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Notes on the Repertoire

The Gothic or “Goth” subculture emerged from Britains punk scene during the early 1980s. The music associated with the movement showed a sophisticated handling of themes and aesthetics associated with Gothicism, proving that the Goth adjective was more than just a fanciful label given to the bands by the music industry and the popular press. In order to gain a greater understanding of what is genuinely Gothic about this body of music, this study investigates Goth from a musicological perspective exploring specific techniques that were used by the artists, and examining the reasons why Gothicism appealed to many British youths during the Thatcher-era.

Gothic Studies

outcome’ (142). Attali’s observations coincided with the emergence of British post-punk music. My focus here is on the band Throbbing Gristle (typically abbreviated as ‘TG’) who created what they called ‘industrial’ music. TG, formed in 1975, originated as the musical incarnation of the performance art group, COUM Transmissions. Initially conceived as a

in Monstrous media/spectral subjects
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The postcolonial city

shock involved in moving from the street communities to the new mid-rise ‘crescents’. Contemporary musicians and artists who were children in Manchester during this period and, in particular, those who came from the Hulme and Moss Side districts, remember this migration within Manchester as a time of unqualified trauma. Bernard Sumner, a member of Manchester’s legendary post-punk band Joy Division, sees this laying-waste of his city as the inspiration behind the band’s sublime, but uniquely despairing, music: Everyone says Joy Division’s music is gloomy and heavy

in Postcolonial Manchester
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one-of-a-kind poster for the lost horror film London After Midnight (1927), which sold for $478,000. In terms of Goth popular music, the artwork on associated posters was intimately connected with a Punk aesthetic (appearing in the late 1970s), which rejected the lush psychedelic visuals of Rick Griffin, Roger Dean and Alan Aldridge. Whilst acknowledging the graphic art linked to the early

in Gothic effigy
The metafictional meanings of lycanthropic transformations in Doctor Who

At first glance, werewolves seem to be thin on the ground in Doctor Who . In 1981, a year after the vampire tale ‘State of Decay’, and eighteen years after the television series began, the incumbent producer, John Nathan-Turner, reported that he ‘would love to see a werewolf story in the programme’. 1 Even so, it took another seven years for the punk lycanthrope Mags to menace Sylvester McCoy's Doctor in the ring of the Psychic Circus in ‘The Greatest Show in the Galaxy’ (1988–89). And for an

in In the company of wolves
Open Access (free)
Ethnicity and popular music in British cultural studies

Subculture, Hebdige endeavoured to theorise a variety of youth subcultural styles as a set of ‘differential responses to the black immigrant presence in [post-war] Britain’ (1979: 29), but I am primarily concerned Norquay_08_Ch7 127 22/3/02, 10:01 am 128 Cultural negotiations here with his discussion of punk. In a particular sub-section entitled ‘Bleached roots: punks and white ethnicity’, issues of race and ethnicity are clearly foregrounded. Hebdige suggests, for example, that ‘the punk aesthetic can be read … as a white “translation” of black “ethnicity”’ (64

in Across the margins
Charles Olson, Susan Howe, Redell Olsen

her most recent book, 2012’s Punk Faun, Olsen continues to address themes of genre, displacement and irony. The book, which includes open-field poetics among the array of poetic forms it embraces, is a baroque pastoral; though ‘bar-rock pastel’ is the only means available in the text of uttering that phrase. The book emerges from a consideration of the decorative, masquerade, masquing and the ephemeral. The contemporary artist Matthew Barney (associated with the contemporary baroque) and the Renaissance patron of the arts Isabella d’Este provide the book’s epigraphs

in Contemporary Olson
Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)

1970s rock and pop music does not cloud his judgement regarding the pitfalls of subcultural forms of youthful resistance becoming culturally appropriated and commodified. During a punk gig both characters attend together in London, we are told: [T]‌he carrot-haired kid cursed us to death. He seemed to be yelling direct at Charlie and me. I could feel Charlie getting tense beside me. I knew London was killing us as I heard, ‘Fuck off, all you smelly old hippies! You fucking slags! You ugly fart-breaths! Fuck off

in Queer Muslim diasporas in contemporary literature and film
Open Access (free)
Putting the countryside back to work

Transverse, a street theatre production centre and arts venue, as part of an ongoing effort to refashion Corbigny as a rural cultural hub. La Transverse offers residencies to visiting theatre companies and performing artists throughout the year and serves as the permanent base of operations for Metalovoice. Founded in 1995 after splitting from drumming group Tambours du Bronx (Drums of the Bronx), Metalovoice creates multimedia performances inspired 60 Working memories by labour history, punk music, agitprop, working-class literature and cultural practices, and troupe

in Street theatre and the production of postindustrial space

to be so polite? In order to answer this, I want to look at twenty-first-century vampire narratives alongside Goth subculture. Goth, which emerged from the UK’s post-punk underground in the late 1970s, has now become a massive global phenomenon. Thanks to digital communications media, its music, fashions and images can be instantaneously accessed by millions of fans around the world. Goth is

in Open Graves, Open Minds