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Jay Beck and Vicente Rodriguez Ortega

, fanzines and web-sites – and how the Spanish film industry negotiates between international market tensions and the cultural markers that define a national cinema. Part II – Generic hybridity: negotiating the regional, the national and the transnational – approaches how genres occupy an interstitial role in establishing a variety of both aesthetic and cultural links between forces defining the cultural and social fabric of a

in Contemporary Spanish cinema and genre
The Clash, left melancholia and the politics of redemption
Colin Coulter

crisis. On hearing the album, renowned fanzine writer Mark P(erry) dispensed with his own recent, vehement criticism of the band. The fourteen tracks gathered together on The Clash, Perry insisted, were ‘like a mirror’ that ‘reflects all the shit’ and ‘shows us the truth’.7 While the lyrics that feature on the band’s debut album trade heavily in bleak images of tower blocks and motorway flyovers, the author of these lines grew up in a setting far removed from those potent emblems of urban decay. It would soon emerge that The Clash front man Joe Strummer had in fact

in Working for the clampdown
The Clash in 1977
Kieran Cashell

with CBS, prompting the editor of the acclaimed fanzine Sniffin’ Glue, Mark P(erry), hitherto impressed by the band’s anti-corporate stance, to lament that punk had ‘died’ that day. One of the fatuous myths that have haunted The Clash since before the release of their first record, this sell-out smear has impelled fans, media supporters and music journalists ever since to adopt the refutation of this obvious falsity as a personal mission (notwithstanding Mark P’s own efforts to pacify his ‘one big quote’).106 However, as Perry himself RETRIEVING THE MESSIANIC

in Working for the clampdown
Punk and the politics of novelty
Pete Dale

words in 1971 in the US magazine Creem to describe the American ‘garage’ group? and the Mysterians.1 It is well known that the word ‘punk’ was circulating in a range of music-related contexts prior to its use in the UK from 1976 onwards, such as the magazine/fanzine Punk published by Legs McNeil and John Holmstrom between 1975 and 1979. The UK punk rock scene of 1976–78 is not even necessarily the most influential era within the overall punk tradition. The relatively recent flowering of punk in the Eastern hemisphere, for example, arguably relates more strongly to the

in Working for the clampdown
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The cultural politics of pop
Steve Redhead

hundreds of specialist and regional fanzines and listings magazines, to multifarious TV and radio offerings. Issues relating to the politics of ‘authenticity/​syntheticity’ cannot be analysed without recourse to this contemporary explosion of discourse on/​in pop and rock. Fresh pop styles, images and meanings are produced in this mass of interlocking and contradictory texts. 18  19 Counter-cultures One of the most obvious fashions to enter the pop market-​ place in the 1980s was, somewhat ironically, protest. New Popsters galore queued up to jump aboard the social

in The end-of-the-century party
Ecosystem health and the punk poetry of John Cooper Clarke
John Parham

this in one interview as ‘a horrible over-simplification’, to Chalmers he concedes, ‘punk poet, it’s a good enough term’.67 Artists like The Ramones and Patti Smith did articulate his experience, he has said, rather better than mainstream 1970s rock. He makes the point in a foreword written for an anthology of Sniffin’ Glue, the punk fanzine, and again in an interview at the 2010 Edinburgh Festival: He always liked American music. ‘Glasgow is the same as Manchester and Liverpool – west-facing ports. We had R&B years before London … I knew I didn’t like all these

in Fight back
Diaspora remixed in the urban jungle
Caspar Melville

collective, which produced a rave fanzine (largely written by indie-rave DJ Andrew Weatherall), of ‘acid teds’ and ‘love thugs’ – a proposition that rave was being invaded by ravers who were not sufficiently committed to the utopian-bohemian vision of acid house (Collin 1997: 123). As Sarah Thornton argues in Club Cultures, this was a process of distinction-making where, in pursuit of (sub)cultural capital, a mythical ‘mainstream’ is cast as ‘a disparaged other’ (‘Sharon and Tracey dancing round their handbags’), which contributes to a sense of community and shared

in It’s a London thing
Identity, performance and the Left 1972–79
Lucy Robinson

-produced fanzine Plaything. In the second issue he made his aversion to traditional political approaches clear: I’m not on about party politics I’m talking about PERSONAL politics. The way you react to the people around you. The ways that you love them, fuck them, hate them, slate them. Things like love, jealousy, hate, anger, sex.73 Whatever Punks said about their hippie forefathers and mothers, Punk was a direct descendent of the counter-culture of the late 1960s. Its focus on Do it Yourself performance and lifestyle politics was an extension of the previous generation

in Gay men and the Left in post-war Britain
The youth sphere and its spaces of negotiation and dissent
Ljubica Spaskovska

specific –​very critical and without any prejudices. ŠKUC became a focal point of ideas and inspirations; people gathered to plan joint projects … A whole new generation of photographers was formed … The border between art and life, between public and authors, faded –​they were all included in the process, one way or another. The gallery began to publish cassettes, fanzines … The programme in that period –​in contrast to the programme before and after that –​was devised according to exclusion: the Škuc Gallery organised the projects which were not admitted to other

in The last Yugoslav generation
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Graham Linehan – a case study in post-alternative sitcom
Leon Hunt

cult items like Fantagraphics Comics (Love and Rockets, Eightball, Hate) and the comedy fanzine Mustard. The 3885 Cult British TV Comedy:Layout 1 14/12/12 Graham Linehan – a case study 07:52 Page 91 91 ‘nerd gaze’ is regularly drawn, too, to Roy’s clothes – his collectible T-shirts, such as the limited edition Ring/Sadako shirt made by cult T-shirt designers Dark Bunny Tees. The IT Crowd offers us two slightly different versions of nerd masculinity. Moss is more closely associated with the nerdiness of knowing about IT in the first place – he is comically

in Cult British TV comedy