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Riotous Assembly: British Punk's Diaspora in the Summer of '81
Riotous assembly: British punk's diaspora in the summer of '81 Book or Report Section Accepted Version Worley, M. (2016) Riotous assembly: British punk's diaspora in the summer of '81. In: Andresen, K. and van der Steen, B. (eds.) A European Youth Revolt: European Perspectives on Youth Protest and Social Movements in the 1980s. Palgrave Macmillan, pp. 217-227. ISBN 9781137565693 Available at http://centaur.reading.ac.uk/52356/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.palgrave.com/gb/book/9781137565693 Publisher: Palgrave Macmillan All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Riotous Assembly: British punk’s diaspora in the summer of ‘81 Matthew Worley Britain’s newspaper headlines made for stark reading in July 1981.1 As a series of riots broke out across the country’s inner-cities, The Sun led with reports of ‘Race Fury’ and ‘Mob Rule’, opening up to provide daily updates of ‘Burning Britain’ as the month drew on.2 The Daily Mail, keen as always to pander a prejudice, described the disorder as a ‘Black War on Police’, bemoaning years of ‘sparing the rod’ and quoting those who blamed the riots on a ‘vociferous -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
Peace Punks and Punks Against Racism: Resource Mobilization and Frame Construction in the Punk Movement
Music and Arts in Action | Volume 2 | Issue 1 PEACE PUNKS AND PUNKS AGAINST RACISM: RESOURCE MOBILIZATION AND FRAME CONSTRUCTION IN THE PUNK MOVEMENT MIKE ROBERTS & RYAN MOORE Department of Sociology | San Diego State University | USA* Department of Sociology | Florida Atlantic University | USA ABSTRACT In recent years, scholars have begun to attend to the gap in our understanding of the relationship between music and social movements. One such example is Corte’s and Edwards’ “White Power Music and the Mobilization of Racist Social Movements.” Our research shares the perspective of Corte and Edwards (2008) which emphasizes the centrality of music to social movement organizations, especially in terms of resource mobilization, but rather than look at how punk music was used as an instrument by an external social movement like the White Power movement, we look at how punks themselves joined social movements and altered the dynamics of the movements they joined. We also provide examples of punk involvement in left wing social movements to emphasize the indeterminate nature of punk politics. We examine two such cases: the Rock Against Racism movement in the U.K., and the Peace movement in the U.S. In both cases, punks made use of their independent media as a means to provide an infrastructure for mobilization of resources to sustain the punks’ involvement in these social movements and the unique framing provided by punks, which altered the dynamic of the movements they joined. What makes punk an interesting case is that the “do-it-yourself” ethic of independent media construction that was at the centre of the punk movement made it possible for punks to make connections to various other social movements as well as alter the dynamics of those social movements. -
'Race Riot' Within and Without 'The Grrrl One'; Ethnoracial Grrrl Zines
The ‘Race Riot’ Within and Without ‘The Grrrl One’; Ethnoracial Grrrl Zines’ Tactical Construction of Space by Addie Shrodes A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2012 © March 19, 2012 Addie Cherice Shrodes Acknowledgements I wrote this thesis because of the help of many insightful and inspiring people and professors I have had the pleasure of working with during the past three years. To begin, I am immensely indebted to my thesis adviser, Prof. Gillian White, firstly for her belief in my somewhat-strange project and her continuous encouragement throughout the process of research and writing. My thesis has benefitted enormously from her insightful ideas and analysis of language, poetry and gender, among countless other topics. I also thank Prof. White for her patient and persistent work in reading every page I produced. I am very grateful to Prof. Sara Blair for inspiring and encouraging my interest in literature from my first Introduction to Literature class through my exploration of countercultural productions and theories of space. As my first English professor at Michigan and continual consultant, Prof. Blair suggested that I apply to the Honors program three years ago, and I began English Honors and wrote this particular thesis in a large part because of her. I owe a great deal to Prof. Jennifer Wenzel’s careful and helpful critique of my thesis drafts. I also thank her for her encouragement and humor when the thesis cohort weathered its most chilling deadlines. I am thankful to Prof. Lucy Hartley, Prof. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding. -
Newsletter Feb 2016 Crops Proof
