The Commodification of Whitby Goth Weekend and the Loss of a Subculture
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6.4. of Goths and Salmons: a Practice-Basedeexploration of Subcultural Enactments in 1980S Milan
6.4. Of goths and salmons: A practice-basedeExploration of subcultural enactments in 1980s Milan Simone Tosoni1 Abstract The present paper explores, for the first time, the Italian appropriations of British goth in Italy, and in particular in the 1980s in Milan. Adopting a practice-based approach and a theoretical framework based on the STS-derived concept of “enactment”, it aims at highlighting the coexistence of different forms of subcultural belonging. In particular, it identifies three main enactments of goth in the 1980s in Milan: the activist enactment introduced by the collective Creature Simili (Kindred Creatures); the enactment of the alternative music clubs and disco scene spread throughout northern Italy; and a third one, where participants enacted dark alone or in small groups. While these three different variations of goth had the same canon of subcultural resources in common (music, style, patterns of cultural consumption), they differed under relevant points of view, such as forms of socialization, their stance on political activism, identity construction processes and even the relationship with urban space. Yet, contrary to the stress on individual differences typical of post-subcultural theories, the Milanese variations of goth appear to have been socially shared and connected to participation in different and specific sets of social practices of subcultural enactment. Keywords: goth, subculture, enactment, practices, canon, scene, 1980s. For academic research, the spectacular subcultures (Hebdidge, 1979) in the 1980s in Italy are essentially uncharted waters (Tosoni, 2015). Yet, the topic deserves much more sustained attention. Some of these spectacular youth expressions, in fact, emerged in Italy as a peculiarity of the country, and are still almost ignored in the international debate. -
(2012) Pagans and Satan and Goths, Oh My: Dark Leisure As Com- Municative Agency and Communal Identity on the Fringes of the Modern Goth Scene
Citation: Spracklen, K and Spracklen, B (2012) Pagans and Satan and Goths, Oh My: Dark Leisure as Com- municative Agency and Communal Identity on the Fringes of the Modern Goth Scene. World Leisure Journal, 54 (4). 350 - 362. ISSN 0441-9057 DOI: https://doi.org/10.1080/04419057.2012.720585 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/263/ Document Version: Article (Accepted Version) The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Pagans and Satan and Goths, oh my1: dark leisure as communicative agency and communal identity on the fringes of the modern Goth scene Karl Spracklen1a and Beverley Spracklenb aLeeds Metropolitan University, bIndependent Scholar Abstract Goth music’s cultural terrain has been extensively mapped in the first decade of this century. -
Whitby Area in Circulation Than Any Other Living Artist
FREE GUIDEBOOK 17th edition Gateway to the North York Moors National Park & Heritage Coast Ravenscar • Robin Hood’s Bay • Runswick Bay • Staithes Esk Valley • Captain Cook Country • Heartbeat Country Whitby & District Tourism Association www.visitwhitby.com Welcome to Whitby I am pleased to say that Whitby continues to attract a wide spectrum of visitors! This I believe is down to its Simpsons Jet Jewellery unique character forged at a time when the town was a relatively isolated community, self-reliant but welcoming of Whitby to anyone making the difficult journey by road or sea. Today, Whitby regularly features in the top ten surveys of Makers of fi ne quality Whitby Jet Jewellery UK holiday destinations. The range of interesting things to do, places to see and of course marvellous places to eat Tel: 01947 897166 both in the town itself and its surrounding villages are a major factor in this. Email: [email protected] As a town we continue to strive to improve your visitor experience. Whitby Town Council in partnership with We guarantee all our Jet is locally gathered and our Danfo rescued many of the public toilets from closure. Jet Jewellery is handmade in our workshop. They are now award winning! We’re easy to fi nd: Walk over the old Swing Bridge I hope this guidebook helps you to enjoy your visit and (with the Abbey in view). Turn right on to Grape Lane. tempts you to return to our lovely town and its wonderful We’re approximately halfway along on the right. surroundings again and again. -
