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the present book continues, elaborating further the distinctive relational approach to music sociology sketched therein, requires brief elaboration. Several years ago I wrote a book about the origins of punk and post-punk in the UK (Crossley 2015a). In this book, taking Becker (1974, 1982) as my point of departure, I developed a concept of ‘music worlds’ to capture, amongst other things, the network of participants involved (i.e. musicians, 1 2    Connecting sounds audience members and the assortment of managers, promoters, engineers etc. whom Becker collectively

in Connecting sounds
Charles Olson, Susan Howe, Redell Olsen

her most recent book, 2012’s Punk Faun, Olsen continues to address themes of genre, displacement and irony. The book, which includes open-field poetics among the array of poetic forms it embraces, is a baroque pastoral; though ‘bar-rock pastel’ is the only means available in the text of uttering that phrase. The book emerges from a consideration of the decorative, masquerade, masquing and the ephemeral. The contemporary artist Matthew Barney (associated with the contemporary baroque) and the Renaissance patron of the arts Isabella d’Este provide the book’s epigraphs

in Contemporary Olson
A generation of loyal patriots?

who openly rejected the party’s military propaganda, along with GDR society in general. This group was divided into two contrasting subgroups: right-wing skinheads and pacifist punks. The first, skinheads, embraced military life as one of their most important principles, and were, in many ways, ideal candidates for the NVA, placing importance on discipline, physical fitness and a healthy lifestyle. Some skinhead groups thus organised paramilitary weekend training camps, and attempts were even made to recruit members through GST groups. Their enthusiasm was not

in Honecker’s children

tabloid, Green Anarchist, demonstrates how NSM organizational characteristics drawn from Melucci (1996) can be seen in many aspects of the paper’s collective, including selfmanagement of writing and distribution among many geographically dispersed people, and decentralized editing. Some collectives could also be considered cooperatives – designed to either manufacture or provide a good or service, or to purchase or acquire such things, respectively. Anarchists have been active members for decades of housing, food, bike, child care, and even punk rock record store

in Black flags and social movements
The musical universe and its worlds

conflicting ways. Adorno-inspired accounts associate the mainstream with the largely working-class ‘masses’ and their manufactured tastes and desires, whilst accounts inspired by Birmingham’s Centre for Contemporary Cultural Studies (CCCS), whom I return to below, associate it with the dominant culture of the middle class, a culture challenged by working-class sub-cultures such as teddy boys, skinheads and punks. Thornton, by contrast, could find no evidence of ‘the mainstream’ in her ethnography of club culture. Over four years of investigation, she notes, ‘I was unable to

in Connecting sounds
The youth sphere and its spaces of negotiation and dissent

the following chapter, the SSOJ was reforming faster than its original senior sibling –​the SKJ. This is captured by the following excerpt from the interview with Janjatovic: When you look back now, you realise that the entire rock, punk and new wave at the time was financed by the League of Socialist Youth! […] In the summer of 1982, we organised a two-​day festival of new punk bands which was called ABRS  –​Alternative Belgrade Rock Scene. You know the ARA album –​Artistic Work Action. So, the idea was to promote those bands. Our guest bands were Idols, Electric

in The last Yugoslav generation

of his adolescence (he was thirteen in May 1968): George Orwell, Jerry Rubin, Abby Hoffman, a passion for London and Punk Rock and a decisive encounter with Situationism while at university. 5 Assayas recounts viewing the films of René Viénet and later discovering Debord’s seminal La Société du spectacle: j’ai adopté ce livre comme point de

in Five directors
Freudian hydraulic patterns in Le Grand bleu

, driven by immaterial and non-causal motives ( what is he really diving for?). This shift is also symptomatic of the collapse of the grand narratives in postmodernity, in that the quest is problematised; as Johana wisely says, ‘there is nothing in the depths; everything is black’. Is this a version of punk’s ‘no future’ tailored for a wide public twelve years after it had been proclaimed? If dolphins

in The films of Luc Besson
Jörg Buttgereit’s Nekromantiks

’s Young German Cinema into the distinctively historically engaged New German Cinema, it is notable that while Buttgereit’s early film career ranged across genres (from parodic monster and super-hero shorts to mockrockumentaries set in the West Berlin punk scene),4 it is nonetheless possible to trace a culturally engaged thematic continuity across these early works that shares a great deal with the art house films of the German avant garde and which underscores Buttgereit’s often playful horror films with a deadly historical and political seriousness. 28 German and

in The wounds of nations
Abstract only

the CND generation’s middle-class radicalism in reaction to the crisis of 1956. CND’s tactics, and the failures of law reform fed into the liberational movement until it became an organisational and stylistic norm even for those who would identify as being outside politics all together, such as Punks. Rejecting the Party line and formal structure encouraged grass-roots self-organisation, legitimised by experience rather than rational critique. Gay Left’s attempts to rethink itself into action after the GLF’s fragmentation were unable to sever these old restrictions

in Gay men and the Left in post-war Britain