Future of DENTISTRY Impacting Lives One Smile At A Time Produced by Future of Dentistry Volume XVII National Children’s Dental Health Month February is National Children’s Dental Health Month, which is why you’ll find several kid-themed items in this month’s newsletter. By establishing good habits now, kids are set onto a path of lifelong oral health. This is especially important because poor oral care is linked to health problems like stroke and diabetes. At Future of Dentistry, we go out of our way to make visiting the dentist fun for kids. Our youngest patients can choose an item from the toy chest before every visit, and learn brushing on special stuffed animals that are both adorable and toothy. We’ve even established a Kids Club where kids meet our mascot Chip, take home fun goodie bags and learn some valuable lessons without even realizing it. In addition to the general dentistry that children need, we specialize in pediatric services including sealants and custom-fit mouth guards for young athletes. We also offer a Membership Program that helps families get the care they need, even if they’re uninsured. Most importantly, our clinical staff is gentle and patient. They ensure the dental experience is a positive one for kids, and they make time to address parents’ questions and concerns. With all the hustle and bustle of child rearing, it’s easy for oral health to take a backseat. Yet there are few things as wonderful in this world as a child’s smile, and we should do all we can to preserve it. -
Bologna CLASH
1 Giugno 1980 Piazza Maggiore – Bologna CLASH abstracts tratti da “Non disperdetevi” di Oderso Rubini e Andrea Tinti Il concerto dei Clash in Piazza Maggiore è stato l'inizio per tanti musicisti e per tanti giovani, che si sono avvicinati per la prima volta ad un genere musicale. La piazza era piena e tra il pubblico c'erano tantissimi adolescenti. Quel live colpì pure noi, che eravamo già un po' smaliziati, figuriamoci che impatto ebbe sui giovanissimi. Segnò la vita di tanti. Saverio Pasotti – Chitarra Wind Open Lavorai alla realizzazione dell'iniziativa voluta da Zangheri in stretta collaborazione e in piena sintonia con la squadra costituita da Mauro Felicori. La rassegna RITMICITTA’ culminò in un concerto in Piazza Maggiore destinato a suscitare, come ho già ricordato, molte polemiche. Il momento di maggior richiamo fu l'esibizione dei Clash, complesso che ci venne indicato da Massimo Buda, il nostro critico musicale; ma ovviamente cercammo di coinvolgere nella eassegna anche i gruppi bolognesi. Band nate in aperta contestazione con l'amministrazione comunale salivano sul palco di una manifestazione organizzata dal Comune. Eravamo consapevoli della scelta artistica un po' "al limite" che gruppi come i Clash rappresentavano, ma anche questo si collocava nel solco che poi avremmo percorso negli anni successivi. Walter Vitali – Sindaco di Bologna il Comune organizzò il concerto dei Clash in Piazza Maggiore, che forse non hanno mai suonato, durante tutta la loro carriera, in una cornice così suggestiva. Era la rivolta musicale britannica regalata su un piatto d'argento, per far capire ai ragazzi quanto il Comune fosse loro vicino. -
Press, Calling for Rock to Be a Force Against Racism
FEATURING RED SAUNDERS THE CLASH POLY STYRENE ROGER HUDDLE STEEL PULSE SHAM 69 KATE WEBB TOM ROBINSON ALIEN KULTURE SYNOPSIS Britain, late-1970s. Punk is exploding. The country is deeply divided over immigration. The National Front, a far-right and fascist political party, is gaining strength as politicians like Enoch Powell push a xenophobic agenda. Outraged by a racist speech from Eric Clapton, music photographer Red Saunders writes a letter to the music press, calling for rock to be a force against racism. NME, Melody Maker, and Sounds all publish the letter. Flooded with responses, Red discovers many share his views. Teaming up with like-minded creatives Roger Huddle, Kate Webb, Syd Shelton and Australian graphic designer Ruth Gregory, the team bands together to create Rock Against Racism (RAR) and a fanzine, Temporary Hoarding. Speaking directly to the youth, Temporary Hoarding reports stories and issues that the mainstream British media ignores, like immigration, the Catholic side of the Northern Ireland confict, and the police’s controversial “suspected persons” (sus) powers. They give a voice to the voiceless. The National Front begins to strike back, committing acts of violence against RAR supporters and petrol-bombing their HQ. Despite this, RAR spreads virally across the UK and into Europe, becoming a grassroots youth movement. The Clash, Steel Pulse, Tom Robinson and other top bands of the day jump on board. White Riot is a moment in time when music changed the world. When a generation challenged the status quo. It’s Woodstock meets the March on Washington, punk-style. DIRECTOR’S STATEMENT I began making White Riot as I was curious about the rise of the far right in the late 1970s. -
By Vivien Goldman
PERFORMERS The Clash By Ira Bobbins — e j b — ITH THE SUDDEN the point of punk so hard that it death o f Joe stuck. Forever. Loads of young Strummer on toughs have professed them H jle c e m b e r 22, selves ready for whaddya-got re Wi t 02, the story of the Clash final bellion, but the Clash didn’t just ly came to an abrupt end. In fact, Sell and succumb to chaos; the the Last Gang in Town, as they Clash lived it. Full time. For sev called themselves in a song, had en years the band made huge cre packed it in some twenty years ative leaps, despite (more likely earlier, drained of the high ideals thanks to) the entropy, much of and united purpose that had fu it self-induced, of its existence. At eled some of the most fervent, a time when the record industry exhilarating and provocative was still dubious about, if not rock & roll ever made, No mat downright hostile to, punk, the ter. What the Clash consistent Clash - Joe Strum ly showed willful mer (vocals, gui disregard for the tar), Mick Jones Strangeness of its (guitar, vocals), position: Paul Simonon + The band’s (bass, vocals! and third British sin alternating drum gle, “Complete mers Nicky “Top Control,” was a vi per” Headon and tuperative 1977 Terry Chimes - achieved was far attack on CBS Records for releas greater than what it left on tape ing the Clash’s second 45. or burned in the memories of + A year later, the group those who saw the band on shelved punk for th|Ifingle stage. -
