of participation in rank and file movements. But whatever the underlying reasons, Frith and Street feel that ‘RAR’s most important achievement was to provide a model (and a name) for local activities that were put on without any reference to the central organization at all.’64 Arguments certainly did arise between the different participants within RAR, but it is hard to find any compelling evidence of systematic political interference from the SWP. It is clear that suspicion towards both RAR and revolutionary socialists was fairly widespread, since many punks

in Crisis music
Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)

1970s rock and pop music does not cloud his judgement regarding the pitfalls of subcultural forms of youthful resistance becoming culturally appropriated and commodified. During a punk gig both characters attend together in London, we are told: [T]‌he carrot-haired kid cursed us to death. He seemed to be yelling direct at Charlie and me. I could feel Charlie getting tense beside me. I knew London was killing us as I heard, ‘Fuck off, all you smelly old hippies! You fucking slags! You ugly fart-breaths! Fuck off

in Queer Muslim diasporas in contemporary literature and film
Open Access (free)
Putting the countryside back to work

Transverse, a street theatre production centre and arts venue, as part of an ongoing effort to refashion Corbigny as a rural cultural hub. La Transverse offers residencies to visiting theatre companies and performing artists throughout the year and serves as the permanent base of operations for Metalovoice. Founded in 1995 after splitting from drumming group Tambours du Bronx (Drums of the Bronx), Metalovoice creates multimedia performances inspired 60 Working memories by labour history, punk music, agitprop, working-class literature and cultural practices, and troupe

in Street theatre and the production of postindustrial space
Constructing the televisual pop community in the GDR

discursive strand was that of international popular music, embedded within narratives that included notions such as ‘fun’, ‘drive’ and ‘popularity’. It was also manifested in the classifications of different styles and genres of popular music used by the media and audiences to characterise music sounds and behaviours (e.g. hard rock, disco, punk, new wave, pop and rock), against which GDR cultural Goddard.indb 177 5/30/2013 1:41:30 PM 178  Edward Larkey bureaucrats attempted to impose alternative designations: instead of ‘rock’ or ‘pop’ music, the GDR media preferred

in Popular television in authoritarian Europe

to be so polite? In order to answer this, I want to look at twenty-first-century vampire narratives alongside Goth subculture. Goth, which emerged from the UK’s post-punk underground in the late 1970s, has now become a massive global phenomenon. Thanks to digital communications media, its music, fashions and images can be instantaneously accessed by millions of fans around the world. Goth is

in Open Graves, Open Minds
Meaning, communication and affect

which masculinity (amongst other things) is signified in heavy metal, encouraging identification by male listeners and perhaps partly explaining the disproportionately male profile of metal audiences. Class, too, may be indexically linked with particular musical elements and thereby signified by those elements. Wiseman-Trowse (2008), for example, considers how working-classness is signified in both folk and punk. Their apparent low-tech simplicity suggests music made on a low budget, which anyone could afford to make; for example, using skills which do not depend upon

in Connecting sounds

himself ‘Steve Strange’, and his flatmate Rusty Egan, started a Tuesday Bowie look-alike night. Though it ran for only three months, the night has gone down in pop history as a way station in the transition from punk and new wave to the New Romantics, which continued at Egan’s Blitz nights (Haslam 2015: xii). Alongside the synth pop and Bowie, DJs played jazz funk, soul and reggae, a musical influence that can be heard in the early releases by the bands that emerged from this scene, like Spandau Ballet and Culture Club. 94 London.indb 94 04/10/2019 12:00:13 Warehouse

in It’s a London thing
Mapping post-alternative comedy

1997: 191). In fact, most of the alternative comedians were university educated, albeit not at Oxford or Cambridge – 3885 Cult British TV Comedy:Layout 1 14/12/12 Mapping post-alternative comedy 07:52 Page 3 3 Rik Mayall, Ade Edmondson and Ben Elton were graduates of Manchester University, for example. The ‘erudite middle-class approach of the university wits’ (Wilmut and Rosengard 1989: xiv) was supposedly as much of a bête noir as the mother-in-law jokes of the club comedian. However, this antipathy – seemingly reminiscent of punk’s hatred of progressive

in Cult British TV comedy

.1). The Boosh’s ‘furnished world’ is, for the most part, a pop-literate retro-scape – ‘pop history becomes phantasmagoric, a hallucinatory bestiary of absurd and sometimes grotesque memory hybrids’ (Ibid.: 174–175). Electro pop (Gary Numan cameos in both animated form and in person), prog-rock, punk, Goth and contemporary indie (The Horrors appearing as The Black Tubes in ‘The Chokes’ 3.6) are the main referents – the audio-visual density and the fact that Julian Barrett has a real talent for musical pastiche make the Boosh an even more fully formed fusion of art

in Cult British TV comedy
Criminal minds, CSI: NY and Law and order

provides striking evidence of the limits of tattooing as a sign, or at least a stable sign, of feminist struggle. ‘Oedipus Hex’ presents us with precisely this tension between alternative feminist embodiment and (for the most part) masculine consumption. The episode focuses on the murder of a Suicide Girl immediately after a sexually-charged performance at a ‘punk show’. Initially, suspicion falls on her fellow Suicide Girls, before the murderer is revealed as a male tattoo artist. With members of the SuicideGirls ( SG ) community playing

in Tattoos in crime and detective narratives