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Toxic Grafity’s punk epiphany as subjectivity (re)storying ‘the truth of revolution’ across the lifespan
Mike Diboll

thing from my mind because I was overwhelmed by flashbacks from complex post-traumatic stress and … major depression.33 Notes 1 ‘Mike Diboll’ refers to the legal person imbued with citizenship, rights and responsibilities before the law. 2 Toxic ran for six issues, 1978–82; each issue carried a different misspelling of ‘graffiti’. 3 Matthew Worley, ‘Punk, Politics and British (Fan)zines, 1976–84: “While the world was dying did you wonder why?”’, History Workshop Journal, 79:1 (2015), 76–106. 4 Paul Willis, Learning to Labour: How Working-Class Kids Get Working

in Ripped, torn and cut
America’s last frontier hero in the age of Reaganite eschatology and beyond
Linnie Blake

’s current involvement in Vietnam and the struggle for Civil Rights at home while deploying the traditional iconography, plot lines and characters of the genre to provide a sustained assault on establishment ideology, specifically notions of class, race and gender.13 Now questions as to who actually owned the nation and its dreams were being transported back into the Old West to ask a range of questions: Who can be said to define or constitute a nation? Who really owns the land? Who decides what it is to be an American? And what rights and responsibilities may that entail

in The wounds of nations
Abstract only
An action-fuelled filmic decade?
Ben Lamb

spoken testimony of others rather than through an observation of their direct actions. As Childs admits: ‘Little interest is shown in the character or motivation of criminals, or the detailed logistics of crime and detection. Processes and principles of law-making, complex issues about legal rights and responsibilities or civil liberties, the procedures of courts and prisons – none of these figure in the

in You’re nicked
Britishness, Englishness, London and The Clash
Conrad Brunström

inhabited by people who were ‘born and bred’ there. Ever since the Second World War it has been populated overwhelmingly by incomers.5 Joe Strummer himself arrived in the area only after the most strange and rootless childhood and adolescence imaginable, becoming part of an elaborate culture of collective squatters’ rights and responsibilities. To ‘drop out’ into a squatter’s lifestyle is not to evade responsibility but rather to engage a fresh set of reciprocities based on a structured attempt to make equality of access sustainable. The 101ers, created from this

in Working for the clampdown
Douglas Morrey

that recalls André Malraux’s approach to art history as well as Godard’s theory of montage. Rosenthal also shares Godard’s discourse on rights and responsibility, implying a ‘devoir’ rather than ‘droits d’auteur’ 15 when he suggests that the Louvre is stealing works of art from the public: ‘le directeur du Louvre ne veut plus simplement protéger la Victoire de Samothrace , il veut être l’ auteur de

in Jean-Luc Godard