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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
Female werewolves in Werewolf: The Apocalypse

the gameplay system, but also introduces the idiosyncratic ‘classic World of Darkness’ in which games are expected to take place: Werewolf is set in a Gothic-Punk world – a World of Darkness. Externally, little differs between our world and this World of Darkness – the established religious, social and political

in She-wolf
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crimes’. 22 Written in the late 1970s, this prophetic story envisaged capitalism entering ‘its most picturesque phase’, and anticipated the savage market-forces world of the 1980s in a fantastic yet unnervingly accurate way. Carey invents two seemingly bizarre hippy/punk capitalists, but has stressed that the story is just like working in an advertising agency, Barto being based on someone he worked with, while the other main character is ‘a total psychopathic distortion’ of something he recognises in himself. 23 Although the story ‘pushes things to extremes a bit

in Peter Carey
Surreal Englishness and postimperial Gothic in The Bojeffries Saga

some respects to that of contemporary alternative comedy, and especially the television sitcom, The Young Ones . Alternative comedy had grown as a reaction against what was seen as the inherent conservatism prevalent on the traditional club circuit for stand-up comics and expressed as a tendency towards racist and sexist jokes. 46 Very much a post-punk phenomenon

in Alan Moore and the Gothic Tradition
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Horror now and then

reference is Gothic, heavily inflected with an early 1980s Goth chic suturing of punk and metal (but let’s not get too new romantic) in a dark swathe of leather, dye and make-up. Not that there are many Goths on stage: drummer and guitarist have sensible haircuts and the bassist, cropped under a ten-gallon hat, wears a tight bodybuilder’s t-shirt! ‘Sex vampire, cool machine ...’ The audience, despite some

in Limits of horror
Dandyism, fashion and subcultural style in Angela Carter’s fiction of the 1960s

subcultural style is embodied, for Carter, in what Dick Hebdige (following Claude LéviStrauss) would later call bricolage, the practice of intervening in the cultural construction of meaning through the recontextualization of semiotic objects (Hebdige, 1987). Subcultural bricolage is founded in ‘the “radical” collage aesthetic of surrealism’ and thus speaks directly to Carter’s ongoing fascination with surrealist aesthetics (Hebdige, 1987: 120). For Hebdige, bricolage is quintessentially expressed through punk’s appropriation of the swastika and the safety pin. Carter

in The arts of Angela Carter
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Genre collisions and mutations

is key on both generic and real-world planes is that a particular subcultural identity emerges and is only viable through acknowledgement of other groupings with which it comes into contact. Hebdige’s complex analysis of punk’s deliberately constructed ‘frozen dialectic’ with black forms of expression such as reggae persuasively makes this point (Hebdige, 1996 : 69). John Frow, alluding to Rosalie

in Jonathan Lethem
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Monstrous media/spectral subjects

disruptive musical technologies in order to surprise and sometimes disconcert the listener. This disruptive and disrupted listening experience enables Waits to realise in auditory form a tradition of American gothic that identifies with the outsider. In ‘Ghosts of the Gristleized’, Dean Lockwood continues to explore musical disruption, here produced by post-punk industrial band Throbbing Gristle

in Monstrous media/spectral subjects
Manchester’s poetry in performance (1960s to the present)

reflects multiple poetic developments. An enduring influence on all Mancunian performance poetry is the ever-popular John Cooper Clark. A figurehead for youth culture in the 1970s, Cooper Clark is often referred to as the ‘Punk Poet’ or the ‘Bard of Salford’.45 He became known for his political satire and rapid-fire delivery, which the poet Joolz Denby alludes to in the epigraph to this chapter. Dressed in the ‘skintight black’ of his iconic drainpipe trousers, Cooper Clark has performed alongside bands such as the Sex Pistols, Elvis Costello and New Order. Many of his

in Postcolonial Manchester
Marie Helena Loughlin

the realm of Gomorrah.9 The beaus too, whom most we relied on,10  At night make a punk11  Of him that’s first drunk, Though unfit for the sport as John Dryden.12 The soldiers, whom next we put trust in,  No widow can tame  Or virgin reclaim, But at the wrong place will be thrusting. 3 pego penis. Old Sodom’s Embraces  referring to the formula that followed printed ballad titles: ‘To the tune of […]’. 5 gun penis. 6 jade whore. 7 In … reckoned  Charles II raised to the peerage many of his mistresses and the children he had with them. 8 sparks … bum

in Same-Sex Desire in Early Modern England, 1550–1735