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action turns: Hole will transfer 660 acres of church land to Wall’s company, Omnivore, and Omnivore will sign 49 per cent of the land over to Mongy’s wife’s company, Chieftain Holdings, for £1. Mongy will ensure no government action is taken on foot of rumours of child abuse at the Corrective Academy for the Sons of the Unruly run by Fr Hole and his brother, Fr Gabriel Hole. By the end of the act, however, Mammy and Daddy have avenged the sexual abuse of their friends’ son by killing and eating Father Hole, and taking possession of his pub. Punk Alice, the mother of
his PhD on British communism. Matthew Worley’s essay offers Wrigley.indb 10 08/03/2017 17:45:34 Introduction 11 a fascinating insight into how the CPGB and the Young Communist League sought to engage with punk music at a time when the party was losing membership rapidly, in the decade or so before the collapse of communism in Eastern Europe and the Soviet Union. Stimulated by the writings of Martin Jacques, and other prominent members of the CPGB, the attempt to embrace the anti-commercial music establishment of the emerging youth culture in the 1970s led to
Amsterdam, the son of an architect and a school nurse, both of whom professed leftist politics. He was raised to call them by their first names and dislikes describing his class background, refusing to, as he says, “put himself into a box.” As a fifteen-year-old punk sporting a Mohawk, he became involved in the squatters movement when he read a newspaper article interviewing squatters who were preparing for the eviction of their mansion. Excited, he skipped school to help with the barricading. Having spent half his
aesthetic illusion – was counter-productive. (Habermas, 1986c : 173) A case stronger, and perhaps more naive, than Benjamin’s is made by Marcus: punk was most easily recognisable as a new version of the old Frankfurt School critique of mass culture . . . But now the premises of the old critique were exploding out of a spot no one in the Frankfurt School, not Adorno, Herbert Marcuse, or Walter Benjamin, had ever recognised: mass culture’s pop cult heart. (Marcus, 1989 : 70
takes sadistic pleasure in multiple rape scenes. Barcelona sur ( South Barcelona ) (Jordi Cadena, 1981) privileges American-style modernity over Catalan modernism, dwelling on images of burger bars or pop-punk group Blondie playing on the television. The opening scene depicts a young woman coming out of prison and being met by a girlfriend, whose male companion pimps her out. Physical abuse of prostitutes is depicted as part of everyday life, but a gang rape prompts them to fight back, culminating in a discotheque shoot out. Extolling violence and crime might not
Sebastian. A young woman overdoses whilst caught up in a police riot. Extra-diegetic music tends to be classical, but the characters listen almost exclusively to punk and metal. This was the era of pro-nationalist radical Basque rock music – far more hard-hitting than what was contemporary in Madrid – spearheaded by La Polla Records and Barricada, who nevertheless tended to sing in Castilian, the language of the occupier. 30 Dominant languages invariably have an unfair advantage in bilingual contexts but it would be quixotic to insist on mono
encouraged its readers to ‘Smile Please – It’s Almost Over’, whilst noting that ‘There is much to remember about the punk-ridden, terrorist-laden seventies. But there is much more we would prefer to forget.’ 6 The former Labour Cabinet Minister Lord George Brown, by the late 1970s a Thatcher sympathiser, saw it as a period of ‘despair and disintegration’ and ‘one of the worst decades Britain has known’. 7 In slightly more philosophical terms, an Observer editorial described the prevailing mental condition of the 1970s as an ‘inert, numinous stupor’. It had been a
and allegations of corruption over the course of their preparation.60 As a result, a variety of civil society actors, including freedom of expression advocates, campaigners for the abolition of the anti-homosexual legislation, environmental activists and anti-corruption activists, were united in offering opposition to the Sochi Games on economic, environmental and political grounds. Importantly, they were able to gather considerable Western media attention.61 Indeed, media outlets followed one civil society actor with particular relish. Pussy Riot, a disruptive punk
tribute has been painted onto a garage door: the front cover of British punk band the Sex Pistols’ 1977 single ‘God Save the Queen’ superimposed with her image and the message ‘God Save the Duchess’. A less affectionate picture was painted in the autobiography of her son, Cayetano Martínez de Irujo, 99 a publishing sensation in 2019, who claimed that she and Aguirre combined the coldness associated with aristocrats and the irresponsibility of bohemians; left socially isolated and psychologically vulnerable, he sought out love and company with his pet lion and on
nevertheless claimed no post-Fatwa review was offering an honest appraisal. 116 Spain had a relatively small Muslim population but the Shah’s celebrity profile ensured the Ayatollah Khomeini was a ubiquitous cartoon-like villain. In 1982, Galician punk-rock band Siniestro Total released a loose reworking of Elvis Presley’s ‘Blue Suede Shoes’ with the refrain, ‘Ayatollah, no me toques la pirola’ (Ayatollah, hands off my balls). It is not necessary to claim blasphemy is relative to acknowledge that the UK’s significant Muslim population ought to inform