Glasgow Film Festival 2020
WELCOME TO GLASGOW FILM FESTIVAL 2020 SHARING LAUGHTER OR TEARS IS PROOF THAT WE HAVE SO MUCH MORE IN COMMON THAN ANY OF THE FORCES THAT TRY TO TEAR US APART. A WELCOME FROM US There is so much we can’t wait to share with you this year. So many films to recommend, emotions to experience, CONTENTS moments to cherish. Opening & Closing Gala 2 Audience Award 3 Films come alive in a cinema. They blossom in the warm glow Special Venue: Neo-Glasgow 4 of an audience’s anticipation. We still get goosebumps as the Special Events 5 hushed silence of total concentration descends when the lights Behind the Scenes 7 go down. That’s the moment we all become part of “those Festival Strands 8 wonderful people out there in the dark.” A-Z Listings 13 Festival Calendar 32 The 2020 programme is packed with goodness. We promise A-Z Listings (continued) 38 to take you on incredible journeys from the finest creators of Ticketing & Festival Info 58 world cinema to the most cherished of our local filmmakers. Film & Event Index 64 Even after a lifetime of devouring films, there are still relatively uncharted areas of global cinema waiting to be explored. The marathon documentary Women Make Film topples the foundations of conventional film history. Forget everything you think you know and watch the development of an art form exclusively through the work of women directors. The festival has always taken pride in championing women filmmakers but this year’s programme boasts more films made by women than ever before. -
The Clash and Fugazi: Punk Paths Toward Revolution
Chapter 1 The Clash and Fugazi: Punk Paths Toward Revolution Mark Andersen Punk rock has always been about more than music. Born largely as a reaction to the self-indulgent excesses and perceived failure of the Sixties rock/revolution, punk offered a blistering critique of idealism sold out or gone bad. This stance was a double-edged sword. Punk's "ruthless criticism of everything existing" (Tucker 1978, 13) spared no one, and could slip towards nihilist extremes. As such, it made the idea of harnessing music for radical change an ever more perilous venture, where only angels or fools might dare to tread. Beneath noisy blasts of illusion-shattering negation, however, an unbending belief in the power of music to generate transformation still lurked. This sense of mission defined no band punk or otherwise-more profoundly than The Clash. Dubbed "The Only Band That Matters" by record company PR, the moniker nonetheless accurately evoked the risk-taking heroic spirit the band sought to embody. If the early Clash track "Hate And War" encapsulated the band's dismissal of the 1960s, they nonetheless borrowed freely from certain currents of that era. Indeed, their jagged, relentless music, close-cropped hair, quasi-military garb, and fierce sense of purpose suggested nothing less than a marriage of Detroit agit-rock legends MC5 with the Chinese Cultural Revolution. If their embrace by the punk underground proved short-lived as the band stretched towards broader horizons, The Clash never fully forsook that initial commitment or community. Many bands rose in the wake of The Clash also willing to risk the ridicule that might come with marrying rock to the pursuit of revolution. -
"The Future Is Unwritten": the Clash, Punk and America, 1977-1982
"The Future is Unwritten": The Clash, Punk and America, 1977-1982 Kenneth J. Bindas "There'sno future," the Sex Pistols' Johnny Rottensangin early 1976. Many who called themselves "punk" saw no hope in the future as they reacted against the perceived failures of their elders and pessimistically viewed the future. The Pistols sparked the punk movement, but their quick demise enabled another English band, the Clash, to become a leader of the fragmented movement and move punk ideology beyond the Pistols' anarchic rage and despair to one that hoped "the future is unwritten." The story of the Clash from 1977 to 1982 illustrates the conflicting ideology of the punks, who believed on the one hand that state and corporate control had created a new dark age, while on the other that human beings could prevail and create a more open and egalitarian society. Yet, although the punk style persisted into the 1980s, the American audience proved unreceptive to the Clash's vision of an egalitarian future and it vanished beneath the market pressures they had themselves denounced.1 Punk arose in England during 1976 in the midst of a terrible recession that appeared to many English youth as the failure of the British socio-economic system. More than one million persons were out of work and the inflation rate soared above 18 percent; The New Statesman estimated that 35 percent of those under twenty-five years of age were unemployed. After graduation at sixteen, thousands of young people immediately went on the dole, which quickly symbolized the problems in Britain.2 Bernard Rhodes, who worked with Sex Pistols creator Malcolm McLaren and who later managed the Clash, described the times: 0G26-3079/93/3401-069$1.50A) 69 ..