Nazima Kadir

the conversation there. From across the small room, Lucy, a British squatter, drunk and laughing, yelled: Don’t pretend you don’t know what it means. You’re not fooling anyone. It means she likes it fast, hard, and up the ass. We all laughed. In the squatters’ subcultures, only “real” or authentic squatters can inhabit positions of authority. Since being an authentic squatter is already fraught with unstated behavioral and stylistic expectations, I contend

in The autonomous life?
Whatever happened to the new bohemia?
Steve Redhead

 –​the major labels’ control over the airwaves may have something to do with it. Subcultural theories of pop, youth culture and deviance would predict the continuation of a youth subculture around ‘independent’ music in the 1980s. This assumption, however, fails to register the fact that independent records have usually reflected the market differentiation and the massive pluralism of pop taste available from the major record companies. For Play Hard, for instance, there has been a ‘strength through diversity’. For Dave Haslam this is not necessarily a matter of ‘following

in The end-of-the-century party
British DIY punk as a form of cultural resistance
Michelle Liptrot

the focus on the Sex Pistols DIY punk as a form of cultural resistance -233- and London, is problematic because it leaves a part of punk’s history out of the picture; specifically, that ‘part of the punk tradition that was never fully co-opted … and which is still thriving today’.6 Part of this ‘punk tradition’ includes contemporary DIY punk, the focus of this chapter. Contemporary DIY punk, what I prefer to call a subcultural movement, is a relatively autonomous form of punk within the wider, global punk ­subculture. This subcultural movement has its origins in

in Fight back
John Street, Sanna Inthorn and Martin Scott

conflict is that between a ‘common sense’ that supports the status quo, and a counter narrative that challenges the existing order. These ideas come to be focused more precisely upon popular culture in the research that emerges from the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham in the late 1960s and 1970s. While not challenging Adorno’s claims about industrialised mass culture in general, CCCS invests subcultures – in the guise of teddy boys, mods, punks, hippies, rastas and others – with a capacity to act as sites of resistance

in From entertainment to citizenship
Abstract only
A review of existing accounts
Nick Crossley

associated with the CCCS, whose concept of subculture was discussed in Chapter 2. All post-war youth subcultures are a reaction against and form of resistance to the twofold domination and alienation of working-class youth according to the CCCS; that is, to their alienation, as members of the working class, from a bourgeois culture which has achieved dominance and legitimacy (‘hegemony’) within contemporary capitalism, and their alienation, as young people, from the adult working-class culture of their parents. Alienated from the cultural environments in which they find

in Networks of sound, style and subversion
Smiths fans (and me) in the late 1980s
Karl Maton

young people remained underexplored.5 Studies of the political economy of the media revealed the factors shaping cultural production and semiotic analyses explored the meanings of cultural texts, but how popular culture was received was less well known. The two principal traditions of work closest to doing so were studies of audiences and youth subcultures.6 Briefly, until the late 1970s audience studies had often been influenced by a one-way conveyor belt model whereby meanings were viewed as unproblematically conveyed from the intentions of cultural producers into

in Why pamper life's complexities?
Abstract only
Amy Helen Bell

reflects a profound change in the inner lives of Londoners, as they valued new intimacies in an atmosphere of post-war affluence and stability. Yet not everyone in London enjoyed the comforts of domesticity. The emergence of visible youth subcultures, such as the Teddy Boys, intensified anxieties about post-war youth. It was partly the attacks by gangs of Teddy Boys on West Indians that led to the Notting Hill riots of 30 August to 4 September 1958, in which most of the 400 arrests were of white teenagers from Notting Dale. Officers in the streets described crowds

in Murder Capital
Dandyism, fashion and subcultural style in Angela Carter’s fiction of the 1960s
Marie Mulvey-Roberts

, the most interestingly attired characters are frequently men. Paying close attention to how the style revolution impacted on conventional forms of masculinity in the 1960s can help make sense of the less coherent gender politics of these texts, in which Carter explores countercultural rebellion through dandyism and androgyny. Carter’s focus on style enables her to critique the gendering of subculture itself as a predominantly masculine arena. She repeatedly returns to the male dandy as initiating a kind of crisis in patriarchal culture, as his power inheres, like

in The arts of Angela Carter
Abstract only
Torino and the Collettivo Punx Anarchici
Giacomo Bottà

company] in support of free public transport. But mainly we discussed organising gigs, where we had to do everything: get the PA, design the posters and print them, go around by night to hang them on walls, write the flyers. There were all these elements that could feed into political militancy, a musical scene or urban subculture; it was more like a mix of all of the above.8 Via Ravenna also provided an ideological link to pre-punk anarchist politics and a physical space where the Collettivo was able to reflect on the political significance of what it was doing. This

in Fight back
Open Access (free)
The autonomous life?
Nazima Kadir

authority function in a social movement subculture that disavows such concepts. The squatters movement, which defines itself primarily as anti-hierarchical and anti-authoritarian, is profoundly structured by the unresolved and perpetual contradiction between both public disavowal and simultaneous maintenance of hierarchy and authority within the movement. This study analyzes how this contradiction is then reproduced in different micro-social interactions, examining the methods by which people negotiate minute

in The autonomous life?