Youth culture and the rethinking of historical legacies
Ljubica Spaskovska

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
Post-pop politics
Steve Redhead

 59 3 Soundtracks from the global hypermarket: post-​pop politics In the first two Chapters we have examined the case for subcultural theorists’ explanations of post-​ punk pop music culture. Subcultural theory has been found wanting in such accounts; it is more than likely that it was similarly inadequate in its analysis of pre-​punk subcultures, too. Moreover, the notion of Style Culture, which dominated subcultural politics of pop in the early part of the decade, was seriously misleading. Where it retained lasting value –​ for instance in its links with the

in The end-of-the-century party
Abstract only
Scoring Statham
Shelley O’Brien

’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
Nazima Kadir

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?
Dana M. Williams

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
Ian Goodyer

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
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Nodes, ties and worlds
Nick Crossley

(technically ‘ edges ’). 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. 5.1 Liverpool's punk/post-punk world, 1975–80. Note that this is a snapshot of a dynamic relational structure which was always in-process. In most

in Connecting sounds
Publics, protest and the avant-garde
Nick Crossley

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 is unlikely that Adorno would have expressed anything but scorn for punk had he lived to hear it, but these analyses suffice to show that a more open-minded appropriation of his concern with form and its effects might

in Connecting sounds
Abstract only
Lucy Robinson

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
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