Constructing the televisual pop community in the GDR
Edward Larkey

11 Popular music on East German television: Constructing the televisual pop community in the GDR Edward Larkey Popular music in the GDR media was always subject to intense political scrutiny so that Western influences, if they could not be prevented altogether, would at least be incorporated into discursive structures largely controlled by the ruling Socialist Unity Party (Sozialistische Einheitspartei Deutschlands; SED). Before the 1970s, television programmes were supposed to help develop a musical alternative to capitalist pop music, to distance GDR music

in Popular television in authoritarian Europe
Catherine Baker

1 Popular music and the ‘cultural archive’ This book began its Introduction, and begins its chapter structure, not in the mainstream of international affairs (the politics of state socialist Non-Alignment, or postsocialist European border control) but with what might seem a more distant topic: popular music. It does so because the everyday structures of feeling perceptible through popular music are a readily observable sign that ideas of race are part of identity-making in the Yugoslav region; proving this point opens the way to revisiting

in Race and the Yugoslav region
Gerry Smyth

5 Popular music and the Celtic Tiger Gerry Smyth Sing when you’re winning On 14 June 2012, the Republic of Ireland soccer team was comprehensively beaten 4–0 at the UEFA Euro Football Championships by the eventual winners, Spain. During an on-­the-­pitch post-­match interview for the UK’s ITV network, the Irish midfielder Keith Andrews praised the quality of the opposition as well as the ‘brilliant’ support of the Irish fans, who continued en masse to sing ‘The Fields of Athenry’ throughout the final minutes of the match. Coverage then returned to the studio

in From prosperity to austerity
A society in transition

In the last generation, Northern Ireland has undergone a tortuous yet remarkable process of social and political change. This book explores what Northern Ireland was like during violent conflict, and whether the situation is any different 'after the troubles'. It examines the political developments and divisions essential to a critical understanding of the nature of Northern Irish society. The book focuses a number of elements of popular cultural practice that are often overlooked when social scientists address Northern Ireland. Sport plays an important though often dispiriting role that in Northern Irish society. It looks at some of the problems and ways forward for transitional justice and memory work in Northern Ireland. The book reviews the history of strategic spatial policy in post-partition Northern Ireland. It draws on feminist scholarship to expose how explanations of the ethnic conflict that ignore gender are always partial. The book illustrates how feminist and gender politics are part of the political culture of Northern Ireland and offers conceptual resources to academics engaged in investigating the conflict. It further provides a brief outline of critical race theory (CRT) and the critique of whiteness therein before using it as a basis from which to examine the research literature on racism in Northern Ireland. The course that popular music has taken in Northern Ireland during 1990s of the peace process, is also considered and the most crucial issues of the peace process, police reform, are examined.

Pop, politics and punk fanzines from 1976

Ripped, torn and cut offers a collection of original essays exploring the motivations behind – and the politics within – the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77), Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London’s media and music industry, can be formulated, drawn from such titles as Ripped & Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. Here, in a pre-internet world, we see the development of networks and the dissemination of punk’s cultural impact as it fractured into myriad sub-scenes: industrial, post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings together academic analysis with practitioner accounts to forge a collaborative history ‘from below’. The first book of its kind, this collection reveals the contested nature of punk’s cultural politics by turning the pages of a vibrant underground press.

Politics and popular culture

The relationship between politics and popular culture is often seen to take one of two forms. Either popular culture is seen to disengage or passify citizens; or it is portrayed as a source of political knowledge and expression. Such claims are rarely subjected to detailed scrutiny. From Entertainment to Citizenship is an attempt to make up this deficit by examining carefully how popular culture’s politics is understood and used. Focusing on the lives and experiences of 17-18 year olds in the UK, it explores the extent to which these young people use popular culture to think about and engage with politics. The book compares the political role of different forms of popular culture (video games, music and entertainment television), and it considers different dimensions of the relationship. It looks at the phenomenon of the ‘celebrity politician’, at popular culture as a source of knowledge about the ‘real world’ and at the group identities forged around the pleasures of music, TV and video games. We conclude that popular culture is an important source of knowledge about the world, that it helps forge identities and the interests associated with them, and it gives form to the evaluations of power and its exercise. Rarely, though, does this interplay of politics and popular culture happen in neat or straightforward ways.

Post-political pop
Steve Redhead

 115 5 Don’t go back to rockville: Post-​Political  Pop Theorists of postmodern culture and postmodernism have justifiably focused on the crisis in cultural and political authority of the West. Pop and rock music culture, and the attendant sexual and political discourses which have underpinned it, have developed in a post-​war world which has witnessed increasing global concentration of the production and distribution of the commodities associated with popular music, and an ever more integral relationship between the various leisure and cultural industries

in The end-of-the-century party
Popular music
Sean Campbell and Gerry Smyth

M1426 - COULTER TEXT.qxp:GRAHAM Q7 17/7/08 08:02 Page 232 12 From shellshock rock to ceasefire sounds: popular music Sean Campbell and Gerry Smyth In recent years a number of authors have sought to establish popular music as an important element within the Irish critical imagination. They have done so because among the many achievements of international popular music studies has been an appreciation that this kind of cultural practice provides one of the key means for subjects to understand the world and themselves in relation to it. As Martin Stokes

in Northern Ireland after the troubles
Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

7 Sounding out the margins: ethnicity and popular music in British cultural studies SEAN CAMPBELL Introduction In their discussion of the development of British cultural studies,1 Jon Stratton and Ien Ang point out that the ‘energizing impulse’ of the field has ‘historically … lain in [a] critical concern with, and validation of, the subordinate, the marginalized [and] the subaltern within Britain’ (1996: 376). Accordingly, many of the field’s principal practitioners have paid a considerable amount of attention to questions of ‘race’2 and ethnicity in post

in Across the margins
Whatever happened to the new bohemia?
Steve Redhead

identities and meanings of youth styles gave way to a supposed fluidity of positions, poses and desires and a much-​hailed (in postmodernist circles) transitory, fleeting adherence to lifestyles –​for some theorists, the sign of postmodernity. The class and gender stereotypes of the previous two decades were confounded time and time again in the 1980s, and the notion of popular music as a youth cultural form, which has underpinned subcultural theory since its inception, has been severely tested. In particular, punk –​which served as the major focus for Hebdige’s readings

in The end-of-the-century party