)zines rather than conference packs to match form with content in the history of subcultures.5 The Edmonton Zine fair, for example, launched a collaborative history zine, The History of Punk.6 Zines were utilised at various points during the fortieth anniversary of punk. The British Library used its zine collection to collate a narrative from the Sex Pistols’ breakthrough to the wider national punk story, whereas Matthew Worley’s community project -40- Going underground focused on the local experience of Norwich’s punk scene. Worley combined a street exhibition with a zine

in Ripped, torn and cut
Youth culture and the rethinking of historical legacies

national interests (74 per cent) ranked just below that, it concluded that the youth mostly identified with the social/​class group it belonged to.16 The sense of belonging to a socially, culturally or generationally defined group with a relative disregard for the ethno-​national aspect indeed surfaced in many of the interviews I  conducted. Robert Botteri’s testimony is particularly illustrative: I have to say I  never identified as Yugoslav. I  was at the age when I  would rather identify as a punk than a Yugoslav. I used to claim that I have more in common with a punk

in The last Yugoslav generation
Abstract only
Scoring Statham

’s for Crank: High Voltage are major factors in the characterisation of Chev and the Statham comic/action star persona. Similarly, the pre-recorded tracks in both films are a mixture of styles and are used specifically to reinforce the frantic pace of the editing, the plot and the movement and psychology of Chev. The range of styles – punk rock, speed metal, rock, ‘urban

in Crank it up

feelings about their experiences as squatters. This sharply differed from those of male squatters who tended to narrate their experiences according to plots which centered events that revealed squatter capital, such as their participation in a violent eviction, their managing of a campaign, or their involvement in a social center. Svenke is a punk Swedish squatter with long blond dreadlocks in her late twenties who came to the Netherlands to study in the university. Her entire wardrobe consists of black clothing

in The autonomous life?

movements throughout the world (Bolivia, Czech Republic, Great Britain, Greece, Japan, and Venezuela). Labor movement allies, failing state socialism, and punk subculture have provided conditions conducive to anarchism, while state repression and Bolshevik triumph in the Soviet ANTI-STATE POLITICAL OPPORTUNITIES 113 Union constrained success. This variation suggests that future work should attend more closely to the role of national context, and the interrelationship of political and non-political factors. Additionally, the key question of what constitutes movement

in Black flags and social movements
Abstract only

emphasis on the importance of rank and file organisation and its rejection of the pro-Soviet perspectives of much of the left. A generation of militants in and around the SWP, who combined revolutionary politics with a genuine love for popular music, provided many of RAR’s leading cadres. Meanwhile, the upsurge in radical trends in youth cultures such as punk and reggae, supplied a channel through which this small number of activists could communicate with much larger numbers of campaigners and sympathisers. But RAR was more than an ideological and organisational force

in Crisis music
Abstract only
Nodes, ties and worlds

’). Figure 5.1 gives an example from my earlier work (Crossley 2015a). It visualises the network of key artists and support personnel in the Liverpool post-punk music world of the late 1970s, as derived from analysis of archives and secondary sources. Nodes are linked where I was able to identify evidence of musical collaboration between them between 1975 and 1980. Note that this is a snapshot of a dynamic relational structure which was always in-process. In most networks, nodes come and go over time and the ties between them form, break and change. We must always be

in Connecting sounds
Publics, protest and the avant-garde

the status quo and a transgression which illustrates the possibility of resistance in the wider world. In a slightly different vein, and drawing upon Adorno’s colleague, Benjamin (1968), Laing (1978) argues that innovations in form in early UK punk music generated ‘shock effects’ which unsettled audiences, engendering a more critical attitude. Moreover, Hebdige’s (1988) analysis of sub-cultural style in some ways echoes Adorno, pointing to the way in which sub-cultural styles challenge convention and, in the case of punk in particular, denaturalise social order. It

in Connecting sounds
Abstract only

post-war period, from the social and political changes that followed the end of the Second World War, through the development of the Campaign for Nuclear Disarmament (CND), the New Left and the counter-culture and into the lifestyle politics of Punk and attempts to confront Thatcherism and AIDS in the 1980s. Chronology is important because gay left politics did not develop to confront immediate issues alone. It constantly defined itself against previous generations. This was not merely a function of biological age, but each generation of activists constructed itself

in Gay men and the Left in post-war Britain
Open Access (free)
Ethnicity and popular music in British cultural studies

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