Martha Doyle

school of post-modernist writers, authors such as Blaikie (2002) consider the possibility of the emergence of an old age subculture, and an associated cultural identity, akin to a youth subculture. In particular, he focuses on the factors which are likely to unify or divide the older population. In Blaikie’s conceptual framework the manner in which older people construct and maintain their identity and esteem in old age can be classified as falling into one of three cultural scenarios, namely, a culture of resistance, a culture of consolation or a culture of

in The politics of old age
Open Access (free)
The economy of unromantic solidarity
Nazima Kadir

and within the movement as evictions and riots. Rather than focusing on whether the squatters movement will persevere, it’s more relevant to ask, who squats publicly and have they continued squatting? Without legal permission, has this “autonomous” selfextolled in the movement subculture persisted? To answer this question, it’s helpful to consider the general profiles of who comprises this movement, as I have already contended in this book. The contemporary squatters movement consists of people who can

in The autonomous life?
Lucy Robinson

recognise them as an invaluable way into the messy traces left by subcultures, DIY and fan cultures, and the politics of identity.4 Archivists on and off-line continue to build new collections, mapping the specifics of a place, scene or group of zine makers. Whether in the most eminent national collections, or more loosely archived on social networking sites, they construct a bottom-up history; irreverent, both textual and visual, recycled and disseminated beyond profit and funding structures. Historians also use zines to disseminate research. Punkademics produce (aca

in Ripped, torn and cut
Ian Goodyer

edited a collection of revisionist essays on the punk phenomenon, shares Denselow’s scepticism regarding the organic radicalism of punk rock. He reveals that a close examination of the genre’s fans and performers shows that they were all too susceptible to the lure of the far-right. In his essay on the subject Sabin reinforces Denselow’s observations about punk’s political ambivalence, but he emphasises, too, a strain of racism permeating the subculture, whether it be in the form of racist song lyrics or a blindness towards the plight of those ethnic minorities who

in Crisis music
Russ Bestley and Rebecca Binns

7 The evolution of an anarcho-punk narrative, 1978–84 Russ Bestley and Rebecca Binns From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itself against self-indulgent, outmoded rock stars and the pretentions of rock journalism.1 Pioneering punk zine Sniffin’ Glue ( July 1976) and those that immediately followed2 sought an authentic form of expression to relate directly with ‘disaffected kids’ who comprised the demographic of punk subculture. Against the hierarchical structure inherent in mainstream media, punk zines

in Ripped, torn and cut
Nazima Kadir

despite the squatters movement’s disavowal of property, because Darius had organized the action and had successfully squatted the house, the house became his property in the social dynamics of the movement. Mario’s remark also demonstrates how quickly participants in this subculture learn its unstated rules. In an anti-authoritarian and anti-hierarchical subcultural milieu, this hierarchical dynamic is rarely discussed openly. Instead, it’s referred to obliquely by housemates with less status who moved in

in The autonomous life?
Geertje Mak

a third gender role, an accompanying urban subculture of men who could recognize each other, and the first indications of sodomites referring to themselves as a certain kind of people with inborn characteristics. Some commentators have cautiously left the matter of identity in this era out of their arguments, such as for instance Theo van der Meer.4 Others, like for example Randolph Trumbach, have made full-blown attacks on Foucault ‘and his followers’ who situated the birth of the homosexual identity in the late nineteenth century. According to him, the emerging

in Doubting sex
Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

labelled ‘paranormal romance’, ‘dark romance, ‘dark fantasy’, which explores, sometimes transgressively, sometimes conservatively, love between humans and supernatural beings, most famously between Bella Swan and Edward Cullen in Stephanie Meyer’s Twilight . 6 Identity politics, however, is concerned with subcultures, individuals in social groups, and their integration into, or rejection

in Open Graves, Open Minds
The transnational and transgeneric initiative of La Zanfoña Producciones
Josetxo Cerdán and Miguel Fernández Labayen

and El factor Pilgrim are examples of the Sevillian scene of the 1990s, one determined by a subcultural and marginal drive. If ‘subcultures are groups of people that are in some way represented as non-normative and/or marginal through their particular interests and practices, through what they are, what they do and where they do it’ (Gelder, 2005 : 1) and are characterised

in Contemporary Spanish cinema and genre
The Clash in 1977
Kieran Cashell

, Strummer remarked that The Clash did not try to ‘assimilate’ reggae.77 ‘It was punk reggae, not white reggae. We were bringing some of our roots to it, not trying to mimic someone else’s.’78 In relation to the Anglo-American appropriation of reggae it is necessary to emphasise at least three crucial distinctions where The Clash are concerned. First, Strummer, Simonon and Jones, by their own admission, closely identified with the West Indian community (the ‘Young, Bitter and Black’ youth subculture) in London, which gave them an empathetic sense of their politicising

in Working for the clampdown