{"p"=>"In recent years, criminologists increasingly have looked to bring to light connections between criminology and contemporary music, in particular rock music. In doing so it can be argued that crime scholars for the most part have proven oblivious to the ongoing dilution/fragmentation of a faltering rock genre. Moreover, there is little discussion in the literature of significant parallels between rock and criminology: most notably, that neither can escape its white, male, Westernized origins, to the extent that both endure as metanarratives on the strength of outdated hierarchies of greatness that tend toward the marginalization of other voices and cultures. After undertaking an analysis of the different styles of criminological engagement with popular music, I suggest a denominative movement amongst critical, outsider actors from criminology to justice studies—a shift that becomes only more apposite as crime (much like rock) becomes further compromised as a delineation upon which to base an all-encompassing, monolithic discipline."}