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Lisa Shaw and Rob Stone

(To Return, 2006). His appreciation of Almodóvar’s selection of popular songs and their impact (both diegetic and non-diegetic) on the plot, characters and mood of his films includes analysis of punk, folksong, boleros and world music, and prompts an analysis of how these songs offer the filmmaker an opportunity to advance the romantic ironies inherent in his films. In building his argument, Thau demonstrates how these songs

in Screening songs in Hispanic and Lusophone cinema
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Fanzines, politics and agency
Matthew Worley

3 Whose culture? Fanzines, politics and agency Matthew Worley The impetus for starting a (punk) fanzine was often clear enough. Writing in the first issue of Sniffin’ Glue (1976), Mark Perry bemoaned the weekly music press’s failure to understand ‘this thing called “punk rock”’. ‘The weeklys [sic] are so far away from the kids that they can’t possibly say anything of importance’, he complained: ‘why don’t they stick to Queen and all that trash that drive around in expensive cars’.1 For Tony Drayton, communicating from the edge of Glasgow in November 1976, Ripped

in Ripped, torn and cut
Britishness, Englishness, London and The Clash
Conrad Brunström

, nor their core fanbase, have access to cars. The song’s chorus refers to the tedium of this ludicrous motorised paradise more explicitly, repeating the number ‘nine’ five times. The addition of two more nines to an emergency phone number offers the suggestion that even the emergency services may be too lethargic these days to pick up. The idea of ‘burning with boredom’ resonates through a larger corpus of late seventies punk. The quest to make boredom excitement, or rather to celebrate nervous potential energy derived from a frank acknowledgement of boredom

in Working for the clampdown
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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The Clash, Bologna and Italian punx
Giacomo Bottà and Ferruccio Quercetti

belonged to a new wave of local cultural policies targeting young people. In the same period, the hardcore punk scene was taking shape, with bands often singing in Italian, embracing DIY culture and adopting tactics of political and civic resistance.6 This new breed of Italian punks would come to the attention of quite a large audience on the occasion of The Clash show in Bologna. This chapter deals with the Bologna concert, its organisation and its aftermath. We are interested in ‘setting the scene’, where the performance by The Clash does not work as the ‘main act’ but

in Working for the clampdown
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The social life of music
Author: Nick Crossley

This book argues that music is an integral part of society – one amongst various interwoven forms of social interaction which comprise our social world; and shows that it has multiple valences which embed it within that wider world. Musical interactions are often also economic interactions, for example, and sometimes political interactions. They can be forms of identity work and contribute to the reproduction or bridging of social divisions. These valances allow music both to shape and be shaped by the wider network of relations and interactions making up our societies, in their local, national and global manifestations. The book tracks and explores these valances, combining a critical consideration of the existing literature with the development of an original, ‘relational’ approach to music sociology. The book extends the project begun in Crossley’s earlier work on punk and post-punk ‘music worlds’, revisiting this concept and the network ideas underlying it whilst both broadening the focus through a consideration of wider musical forms and by putting flesh on the bones of the network idea by considering the many types of interaction and relationships involved in music and the meanings which music has for its participants. Patterns of connection between music’s participants are important, whether they be performers, audience members or one of the various ‘support personnel’ who mediate between performers and audiences. However, so are the different uses to which participants put their participation and the meanings they co-create. These too must be foci for a relational music sociology.

Punk and the politics of novelty
Pete Dale

WHAT IF KEITH LEVENE HAD NEVER LEFT THE CLASH? 129 6 What if Keith Levene had never left The Clash? Punk and the politics of novelty Pete Dale The purpose of this chapter is partly to query the ‘year zero’ mythology of 1977 era punk, partly to question the idea that a discrete ‘post-punk’ music can be understood separately from ‘original’ punk, and partly to explore more general questions around music, novelty and tradition. The latter concern is something I have been exploring in theoretical work for some time now. The Clash are used here largely as a case

in Working for the clampdown
Jo George

avant garde, searching for the art work of the future. For example, his second feature, Jubilee (1978), was ‘Britain’s first official punk movie’ 7 and a legitimate reflection of the zeitgeist of the late 1970s; yet Jarman sees it as a ‘healing fiction’ which ‘harked back to Pearl and Piers Ploughman ’, 8 poems within the medieval dream-vision tradition. British art cinema and the avant garde Jubilee is in many ways the direct precursor to The Last of England and The Garden . All three were very much

in British art cinema
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Susan Hayward

-mother-lover ( Le Grand Bleu , 1988) 8 Anne Parillaud as the punk Nikita and director Luc Besson ( Nikita , 1990) 9 Bob-the-father (Tchéky Karyo) in probing mood ( Nikita

in Luc Besson
Steve Redhead

 132 The absolute non-​end This book has tried to find some answers to the problem of what happened to the relationship between popular music, youth culture and deviance in the years since punk. In the 1950s, 1960s and 1970s pop and rock music seemed inextricably connected to a never-​ ending succession of deviant youth subcultures –​teds, rockers, mods, hippies, skinheads, rastas, punks. However in the Thatcher years of the 1980s youth culture became more of an advertising medium than ever before; it was notable not for opposition, but for its role in selling

in The end-of-the-century party