Open Access (free)
The autonomous life?

Every Saturday night for thirty years, the renowned Vrankrijk, a squatters’ social center, has hosted a dance party which attracts a mix of squatters, punks, artists, radical left activists, hippies, university students, and tourists seeking to taste the underground scene in Amsterdam. Located on a beautiful street in the inner city, the building is enormous, standing four-stories tall, its facade covered by colorful murals in stark contrast to the eighteenth-century dollhouse architectural landscape of

in The autonomous life?
New youth activism

, Sounds, and we travelled there –​myself for the first time in 1974, then in 1979, etc … It was also the other way around –​the first article on Slovenian punk was in Melody Maker by Chris Bohn in 1980 or so. Vidmar was Chris Bohn’s guide and intepreter when Bohn visited Yugoslavia at the beginning of 1980, a visit which was summarised in a two-​page article entitled ‘Non-​aligned punk’.15 This was one of the first articles to correctly position the country and its youth in geopolitical terms –​throughout the 1970s both New Musical Express and Melody Maker persistently

in The last Yugoslav generation
Abstract only
London’s racial geography, 1960–80

, once uptown ska gave way to ‘sticker’, more militant rocksteady and roots reggae in the early 1970s (Hebdige 1987), was largely ignored by the mainstream market and media, and it circulated instead through clandestine channels back and forth between Kingston and London, where it was put to use in the semi-autonomous zones of black London. Reggae and the rebellious independent Rastas who dominated it in the 1970s were exotic and mysterious to white youth – which is part of what made it such an influence on punk – but it was never something that 26 London.indb 26 04

in It’s a London thing
Ambivalence, unease and The Smiths

The band’s Irish provenance was, then, less pronounced than that of their second-generation Irish contemporaries such as Shane MacGowan of The Pogues (whose post-punk reconfiguration of Irish folk music articulated a peculiarly London-Irish experience) or Kevin Rowland of Dexys Midnight Runners (who sought to fuse Irish music with soul).14 In stark contrast to such exteriorised conceptions of ethnicity, The Smiths would arguably dramatise (in oblique and abstracted ways) certain second-generation sentiments, not least via the trope of ambivalence in their address to

in Why pamper life's complexities?
Pop, rock and war children

decade, including The Music Lovers (1970), Savage Messiah (1972), Mahler (1974), and Lisztomania (1975). The late 1970s saw the rise of the provocative and confrontational punk subculture in Britain. Films which came out of this movement or documented its developments include The Punk Rock Movie (Don Letts, 1977), Jubilee (Derek Jarman, 1978), and The Great Rock ‘n’ Roll Swindle ( Julien Temple, 1979). A number of British-produced music films of the 1970s focus on black culture and music, or on music that displays the influence of immigrant culture on young, white

in British films of the 1970s
Abstract only

Manchester on 4 June 1976, which melds actual 8mm footage of the event with Wilson’s commentary concerning the influence of that gig, while he himself witnesses and participates in it. This sequence is followed by one in which Wilson argues the significance of his own So It Goes television show, a Manchester regional programme that featured the latest punk groups, and we again see footage of Siouxsie and the Banshees, Iggy Pop

in Michael Winterbottom

-Dada cells’. The reader who was familiar with the graphic design of A/traverso and Zut would have recognised similarities with La Rivoluzione, which instantiated the same proto-punk aesthetic made possible by the bold use of off-set printing techniques. The texts incorporated several fonts and were occasionally pasted from other publications or added manually with a marker pen. The layout deliberately appeared rough and chaotic, indifferent to straight lines and the divisions between plates and articles. Page 1 contained a Maoist slogan, ‘The revolution is just, necessary

in Art, Global Maoism and the Chinese Cultural Revolution
Reflections on contemporary anarchism, anti-capitalism and the international scene

into one place, tempers begin to flare and a McDonald’s becomes the scene of ‘hamburger liberation’. In what was to become a famous piece of détournement by turf, the statue of Winston Churchill is given a punk mohican hairstyle made out of grass. A moment of inversion is created in turf. Churchill, Britain’s leader through World War II, and responsible for the deaths of many thousands of German civilians in what many see as the unnecessary bombing raids on Dresden and other German cities, is transformed into a punk – the inversion of authority figure to rebel

in Changing anarchism
The Smiths and kitchen-sink cinema

consisted basically of a re-reading of American folk music from the turn of the century. In the words of Nik Cohn, it was ‘knockabout American folk song thumped out any old how on guitar and washboard. Its major attraction was that any musical ability was entirely irrelevant. All you needed was natural rowdiness.’15 The appeal of skiffle to working-class teenagers lay in the feeling of authenticity that came with American folk music, the music of the common people. Moreover, skiffle preceded punk’s ‘do-it-yourself ’ ethos by twenty years, in that musical talent was not a

in Why pamper life's complexities?
Smiths fans (and me) in the late 1980s

: Local, translocal, and virtual (Nashville, TN: Vanderbilt University Press, 2004), pp. 238–53; A. Bennett, ‘Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans’, Sociology, Vol. 40, No. 2 (2006), pp. 219–35. CAMPBELL PRINT.indd 194 21/09/2010 11:25

in Why pamper life's complexities?