Whitby Goth Weekend
13/10/2018 Whitby Goth Weekend | Revolvy () (//www.revolvy.com) Trending (/main/index.php?pagetype=trending) | WQuhiiztzbeys G(/oqtuhi zWzeese/kall) | S igLinst us p(/ (s)er i/e s) Login ( Photography with aesthetics close to Gothic (black and white), showing a woman dressed in that style The goth subculture is a music subculture that began in England during the (/page/The-Breath-of-Life-(band)) (/page/Bands- early 1980s, where it developed from Save the audience of gothic rock, an oshoot of the post-punk genre. The The Breath of Life is a dark wave, name, goth subculture, de... More... ethereal wave and gothic rock band (/page/Goth-subculture) from Belgium. "I guess you can say and-musicians-from-Yorkshire-and-North- that The Breath of Life are an East-England) Add Note institution in the Belgian Goth scene. Save During decades they were, without Revolvy Brain The following is a list of bands and any doubt, the sole Belgian band 2000s fashion (/folder/2000s- musicians from Yorkshire and the fashion/5563) who was able to blend ethereal north east of England, sorted by town Topic Ignore () | Repo.r.t. () darkwave, gothrock and post-punk. or city. Those to have a number one See all notes Or pe... More... (/page/James- single are shown in bold. Bands and Richardson%252DBrown) (/page/The-Breath-of-Life-(band)) musicians Barnsley Danse Society[1] James Richardson-Brown Add Note Exit Calm[2] Party Day Kate Rusby[3] Saxon[4] Batley Robert Palmer[5] Revolvy Brain Benton Jimmy Nail[6] Bingley Musical groups started in 1985 Marmozets[7] Bo.. -
Where's My Jet Pack?
Where's My Jet Pack? Online Communication Practices and Media Frames of the Emergent Voluntary Cyborg Subculture By Tamara Banbury A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Legal Studies Faculty of Public Affairs Carleton University Ottawa, Ontario ©2019 Tamara Banbury Abstract Voluntary cyborgs embed technology into their bodies for purposes of enhancement or augmentation. These voluntary cyborgs gather in online forums and are negotiating the elements of subculture formation with varying degrees of success. The voluntary cyborg community is unusual in subculture studies due to the desire for mainstream acceptance and widespread adoption of their practices. How voluntary cyborg practices are framed in media articles can affect how cyborgian practices are viewed and ultimately, accepted or denied by those outside the voluntary cyborg subculture. Key Words: cyborg, subculture, implants, community, technology, subdermal, chips, media frames, online forums, voluntary ii Acknowledgements The process of researching and writing a thesis is not a solo endeavour, no matter how much it may feel that way at times. This thesis is no exception and if it weren’t for the advice, feedback, and support from a number of people, this thesis would still just be a dream and not a reality. I want to acknowledge the institutions and the people at those institutions who have helped fund my research over the last year — I was honoured to receive one of the coveted Joseph-Armand Bombardier Canada Graduate Scholarships for master’s students from the Social Sciences and Humanities Research Council of Canada. -
Gothic Substance
Gothic Style(s), Gothic Substance Gothic Manchester Festival Conference Saturday 28th October 2017 No 70 Oxford Street Introduction After the great success of last year’s Gothic North conference, our attention turns this year to the topic of Gothic Style(s). At the start of the twenty first century, the Gothic is ubiquitous. Fiction and film, television and graphic novels have not only made the Gothic’s plots and protagonists their own, but have brought Gothic style(s) even more firmly into the mainstream. Victorian Gothic architecture looms large over modern cities such as Manchester, contemporary Goth fashion and music tirelessly reference the mode, and our streets and bars, clubs and homes have generated new Gothic styles of their own. But is there substance to the Gothic’s many styles? Does the Gothic continue to reveal the great