I know that all the bands mentioned were all about the duality, so, they'd probably all agree that while they're all wildly apart, they're all togeather too.
Of course genres overlap. Every artist living or dead can be connected to each other by something, but that isn't very useful. I can hear the same energy, emotion and spirit in the music of Johnny Burnette and Pagans, but it's useful to call the former rockabilly and the latter punk rock. Still, because I do believe that it's more or less about the same thing in all music (and art in general) I have all my records mixed in regardless of the genre. I think it's nice to have Birthday Party next to Beefheart or Rev. Overstreet next to Oblivians. Genres are not meant to be taken as absolute, but as I said used to help discussion.
Birthday Party have direct connections to industrial, they really have no connections to rockabilly or blues other than sonically.
Well that's mainly because industrial was happening at the same time they were together, whereas the golden age of rockabilly and blues had taken place decades earlier.
Ok, should we put this ridicoulous genre debate on rest, although I admit guilty of starting it, this certainly isn't very useful.
I dunno, perhaps you should give me your reading of the ending.
It's been years since I've read Crime and Punishment and I don't have the book here with me, but didn't Raskalnikov's theory pretty much fell-apart when he put it in practise? He was tormented by the murder he had committed and felt release only after meeting the prostitute and confessing what he had done. If I remember correctly he turned on to religion at the prison camp in Siberia, which I think is what had happened to Dostojevksi himself, on the very last pages of the book. At least in the case of Raskalnikov the theory didn't hold up.