.

Findings – The Manson Family display a unified belief system premised on the sacredness ascribed to Helter Skelter, forming a moral community at Spahn Ranch. Manson was conceived as the clan’s God, thereby meeting most of Durkheim’s requirements for a religious formation. A main component of their belief system was the inevitability of Helter Skelter, or the upcoming racial revolution; the ultimate war and end of the world. This belief provides one explanation for the Manson murders; that they were carried out as a religious duty to initiate Helter Skelter.

Originality/value – Despite the continued public fascination with the Manson murders, only a few studies have applied a sociotheoretical framework to explain this event and none have used a religious account from the perspective of those involved. By introducing religion as one plausible framework, this research is not only an extension of Durkheim’s work but also contributes to existing literature on the relationship between religion and violence.

The reliance on teams in today’s work environment underscores the importance of understanding how teams function. To better understand teams, one must be able to measure team dynamics or interaction. The purpose of this chapter is to outline an unobtrusive approach to measuring team dynamics from verbal communications.

The basic premise of this approach is that the words we use provide insight into how we feel and think at any given time. The methodology described in this chapter employs a lexical analytic approach to examining team dynamics. To best accomplish this, we first identify the principal features or dimensions of teamwork and then we propose lexical measures that may map to these processes.

This approach can be employed to track team functioning over time “at a distance” without interrupting task performance.

This chapter describes an approach to measuring relevant teamwork dimensions through verbal content. This approach has the potential to give us direct, unobtrusive insight into the emotional and cognitive states of teams. It is original in its examination of how team dynamics can be indexed in speech.

The concept of the music scene has served sociologists well in providing a template for studying the organization of various musical styles and the people who work together to create the musical experiences. Writers including Howard Becker, Richard Peterson, Andy Bennett, David Grazian, and Joseph Kotarba have explored music scenes ranging from jazz, blues and rock to country and Latino styles. Although there is no one consensual definition of music scene, the notion of place, in a physical, empirical, and geo-local sense, seems to be a universal concern in the literature. In this chapter, we will outline a more inclusive, interactionist-oriented, and updated concept of the music scene that is at once interactionist in tone and perspective, while sensitive to dramatic changes occurring both in the world of politics and in the world of digital media. Perhaps most importantly, the concept of music scene can provide insight into the historical fact that, in spite of technological advancements, the live music experience is still at the heart of musical experiences across communities and cultures.