Search results

Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

Subculture, Hebdige endeavoured to theorise a variety of youth subcultural styles as a set of ‘differential responses to the black immigrant presence in [post-war] Britain’ (1979: 29), but I am primarily concerned Norquay_08_Ch7 127 22/3/02, 10:01 am 128 Cultural negotiations here with his discussion of punk. In a particular sub-section entitled ‘Bleached roots: punks and white ethnicity’, issues of race and ethnicity are clearly foregrounded. Hebdige suggests, for example, that ‘the punk aesthetic can be read … as a white “translation” of black “ethnicity”’ (64

in Across the margins
Open Access (free)
Putting the countryside back to work
David Calder

Transverse, a street theatre production centre and arts venue, as part of an ongoing effort to refashion Corbigny as a rural cultural hub. La Transverse offers residencies to visiting theatre companies and performing artists throughout the year and serves as the permanent base of operations for Metalovoice. Founded in 1995 after splitting from drumming group Tambours du Bronx (Drums of the Bronx), Metalovoice creates multimedia performances inspired 60 Working memories by labour history, punk music, agitprop, working-class literature and cultural practices, and troupe

in Street theatre and the production of postindustrial space
Steve Sohmer

mice-eyed empower writers More than a few years ago when I was in my salad days and bent on ‘seeing the world’, a Czech friend took me to a dingy club in Prague where a mob of dirty young people had assembled to listen to a dirty young band who played a brand of music we remember as ‘garage rock’ or ‘garage punk’ but that sounded like anarchy with a

in Reading Shakespeare’s mind
Open Access (free)
Street and theatre at the end of Fordism
David Calder

relocation, inextricably linked to changes in work and labour. Bivouac begins with the appearance of eighteen performers wearing light grey suits and caked in heavy blue pigment. The make-up has dried to a bright cerulean on the performers’ exposed skin but remains a wet, dark cobalt in their hair. The gloppy substance glues their coiffures into sticky mohawks and other punk formations. Most of the performers have paired their suit jackets with short trousers that extend just past the knee; their lower legs are smeared with the same shocking blue. They wear heavy duty work

in Street theatre and the production of postindustrial space
Open Access (free)
Bill Prosser

belts, chokers and spiky hair – energetic punk matelot twins. They are smiling, as are arguably nearly half their peers. A further six or seven look nervous, uncertain or quizzical, while one is desperately glum and a couple downright annoyed. A single volte-face head Nothings in particular 95 reflects the equivocal nature of the group as a whole, summing them up in a Siamese physiognomy of comedy and tragedy: one face smiles breezily, but remains bracketed irrevocably with its partner, stiffly down-in-the-mouth. Only a fifth or so of mouths are shown open, and an

in Beckett and nothing
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Railways on Film and Punk to Black Britain, Chinese Britain on Film and LGBT Britain. More than thirty films can be found in the free collection LGBT Britain, but the label is also used within the VOD and S-​ VOD sections. Arguing that national archives could learn from queer minor archives, I will draw comparisons to the archival practice of the Lesbian Home Movie Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg (Brunow, 2015). The term ‘minor archives’, drawing on the

in The power of vulnerability
On last animals and future bison
Joshua Schuster

accord it would seem, to relocate to ‘Soul City’), as if these were the real ecotopian values. There are apparently no problems with any biological hazards such as invasive species, extinctions, pathogens or large-scale, confined animal industries, since ecology has been preset for steady-as-she-goes. Despite the celebration of the unwashed, waste-free hippy lifestyle as the greatest good, Ecotopia turns out to be way too clean, managed, heteronormative, pain-free and quiet (no electric guitars, please, and God help us from our unwashed rivals, the punks) to have to

in Literature and sustainability
Barry Atkins

form of mass entertainment, like punk, rock and roll, and the novel before it, the computer game has been seen as offering some sort of threat to society, particularly by providing a space in which otherwise taboo or outlawed behaviour (spitting and swearing, the sexual expression of pelvic gyration, adultery, and aggression as the first resort in problem solving) is given free range. But the confusion of game for real is indicative of individual dysfunction and ‘misreading’ just as much as the confusion of the films A Clockwork Orange (1971) or Natural-Born Killers

in More than a game
Open Access (free)
Working memory
David Calder

‘post’ in postindustrial suggests a period after something else. But other ‘posts’ (postmodern, post-­traumatic, postpartum, post-punk) remind us that, even if we are situated chronologically after something, we are not necessarily over it. Working memory The production of postindustrial space is one historically specific iteration of a process I call working memory. If memory refers to a connection forged between past and present, then working memory suggests, most obviously, a connection between past and present forms of work. How might workers in a so

in Street theatre and the production of postindustrial space