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Nodes, ties and worlds
Nick Crossley

(technically ‘ edges ’). Figure 5.1 gives an example from my earlier work (Crossley 2015a ). It visualises the network of key artists and support personnel in the Liverpool post-punk music world of the late 1970s, as derived from analysis of archives and secondary sources. Nodes are linked where I was able to identify evidence of musical collaboration between them between 1975 and 1980. 5.1 Liverpool's punk/post-punk world, 1975–80. Note that this is a snapshot of a dynamic relational structure which was always in-process. In most

in Connecting sounds
Publics, protest and the avant-garde
Nick Crossley

innovations in form in early UK punk music generated ‘shock effects’ which unsettled audiences, engendering a more critical attitude. Moreover, Hebdige's ( 1988 ) analysis of sub-cultural style in some ways echoes Adorno, pointing to the way in which sub-cultural styles challenge convention and, in the case of punk in particular, denaturalise social order. It is unlikely that Adorno would have expressed anything but scorn for punk had he lived to hear it, but these analyses suffice to show that a more open-minded appropriation of his concern with form and its effects might

in Connecting sounds
The Clash, left melancholia and the politics of redemption
Colin Coulter

the band were quick to point out the disparity between the ‘everyman’ persona constructed by Joe Strummer and his real background as the public schoolboy John Mellor.9 In their memoir of the punk era, Julie Burchill and Tony Parsons, for instance, suggest that the distinctive, drawling, adenoidal speaking voice of The Clash front man was one that had required ‘de-elocution’ lessons.10 This vein of inverted snobbery was exemplified in reviews of the 1980 hit single ‘Bankrobber’. Journalists were wont to point out that the opening line of the track – ‘My daddy was a

in Working for the clampdown
A ‘post’-script
Steve Redhead

signifiers, a ‘style with no substance’, as the Sunday Times put it, was exposed, and once again the circular time scales, increasingly identified as ‘postmodern’, were invoked. ‘If they had been born 10  years earlier they would 1  2 The end-of-the-century party have been punk rockers … 20 years taken LSD and listened to Jim Morrison’, suggested the Sunday Times on October 30, 1988. The tale was that Acid House was nothing new; it was merely another, much lauded, link in the subcultural chain, replaying and reworking the 1950s, 1960s or 1970s –​the ‘Golden Age’ of

in The end-of-the-century party
K. J. Donnelly

visually as banal as their songs were prosaic. In 1975, Queen’s promo for Bohemian Rhapsody was an important element in the massive success of the single. Interestingly, the success of the video arguably set the group on a course away from being a progressive rock band to being a far more commerciallyoriented pop band in the next decade. Progressive rock self-indulgence was shunted aside by the crudity, directness and lack of pretension in the wave of punk rock that overtook Britain in the late 1970s and found some outlet on television. After the break-up of the Sex

in Experimental British television
Riot grrrl and body politics from the early 1990s
Laura Cofield

subcultural -298- Global communications punk/post-punk genealogies. Kate Eichhorn’s reappraisal has been crucial in moving beyond the idea that riot grrrl was simply an oppositional or reactionary statement to parental cultures of second-wave feminism and the male-dominated punk scene.11 Such a model, she argues, obscures its wider intellectual and aesthetic heritage as a ‘queer feminist hybrid of punk, continental philosophy, feminism, and avant-garde literary and art traditions’.12 Michelle Kempson has similarly demonstrated zine creators’ uneasiness with locating

in Ripped, torn and cut
Englishness, pop and The Smiths
Kari Kallioniemi

London and its ‘English-garden-psychedelia’. In his songs, Davies reflected on the wider issues of Englishness, creating tools for future songwriters to express their ideas about England. Among the objectives of punk rock was to avoid the celebration of Englishness in a major way. Punk reacted aggressively against the privileged positions and institutions of ‘old England’ as the 1960s counter-culture had done before it, and rejected the nostalgia often prevalent in pop-Englishness. However, it also celebrated a problematic notion of Englishness in the form of frivolous

in Why pamper life's complexities?
Post-political pop
Steve Redhead

such as Talking Heads and Laurie Anderson, to The Clash as ‘postmodern pop’. Such theorisation of postmodernism and pop takes no account of the most important developments since punk, especially those associated with rap and hip-​hop, house and reggae. Contrary to this first tendency there is a line of thought which concentrates on ‘post-​subcultural’ styles and replaces Jameson’s pessimism with a cultural optimism. Whereas Jameson’s focus is more on a politics of production, there is in cultural optimism a stress on the politics of consumption, and, moreover, a

in The end-of-the-century party
Abstract only
Nick Crossley

intellectual trajectory, which 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, audience members and the assortment of managers, promoters, engineers etc. whom Becker

in Connecting sounds
Paul Sutton

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