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the present book continues, elaborating further the distinctive relational approach to music sociology sketched therein, requires brief elaboration. Several years ago I wrote a book about the origins of punk and post-punk in the UK (Crossley 2015a). In this book, taking Becker (1974, 1982) as my point of departure, I developed a concept of ‘music worlds’ to capture, amongst other things, the network of participants involved (i.e. musicians, 1 2    Connecting sounds audience members and the assortment of managers, promoters, engineers etc. whom Becker collectively

in Connecting sounds
The musical universe and its worlds

conflicting ways. Adorno-inspired accounts associate the mainstream with the largely working-class ‘masses’ and their manufactured tastes and desires, whilst accounts inspired by Birmingham’s Centre for Contemporary Cultural Studies (CCCS), whom I return to below, associate it with the dominant culture of the middle class, a culture challenged by working-class sub-cultures such as teddy boys, skinheads and punks. Thornton, by contrast, could find no evidence of ‘the mainstream’ in her ethnography of club culture. Over four years of investigation, she notes, ‘I was unable to

in Connecting sounds

of his adolescence (he was thirteen in May 1968): George Orwell, Jerry Rubin, Abby Hoffman, a passion for London and Punk Rock and a decisive encounter with Situationism while at university. 5 Assayas recounts viewing the films of René Viénet and later discovering Debord’s seminal La Société du spectacle: j’ai adopté ce livre comme point de

in Five directors
Freudian hydraulic patterns in Le Grand bleu

, driven by immaterial and non-causal motives ( what is he really diving for?). This shift is also symptomatic of the collapse of the grand narratives in postmodernity, in that the quest is problematised; as Johana wisely says, ‘there is nothing in the depths; everything is black’. Is this a version of punk’s ‘no future’ tailored for a wide public twelve years after it had been proclaimed? If dolphins

in The films of Luc Besson
Jörg Buttgereit’s Nekromantiks

’s Young German Cinema into the distinctively historically engaged New German Cinema, it is notable that while Buttgereit’s early film career ranged across genres (from parodic monster and super-hero shorts to mockrockumentaries set in the West Berlin punk scene),4 it is nonetheless possible to trace a culturally engaged thematic continuity across these early works that shares a great deal with the art house films of the German avant garde and which underscores Buttgereit’s often playful horror films with a deadly historical and political seriousness. 28 German and

in The wounds of nations
Constructing the televisual pop community in the GDR

discursive strand was that of international popular music, embedded within narratives that included notions such as ‘fun’, ‘drive’ and ‘popularity’. It was also manifested in the classifications of different styles and genres of popular music used by the media and audiences to characterise music sounds and behaviours (e.g. hard rock, disco, punk, new wave, pop and rock), against which GDR cultural Goddard.indb 177 5/30/2013 1:41:30 PM 178  Edward Larkey bureaucrats attempted to impose alternative designations: instead of ‘rock’ or ‘pop’ music, the GDR media preferred

in Popular television in authoritarian Europe
Meaning, communication and affect

which masculinity (amongst other things) is signified in heavy metal, encouraging identification by male listeners and perhaps partly explaining the disproportionately male profile of metal audiences. Class, too, may be indexically linked with particular musical elements and thereby signified by those elements. Wiseman-Trowse (2008), for example, considers how working-classness is signified in both folk and punk. Their apparent low-tech simplicity suggests music made on a low budget, which anyone could afford to make; for example, using skills which do not depend upon

in Connecting sounds

himself ‘Steve Strange’, and his flatmate Rusty Egan, started a Tuesday Bowie look-alike night. Though it ran for only three months, the night has gone down in pop history as a way station in the transition from punk and new wave to the New Romantics, which continued at Egan’s Blitz nights (Haslam 2015: xii). Alongside the synth pop and Bowie, DJs played jazz funk, soul and reggae, a musical influence that can be heard in the early releases by the bands that emerged from this scene, like Spandau Ballet and Culture Club. 94 London.indb 94 04/10/2019 12:00:13 Warehouse

in It’s a London thing
Mapping post-alternative comedy

1997: 191). In fact, most of the alternative comedians were university educated, albeit not at Oxford or Cambridge – 3885 Cult British TV Comedy:Layout 1 14/12/12 Mapping post-alternative comedy 07:52 Page 3 3 Rik Mayall, Ade Edmondson and Ben Elton were graduates of Manchester University, for example. The ‘erudite middle-class approach of the university wits’ (Wilmut and Rosengard 1989: xiv) was supposedly as much of a bête noir as the mother-in-law jokes of the club comedian. However, this antipathy – seemingly reminiscent of punk’s hatred of progressive

in Cult British TV comedy

.1). The Boosh’s ‘furnished world’ is, for the most part, a pop-literate retro-scape – ‘pop history becomes phantasmagoric, a hallucinatory bestiary of absurd and sometimes grotesque memory hybrids’ (Ibid.: 174–175). Electro pop (Gary Numan cameos in both animated form and in person), prog-rock, punk, Goth and contemporary indie (The Horrors appearing as The Black Tubes in ‘The Chokes’ 3.6) are the main referents – the audio-visual density and the fact that Julian Barrett has a real talent for musical pastiche make the Boosh an even more fully formed fusion of art

in Cult British TV comedy