Exploring the articulation of identity by older women punks
Laura Way

3 Playing a-minor in the punk scene? Exploring the articulation of identity by older women punks Laura Way Punk has retained its presence in the subcultural literature that has flourished since the Birmingham University Centre for Contemporary Cultural Studies (CCCS) was established in the 1960s. But while theoretical shifts away from the assumed link between youth and subcultural participation have drawn attention to ageing within a subculture, there continues to be a notable absence of women in such analysis. To help rectify this, I intend here to utilise

in Fight back
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1990s style and the perennial return of Goth
Catherine Spooner

Gothic and Goth: new interventions At the end of the 1970s, a new youth subculture emerged from the fragmenting Punk scene, commonly known as Goth. Goth seemed to take the trappings of Gothic literature and film and convert them into a symbolic form of resistance to a suburban Britain (and subsequently America, Australia and elsewhere) perceived as

in Fashioning Gothic bodies
Nazima Kadir

-motion car wreck would speed up … If I went to the drowning man the drowning man would pull me under. I couldn’t be his life raft (Flynn 2004 : 10–11). I begin this chapter with this quote because it captures the fluidity between marginality and centrality in an activist’s biography and how social movement subcultures serve as a space for liminal adolescence. Flynn, a renowned American poet, first met his father while working at a homeless shelter. The memoir features two parallel

in The autonomous life?
Life in a religious subculture after the Agreement
Gladys Ganiel and Claire Mitchell

the Free Presbyterian Church, has dominated public perceptions of evangelicalism, it is in fact a much more diverse and politically varied group than is usually supposed (Mitchell and Ganiel, 2011 ). In this chapter, we develop our concept of an evangelical subculture in order to explore how both the politics of the post-Agreement period, as well as more mundane, everyday

in Everyday life after the Irish conflict
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Writing from the dark underground, 1976–92
Claire Nally

6 Goth zines: writing from the dark underground, 1976–92 Claire Nally The period spanning the late 1970s and early 1980s represents the foundational moment in the construction of goth as a subcultural entity. Prior to this moment, the iconography and style of proto-goth culture is visible in a range of zines which situate themselves in film and literature, and more broadly, may be identified as Gothic. Catherine Spooner draws a clear distinction between goth and Gothic in Fashioning Gothic Bodies, where she explains: ‘The relationship between goth subculture and

in Ripped, torn and cut
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Rebecca Jennings

post-war histories also has further implications for narratives of post-war Britain. Accounts of the development of a specific lesbian subculture, emerging in the 1950s, and the Conclusion 175 educational objectives of the first lesbian magazine in the 1960s, undercut the notion of the 1960s as a decisive moment of radicalisation. Instead, they suggest a more gradual emergence of marginal cultures, predicated on diverse understandings of lesbian identity. More fundamentally, narratives of lesbian practices and collective action in the post-war decades as

in Tomboys and bachelor girls
Catherine Spooner

these changes come about? How did vampires learn to sparkle? This chapter attempts to demonstrate that the sparkly vampire is just one element of a wider shift in mood in Gothic fictions; one that is linked to the changing fortunes of Goth subculture and its representation in the mainstream media. Fictional vampires, and real Goths, no longer appear so comfortable in the position of

in Open Graves, Open Minds
Negotiating acceptable politics in the Dutch fanzine Raket
Kirsty Lohman

-censorship’ approach. This chapter conducts a close reading of Raket to discuss the ways in which these submissions were treated by the fanzine’s makers and the resulting response from its readership.10 In so doing, it frames a discussion of selfcensorship and boundary-drawing practices in punk, issues that are of particular importance in a subculture that has, since its inception, witnessed tensions between far left and far right ideology and iconography. This chapter therefore contributes to debate on punks’ engagement with the far right;11 with issues of censorship and anti

in Ripped, torn and cut
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East German punk in its social, political and historical context
Aimar Ventsel

may seem like a strange beginning for a chapter on punk, but many of the social issues highlighted by Sarrazin also concern German punks. Indeed, this chapter focuses on how the diminishing status of the working class is reflected in East German punk. Simultaneously, it argues that subculture can provide an alternative space for low-status people and the possibility of resisting public prejudices by applying irony and provocation. Discussing the ‘demonisation’ of the working class is nothing new in the UK, whether in academic or leftist analytical literature.4 It is

in Fight back
‘Crisis music’ and political ephemera in the emergent ‘structure of feeling’, 1976–83
Herbert Pimlott

to be taken into consideration. Second, it reclaims those products of subcultural production as resources for reconstructing the ‘emergent’ (e.g. alternative, resistant) ‘structure of feeling’ as revealed through the typeface, layout, words, phrases, symbols and sounds of the music and political ephemera: ‘affective elements of consciousness and relationships … thought as felt and feeling as thought’.5 Finally, this chapter demonstrates the importance of recovering the ‘lived experiences’ of a subaltern social class or subculture as a means to gaining a fuller

in Fight back