unspoken truths of our world? Did it ever? Is the Gothic anything more than a commercial product that may be sold, as a recognisable style, to a new generation of consumers? Was it ever thus? What cultural functions do Gothic styles serve? And how have these evolved from the Enlightenment to the neoliberal present? This year’s conference will address such questions, offering a cornucopia of perspectives on the theme. We have papers that draw on political, theological and sociological theory, panels as diverse as Gothic Gaming and Gothic Subcultures and participants who range from undergraduate students to seasoned academics, writers and performers. So, welcome to Gothic Styles, the fifth annual conference of the Gothic Manchester Festival. Again, we think, a wonderfully Gothic time will be had by all. -
The Music (And More) 2019 Quarter 3 Report
The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat. -
New Music As Subculture Que Devient L’Avant-Garde ? La Nouvelle Musique Comme Sous-Culture Martin Iddon
Document generated on 09/29/2021 10:50 a.m. Circuit Musiques contemporaines What Becomes of the Avant-Guarded? New Music as Subculture Que devient l’avant-garde ? La nouvelle musique comme sous-culture Martin Iddon Pactes faustiens : l’hybridation des genres musicaux après Romitelli Article abstract Volume 24, Number 3, 2014 In a short ‘vox pop,’ written for Circuit in 2010, on the subject of the ‘future’ of new music, I proposed that new music — or the version of it tightly URI: https://id.erudit.org/iderudit/1027610ar intertwined with what was once thought of as the international avant-garde, at DOI: https://doi.org/10.7202/1027610ar any rate — might today be better thought of as a sort of subculture, akin to the spectacular subcultures of goth and punk, but radically different in that they See table of contents developed from the ‘grassroots,’ as it were, while new music comes from a position of extreme cultural privilege, which is to say it has access, even now, to modes of funding and infrastructure subcultures ‘proper’ never have. This essay develops this line of enquiry, outlining theories of subculture and Publisher(s) post-subculture — drawing on ‘classic’ and more recent research, from Les Presses de l’Université de Montréal Hebdige and Cohen to Hodkinson, Maffesoli, and Thornton — before presenting the, here more detailed, case that new music represents a sort of subculture, before making some tentative proposals regarding what sort of ISSN subculture it is and what this might mean for contemporary understandings of 1183-1693 (print) new music and what it is for. -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
NEW WAVE Pablo Esteban
La ola que cambió el rumbo desde UK PABLO ESTEBAN New Wave La Ola que cambió el rumbo desde UK ! ! ! ! Pablo Esteban Febrero 2014 NEW WAVE 1. La ola que cambió el rumbo desde UK PABLO ESTEBAN New Wave ! Índice ! 1. Definición 1.1. Término 1.2. Contexto histórico 1.3. Ideología política y social de las bandas 2. Filosofía del movimiento 2.1. Influencias 2.2.Historia 2.3. Subgéneros SYNTH POP DARKWAVE ROCK ALTERNATIVO NEW ROMANTIC 3. Principales Bandas 4. Repercusión en Reino Unido 5. Expansión de la Ola 6. Conclusión ! ! ! ! NEW WAVE 1. La ola que cambió el rumbo desde UK PABLO ESTEBAN New Wave 1 Definición ! 1.1. Término El término New wave proviene de «new wave rock music» y significa Nueva Ola, refiriéndose a la reinterpretación de la primera ola que arrancó a principios de los 70 (nacimiento del punk-rock), es un término global para varios estilos pop/rock que nacieron a finales de la década de 1970 (específicamente en 1978) como derivado del punk y con vínculos del rock de principios de década y que evolucionó durante los años 80 (hasta aproximadamente el año 1988), proyectándose como un movimiento musical y estético (tanto en la forma de pensar, actuar, llevar el pelo o vestir). Se mantuvo prácticamente análogo al punk rock antes de ramificarse como un género distintamente identificado, incorporando música electrónica, experimental, mod, disco y pop. Posteriormente creó subgéneros propios y fusiones, el new wave nació en Inglaterra y se extendió con gran relevancia hacia EEUU y mas concretamente a Nueva York donde pasó a llamarse Post-punk y posteriormente a independizarse y diferenciarse de sus orígenes, surgió como una nueva forma de rock que amplió los límites del mismo, infundiéndole su alma a la música de los años 80 y legando para la posteridad diversas culturales. -
