Punk and the politics of novelty
Pete Dale

WHAT IF KEITH LEVENE HAD NEVER LEFT THE CLASH? 129 6 What if Keith Levene had never left The Clash? Punk and the politics of novelty Pete Dale The purpose of this chapter is partly to query the ‘year zero’ mythology of 1977 era punk, partly to question the idea that a discrete ‘post-punk’ music can be understood separately from ‘original’ punk, and partly to explore more general questions around music, novelty and tradition. The latter concern is something I have been exploring in theoretical work for some time now. The Clash are used here largely as a case

in Working for the clampdown
Jo George

avant garde, searching for the art work of the future. For example, his second feature, Jubilee (1978), was ‘Britain’s first official punk movie’ 7 and a legitimate reflection of the zeitgeist of the late 1970s; yet Jarman sees it as a ‘healing fiction’ which ‘harked back to Pearl and Piers Ploughman ’, 8 poems within the medieval dream-vision tradition. British art cinema and the avant garde Jubilee is in many ways the direct precursor to The Last of England and The Garden . All three were very much

in British art cinema
Abstract only
Susan Hayward

-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
Steve Redhead

 132 The absolute non-​end This book has tried to find some answers to the problem of what happened to the relationship between popular music, youth culture and deviance in the years since punk. In the 1950s, 1960s and 1970s pop and rock music seemed inextricably connected to a never-​ ending succession of deviant youth subcultures –​teds, rockers, mods, hippies, skinheads, rastas, punks. However in the Thatcher years of the 1980s youth culture became more of an advertising medium than ever before; it was notable not for opposition, but for its role in selling

in The end-of-the-century party
Abstract only
From Gay Left Collective to Greater London Council, paedophile identity and the state of the Left
Lucy Robinson

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
Abstract only
The Clash, Gary Foley, punk politics and Indigenous Australian activism
Alessandro Moliterno

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
Jason Toynbee

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
Post-subcultural pop
Steve Redhead

political party, or philosophy, is not necessarily implied by such economic activity. Moreover, pop has always, in any case, been a cultural form which lent itself more to an exploration of a specifically sexual politics; it is in its relations to sexuality and gender that the politically deviant character of pop has been most pronounced since the 1940s. Further, to label this particular formation Political Pop is not to deny the politicisation of pop (post-​punk, in particular, is still seen as a golden age for political pop) in earlier eras, or to suggest an improvement

in The end-of-the-century party
Irish republican media activism since the Good Friday Agreement
Author: Paddy Hoey

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
Harry Browne

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