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Author: Brian Baker

This book is a comprehensive critical introduction to one of the most original contemporary British writers, providing an overview of all of Iain Sinclair's major works and an analysis of his vision of modern London. It places Sinclair in a range of contexts, including: the late 1960s counter-culture and the British Poetry Revival; London's underground histories; the rise and fall of Thatcherism; and Sinclair's writing about Britain under New Labour and Sinclair's connection to other writers and artists, such as J.G. Ballard, Michael Moorcock and Marc Atkins. The book contributes to the growing scholarship surrounding Sinclair's work, covering in detail his poetry, fiction, non-fiction (including his book on John Clare, Edge of the Orison), and his film work. Using a generally chronological structure, it traces the on-going themes in Sinclair's writing, such as the uncovering of lost histories of London, the influence of visionary writings, and the importance of walking in the city, and more recent developments in his texts, such as the focus on spaces outside of London and his filmic collaborations with Chris Petit. The book provides a critically informed discussion of Sinclair's work using a variety of approaches.

Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

Whatever happened to the new bohemia?
Steve Redhead

-​cultures’ in this book is underwritten by a pervasive and misleading dichotomy: a 1960s ‘oppositional’ middle-​class youth culture and a 1980s youth consumerism. More than twenty years on from the 1960scounter-​ culture’ which Hebdige, and Stuart Hall4 amongst others, have theorised, there were spotted, by some commentators, new ‘alternative’ or ‘underground’ musics and lifestyles. Such a ‘new bohemian’ figure exists, though, in a global media imagery set in a much colder cultural climate compared to the economic and political conditions which spawned the politics of the

in The end-of-the-century party
Post-pop politics
Steve Redhead

, they plundered the familiar back catalogue territory of the Byrds, Velvet Underground, Jan and Dean, and the Beach Boys, but soaked it in white noise and carefully sculpted feedback. Psychedelia in its original incarnation in the 1960s counter-​culture signified a set of lifestyles based around drug use which no longer pertain. As Marek Kohn points out in his book ‘on heroin’, a single by the band at this stage of its development was a perfect instance of postmodern pastiche; the ‘record in question, “Some Candy Talking” by the Jesus and Mary Chain (Blanco Y Negro

in The end-of-the-century party
A paradox
Sarah Salih

idealisation of the past with anxiety for the present. 30 The film of Camelot continued and tweaked this use of Arthurian legend as a vehicle for contemporary American politics. Aronstein persuasively reads it as a conservative response to the 1960s counter-culture, which celebrates maturity, self-discipline and established order. 31 It shares with The Name of the Rose , then, a much

in Medieval film
Alison Tara Walker

prayers of St Francis set to music, choral renditions of mass-settings, Gregorian chants and original songs sung by Donovan, the Scottish folk singer. According to Mario Aste, Zeffirelli originally picked John Lennon to compose and sing songs for the film, but, after problems with the script, Donovan was chosen instead. 15 Both Lennon and Donovan were known for their connections with the 1960s counter-culture. By this time

in Medieval film
Open Access (free)
Tony Fitzpatrick

the market libertarianism of the 1980s or the moral libertarianism of the 1960s counter-culture. Instead, the emphasis should be on opportunity. This implies not only the removal of restrictions on aspiration and mobility, but also an attempt to embody the equal worth of individuals by providing everyone with an equal chance in life, i.e. real opportunities. This requires that everyone has an equal start regardless of social background, but not an equality of outcome since, by reducing the rewards for success and the penalties for failure, this would deter people

in After the new social democracy
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Andrew Spicer

, Performance made the most radical use of the extraordinary freedom offered to British filmmakers by American studios whose eyes were elsewhere. But Warner Bros. executives held up release of the film for two years, appalled at the results. 21 The inspiration for the film’s extraordinary clash of lifestyles – the criminal underworld and 1960s counter-culture – came from writer and co-director Donald Cammell who, as a member of the

in European film noir
Open Access (free)
How anarchism still matters
Jonathan Purkis and James Bowen

Anarchism 222 Conclusion today (Apter and Joll, 1971) argue that the apparent lack of theoretical sophistication of the late 1960s counter culture was on the grounds that it was too preoccupied with youth concerns and hedonism. In this respect, the arguments made by Gore about the importance of the revolutionary imagination and overcoming particularly stultified views of reality, including the importance of play, speak volumes about the relevance of this area for future work. Discursive bridges II – communication Anarchists may be able to draw upon a range of cultural

in Changing anarchism
The Smiths and the challenge of Thatcherism
Joseph Brooker

follows. Pop in the 1980s had become dominated by funk, soul and dance: music of black origin, but now lucratively taken up by white artists too. Such music bore several related associations. It was slick, glossy, ‘over-produced’. It sounded American, even when performed by British artists. It was highly sexualised; its vocal tones and rhythms connoted carnality. The body, Reynolds argued, was no longer the credible site of transgression it had seemed in 1960s counter-culture. It was thoroughly absorbed into a new system of eroticised consumption, and even into a craze

in Why pamper life's complexities?