Abstract only
Suicide, philosophy and The Smiths
Kieran Cashell

in music magazines and fanzines.43 Perhaps it is time for those who claim to be sincerely committed to suicide-prevention to take note of this phenomenon; for, in light of such evidence, it is becoming increasingly apparent that it is the ‘expert’ perspective – insensitively dogmatic, convinced of its own right-minded good conscience – that represents the truly irresponsible view of suicide.44 Pianalto has claimed that the expert view conceals a serious presupposition. Because it assumes suicide to be the inevitable consequence of the irrational thought processes

in Why pamper life's complexities?
The Smiths, the death of pop and the not so hidden injuries of class
Colin Coulter

, p. 18. 38 N. Kent, ‘Dreamer in the Real World’, The Face, May 1985; Zuberi, Sounds English, pp. 52, 60. 39 The words are of course from the song ‘Rusholme Ruffians’, which is set amid the melodrama and carnage of a funfair. See Goddard, The Smiths, p. 127. See also Morrissey’s comments on the efficacy of violence in a group interview with several fanzine editors, ‘Trial by Jury’, Melody Maker, 16 March 1985. 40 R. Sennett and J. Cobb, The Hidden Injuries of Class (New York: W.W. Norton, 1972). A more expressly feminist text that covers similar ground is C

in Why pamper life's complexities?
Gilli Bush-Bailey

consideration of the shift in attitudes toward Bracegirdle. Anne Bracegirdle’s ‘virtuous’ public identity at the beginning of her career appears to have lost its appeal and here, in a move that is still popular with modern tabloids and fanzines, Bracegirdle’s personal reputation is being publicly and explicitly derided via a fictional kiss-and-tell confession in which the actress admits to the financial deals she strikes with her lovers or keepers: ‘Then he begins to mix his fine Words with fine Presents; he gives, I receive, returning a side Glance for a Diamond Ring; two

in Treading the bawds
BBC America and transnational constructs of Britishness
Darrell M. Newton

of the soaps studied have come to be understood within discourses of a ‘particular, national version of “community”’, grounded within ‘cultural meanings surrounding locality, social class, wealth, and family’. The balancing of race becomes far more complex, particularly as British television offers its spin on the constructs of race, and Blackness for the benefit of American audiences. Malik notes how Black soap opera characters, likely seen on BBCA’s early broadcasts of EastEnders, the intertextuality inherent within the marketing of such shows via fanzines, talk

in Adjusting the contrast
Ian Goodyer

of photography, text and graphics. Influenced by punk design, but also early twentieth-century modernism and pop art, Temporary Hoarding, in Syd Shelton’s words, was ‘in a different category’ to the amateur fanzines of the time. 74 plate.indd 74 6/5/2009 11:00:53 AM 3 Just as the German artist and designer John Heartfield used montage to illustrate Hitler’s links with big business, this image undercuts the reformist notion that the institutions of the state are politically neutral. 75 plate.indd 75 6/5/2009 11:00:53 AM 4 Rock Against Racism applied

in Crisis music
Heather Norris Nicholson

to meet. Within this space, beginners encountered others with varying levels of experience, learned new techniques and found opportunities to take part in screenings, club activities and competitions. For some readers, such encounters with people whose names were already familiar through print conferred status and reinforced a sense of involvement. As with fanzines, shared enthusiasms underpinned the success of sustained

in Amateur film
Douglas Morrey

uninteresting. As Terry Eagleton has suggested, if postmodernism becomes a catch-all term to define broad cultural phenomena, covering ‘everything from punk rock to the death of metanarrative, fanzines to Foucault’, then the question of whether one can be ‘for’ or ‘against’ it loses all sense (Eagleton 1996 : 21–2). The first and most rigorous theorists of postmodernism gave the term a much more specific

in Jean-Luc Godard
Mark Doidge, Radosław Kossakowski and Svenja Mintert

aspect of drag further by deliberately dressing as the stereotype of post-unification East Germans (Ziesche, 2018). As Ziesche (2018: 889) highlights, ‘these costumes also resemble and imitate the looks of people in the 1990s, arguably the most violent years in Dynamo’s history. Thus, the appearance could also be used to reinforce the fan scene’s violent image.’ Greater connectivity across the globe is helping expand these cultural cues. Social media, blogs, fanzines, films and other forms of media help present and re-present significant aspects of ultras culture

in Ultras
Mark Doidge, Radosław Kossakowski and Svenja Mintert

Fiorentina, a club who share the same colours. Fans of Ujpest visited Naples when their team played Napoli in the European Cup in 1990, where they experienced the climate of the ultras world and bought copies of the Supertifo fanzine. After another visit to Italy two years later for a match against Parma in the Cup Winners’ Cup, they decided to form their own group based on the Italian model. The same mix of influences can also be seen in Bulgaria where groups like the Izgrev Boys formed at Botev Plovdiv while their rivals Lokomotiv Plovdiv inaugurated the group Napoletani

in Ultras
Post-pop politics
Steve Redhead

hear your records, no one’s going to buy your fanzine, and your dream is to be like a little blip and you don’t want that to happen. That’s my problem, and the way I deal with it, to be honest, is bewilderment, and that’s my main feeling about the music industry. Let’s see how I can get out what I want –​how to survive?33 In the next Chapter we shall examine what happened to the much heralded 1980s ‘new bohemia’, and what the story means for the policing and regulating of pop music culture in the 1990s. 89  90 The end-of-the-century party 2  Fans of English pop

in The end-of-the-century party