Chapter 8 discusses the legacy of northern soul beyond the 1970s and through to its revival in the present day. It also explores the construction and dissemination of particular myths and histories of northern soul. The chapter investigates northern soul’s propensity to look back on its own emergence and development and its need to create its own icons and symbols, both during its heyday in the 1970s and into the twenty-first century. The chapter provides details of post-Wigan venues such as the Top of the World, Stafford, and the global reach of the scene in Europe and Japan. There is a critical reading of the way in which northern soul has been characterised in fiction, autobiography and on stage and screen. The chapter describes the ways in which the scene has become part of the wider working-class soundscape of places such as Blackpool and Benidorm.
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, and Bill Osgerby
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book explores some of the different ways in which punk has been understood, adopted and utilised since it first established itself in the cultural consciousness from the mid-1970s. It also explores the contemporary punk scene in Russia, concentrating on the nexus between violence, masculinity and subcultural affinity. The book looks at punk's relationship to locality and space, and concentrates on communication and reception. It examines the transgressive concept of 'immigrant punk' to present bands such as Kultur Shock as both reflecting and resisting the processes of postmodernity. The book also examines the representation of punk in film, exploring the diverse forms of 'punk cinema' forged since the 1970s. It explains academic and non-academic interest in the politics of a cultural form that continues to reverberate across the world.
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street, and Pete Webb
The introduction outlines the ways by which fanzines were integral to the
development of punk-related cultures and embodied the ethos of
do-it-yourself (DIY). It assesses some of the previous writing on fanzines
and outlines the content of the book.