Psychobilly Psychosis and the Garage Disease in Athens
IAFOR Journal of Cultural Studies Volume 5 – Issue 1 – Spring 2020 Psychobilly Psychosis and the Garage Disease in Athens Michael Tsangaris, University of Piraeus, Greece Konstantina Agrafioti, Aristotle University of Thessaloniki, Greece Abstract The complexity and the bizarre nature of Psychobilly as a music genre and as a music collectivity make it very convenient for reconsidering several views in relation to subcultures, neo-tribes and scenes. More specifically, the case of Greek Psychobilly can categorically present how subcultural trends can be disseminated across gender, social classes and national borders. This study aims to trace historically the scene of Psychobilly in Athens based on typical ethnographic research and analytic autoethnography. The research question is: Which are the necessary elements that can determine the existence of a local music scene? Supported by semi-structured interviews, the study examines how individuals related to the Psychobilly subculture comprehend what constitutes the Greek Psychobilly scene. Although it can be questionable whether there ever was a Psychobilly scene in Athens, there were always small circles in existence into which people drifted and stayed for quite a while, constituting the pure core of the Greek Psychobilly subculture. Keywords: psychobilly, music genres, Athens, Post-subcultural Theory 31 IAFOR Journal of Cultural Studies Volume 5 – Issue 1 – Spring 2020 Introduction According to the American Countercultures Encyclopaedia, Psychobilly is a subculture that emerged in the 1980s from the unlikely combination of rockabilly and punk rock. The provocative and sometimes outrageous style associated with psychobillies (also known as “psychos”) mixes the blue-collar rawness and rebellion of 1950s rockabilly with the confrontational do-it-yourself style of 1970s punk rock, a syncretism infused with themes from monster and horror films, campy sci-fi movies, and even professional wrestling” (Wojcik, 2013, p. -
23. Wave-Gotik-Treffen
23. Wave-Gotik-Treffen - Termin: 6. - 9. Juni 2014 - Ort: Leipzig (an rund 40 Veranstaltungsorten über die ganz Stadt verteilt), Zeltplatz und Hauptveranstaltungsort am Stadtrand auf dem agra-Messegelände Markkleeberg - Internetseiten: www.wave-gotik-treffen.de www.facebook.com/WaveGotikTreffen - Musikrichtungen: alle Arten von dunkler Musik: Gothic; EBM; Industrial; Dark Ambient; Apocalyptic Folk; Post Punk, Synthpop etc. - Eintrittskarten: 4-Tageskarte für alle Veranstaltungen im Rahmen des 23. Wave-Gotik-Treffens Pfingsten 2014 zu 99,- € im Vorverkauf (inkl. VVK-Gebühr). Die Veranstaltungskarte beinhaltet die Fahrtberechtigung für Nahverkehrsmittel (Straßenbahn, Busse, S-Bahn des MDV Zone 110) vom 6.Juni, 08:00 Uhr - 10.Juni, 12:00 Uhr (ohne Sonderlinien). - Zelten: mit Obsorgekarte zu 25,- € (inkl. VVK-Gebühr) mit folgendem Leistungspaket: Zeltplatznutzung auf dem Treffenzeltplatz „Pfingstbote“ – das ausführliche Treffen-Programmbuch Ohne Obsorge-Karte sind das Betreten und die Nutzung des Treffenzeltplatzes nicht möglich. Die Obsorge-Karte gilt nur in Verbindung mit einer Treffen-Veranstaltungskarte. - Parken: Für das Parken auf dem Treffengelände ist eine Parkvignette zu 15,- € (inkl. VVK-Gebühr) für den gesamten Treffen- Zeitraum erforderlich. Ohne Parkvignette ist das Parken auf dem Treffengelände (agra-Treffenpark) nicht möglich. Karten sind bestellbar über www.wave-gotik-treffen.de - Erwartete Besucherzahl: ca. 20000 - Kontakt: Fernruf: 0341-2120862 / E-Post: [email protected] - Photos: www.wave-gotik-treffen.de/photogallery.php Das Wave-Gotik-Treffen - schwarz-romantische Festspiele jedes Jahr zu Pfingsten in Leipzig 2014 findet das WGT zum 23.Mal statt. Vom 6. bis 9. Juni feiern wieder mehr als 20000 Gothics aus aller Welt DIE internationale Familienzusammenkunft der Gothic-Szene. Über die ganze Stadt verteilt werden etwa 200 Bands und Künstler auftreten und dabei erneut alle Spielarten dunkler Musik aufführen: Von Future-Pop bis Goth-Metal, von EBM bis Apocalyptic Folk, von mittelalterlichen Klängen bis zu elegischem Post Punk.