-headed and drunk,
What a coil do I make for the loss of my punk?29
I storm, and I roar, and I fall in a rage,
And missing my whore, I bugger my page.
Then crop-sick, all morning, I rail at my men,30
And in bed I lie yawning, till eleven again.
clap gonorrhoea (sexually transmitted disease).
spend ejaculate; spew: common synonym for ‘ejaculate’ among libertine poets,
Rochester in particular; the older meaning of the word (‘vomit’) suggests the speaker’s
coil tumult; punk: whore.
crop-sick indigestion attendant on gluttony; men: servants.
Each item in the manuscript in turn is identified by folio number (r or v), and then either transcribed in full (English verse and private letters, including translations of the Symmachus letters) or by an incipit (all other items, including foreign-language ones). Other information about the item, including scribal hand, authorship, addressee (for letters), and date is also provided. Blank pages are so identified, and discrepancies or errors in assembly or binding noted. Conjectural transcriptions or attributions are so identified. If there is a commentary on the item, a note is given of where in chapters 9 and 10 it may be found.
Ethnicity and popular music in British cultural studies
Subculture, Hebdige endeavoured to theorise a variety of youth subcultural styles as a set of ‘differential responses to the black immigrant
presence in [post-war] Britain’ (1979: 29), but I am primarily concerned
22/3/02, 10:01 am
here with his discussion of punk. In a particular sub-section entitled
‘Bleached roots: punks and white ethnicity’, issues of race and ethnicity are
clearly foregrounded. Hebdige suggests, for example, that ‘the punk
aesthetic can be read … as a white “translation” of black “ethnicity”’ (64
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
is here approached neither as a site of antagonism nor as a convergence of the
sisterly arts, but rather as a locus of a productive encounter.
Born in 1957 in Tucson, Arizona, Raymond Pettibon is an American artist
who first garnered acclaim in the Californian punk-rock scene in the late 1970s.
Initially he became known for his album-cover and flyer designs, as well as selfpublished, staple-bound zines that were available via mail order. His notoriety
within the punk scene rests especially on his design of the four-bar logo for
the band Black Flag, but also for
acceptance of a variety of
overlapping motivations. Tony Harcup, a member of Basement Writers who
went on to edit Leeds Other Paper, became inspired by the idea of producing culture,
a fluid energy that could be channelled in a number of directions: ‘Had it been
three years later we’d probably have started a DIY punk band instead!’103 Other
writers, such as Alan Gilbey and Tony Marchant, would also adopt a do-it-
yourself punk ethic.
In addition, discussions of class and culture were not restricted to small
groups of committed socialists. Television was the key medium for
The ambivalence of queer visibility in audio- visual archives
Railways on Film and Punk to Black Britain, Chinese Britain on
Film and LGBT Britain. More than thirty films can be found in the free
collection LGBT Britain, but the label is also used within the VOD and S-
Arguing that national archives could learn from queer minor archives,
I will draw comparisons to the archival practice of the Lesbian Home Movie
Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg
(Brunow, 2015). The term ‘minor archives’, drawing on the
were set up so that writers
could branch out. Gilbey himself started Controlled Attack, a punk-influenced
theatre group that performed to more critical audiences.48 A playwriting group
was started at Liverpool University as a result of pressure from the Scotland Road
workshop.49 Others set up novel groups. O’Rourke, Mills and Anne Cassidy often
read each other’s work in a more detailed and critical way than was possible in a
workshop setting and all three went on to publish commercial books.50
Intense personal relationships fed into the production of more critical
would seem, to relocate to ‘Soul City’), as if these were the real ecotopian
values. There are apparently no problems with any biological hazards
such as invasive species, extinctions, pathogens or large-scale, confined
animal industries, since ecology has been preset for steady-as-she-goes.
Despite the celebration of the unwashed, waste-free hippy lifestyle as the
greatest good, Ecotopia turns out to be way too clean, managed, heteronormative, pain-free and quiet (no electric guitars, please, and God help
us from our unwashed rivals, the punks) to have to
. Like when
Tracy and I heard all of Daydream Nation played by Sonic Youth by the Swan
River under the gaze of King’s Park and the mining towers of Perth: surreal,
extra-natural, slightly incongruous, but brilliantly and excitingly a trashing of
the pastoral. That’s what I like about this process: streetwise Cage undoing
Arcadia, death being overtaken by the zip of life. Buñuel, surrealism, Dada,
Doris Day, performance, skateboards, punk love, sex, city meets country,
Warhol and heavy weather in the Guggenheim. I am not really sure what
my part is, but I am also there