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-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
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From Gay Left Collective to Greater London Council, paedophile identity and the state of the Left

5 The next big thing: from Gay Left Collective to Greater London Council, paedophile identity and the state of the Left there was no one left to speak out for me.1 Introduction Punk and RAR took on the liberation movements’ emphasis on culture and lifestyle. The GLF had not helped to build a world-wide revolution. For all intents and purposes, it appeared that many of the original aims of gay liberation ‘[could] be gained this side of socialism’.2 This chapter looks at what gay activists did instead of the third liberational stage. In the late 1970s and early

in Gay men and the Left in post-war Britain
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The Clash, Gary Foley, punk politics and Indigenous Australian activism

194 THE CLASH AROUND THE WORLD 10 The one struggle: The Clash, Gary Foley, punk politics and Indigenous Australian activism Alessandro Moliterno On the evening of 23 February 1982, The Clash appeared on stage at Melbourne’s Festival Hall. Towards the end of their set, the band launched into one of their well-known reggae covers, ‘Armagideon Time’. At this point, they were joined on stage by the prominent Indigenous Australian activist Gary Foley. The music receded into an instrumental soundscape, as Foley took to the microphone and, with clarity and

in Working for the clampdown

power on a platform of trade union repression and economic ‘reform’ in the interest of capitalism. The Clash played out their last years as efforts to push back Thatcherism climaxed (with the 1984 miners’ strike) and then subsided. By the time the final version of the band broke up in late 1985, neoliberalism was firmly ensconced in the UK. I think I’ve always been aware of this convergence between hard politics (what Francis Mulhern calls ‘politics proper’)2 and the path of The Clash, the most overtly political of the major punk rock bands. In the late 1970s and

in Working for the clampdown
Irish republican media activism since the Good Friday Agreement

Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.

Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.

Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.

This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.

The Clash in New York, in myth and reality

to the identity of punk and of The Clash in particular? American dreams The story of the Americanising of The Clash has been told before, of course. There is an English punk version of the story that finds it quite reprehensible, whereby The Clash signing to CBS is a greater transgression of the punk ethos than the Sex Pistols on EMI, because the former involved national as well as cultural treachery. For the most part, though, the band’s expansionary westward development up to and including London Calling meets with approval from British writers and critics, at

in Working for the clampdown
An introduction

the most revered acts in the history of popular music, among them Led Zeppelin, Pink Floyd and the Rolling Stones. Sharing wall space with these rock luminaries is, ironically, another band who once promised to be their pallbearers.1 London punks The Clash played the Ulster Hall on two separate occasions. The permanent exhibition that graces the foyer of the venue does not, however, centre on this brace of gigs that actually took place but rather, curiously, on one that never quite came to pass. On 20 October 1977 The Clash were scheduled to open their ‘Sort it Out

in Working for the clampdown
Social and cultural modernity beyond the nation-state

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

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Writing from the dark underground, 1976–92

the fact that many zines only ran to a few issues, they provide a clear insight into the transition from punk to post-punk and goth, as well as a useful corrective to the focus on the London scene which often characterises academic studies of goth. This chapter will explore the emergence of goth zine culture through three different zines: Panache, Whippings and Apologies and Propaganda. These zines have been strategically chosen as they represent iterations of early postpunk, goth as it emerged in the 1980s and, finally, the mainstreaming of the Goth zines -111

in Ripped, torn and cut
Open Access (free)

comprised a family who lost a possible home for themselves. In terms of squatter capital, their status as a family meant that the squatting community expected less from them than if they were young single punks, for example, and so they did not lose any capital by this failed action. The members of the kraakspreekuur, and especially the spokesperson, felt the embarrassment of this failure because with planning, they could have easily prevented and avoided such mistakes. Although I never spoke with the spokesperson

in The autonomous life?