„Rock’n’roll i Holokaust”, tekst u kome se sve već dogodilo, ali i u kome se sve tek treba dogoditi, budući da živimo u „odsustvu svake prave prisutnosti” (Džejmson 1974: 145), ima želju, ma koliko ona bila neostvariva, da se "oslobod[i] od obaveze započinjanja” (Fuko 2019: 7). On, međutim, ipak mora „započeti” i pokušati da, u nekom jeziku i diskursu, kaže nešto o ideologijama, Holokaustu i rock’n’roll-u: Belsen was a Gas Sex Pistols-a, Puppets Lenarda Koena, No Love Lost Joy Division-a.“Rock’n’roll and Holocaust” represents, on one hand, a text in which everything has already happened and, on the other, a text in which everything is yet to happen because we, if we are to believe Jameson, live in the absence of any true presence. Moreover, this paper has a Focauldian desire to liberate itself from the obligation of commencing. It, however, has to “commence” and, with some language and discourse, attempt to say something about ideologies, Holocaust and rock-n-roll: Sex Pistols’ Belsen was a Gas, Leonard Cohen’s Puppets, Joy Division's No Love Lost.Istraživanje sprovedeno u radu finansiralo je Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije (Ugovor o realizaciji i finansiranju naučnoistraživačkog rada NIO u 2022. godini broj 451 -03-68/2022 14/ 200198)
