DOCSLIB.ORG

Cambridge University Press 978-1-107-17689-8 — No Future Matthew Worley Index More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-1-107-17689-8 — No Future Matthew Worley Index More Information 381 Index Above the Ruins (band), 157 – 58 anarchist movement Abrasive Wheels (band), 24 – 25 , 96 – 97 mind- set of, 1 – 3 ACAB (All Coppers Are Bastards), 230 Sex Pistols’ referencing of, 10 academic studies of punk, 21 – 22 Anarchist Youth Federation, 163 – 64 A Certain Ratio (band), 73 – 76 anarcho- punk, 8 , 259n. 44 Action Pact (band), 24 – 25 , 117 – 18 activism of, 166 Acts of Defi ance (fanzine), 166 classifi cation of, 46 – 48 Adam and the Ants (band), 119 – 20 , gender politics and, 189 – 92 129 – 30 , 210 history of, 21 Adam Ant. See Goddard, Stuart homosexuality and, 201 – 2 The Adicts, 241 – 43 masculinity and, 203 – 4 Adorno, Theodor, 40 – 41 , 72 – 73 politics and evolution of, 158 – 71 , 231 , The Adventures of Sweet Gwendolyn 234 – 35 (Willie), 212 RAR and, 150 – 51 Advert, Gaye, 178 – 80 self- produced labels by, 72 – 73 advertising, punk’s critique of, 77 – 78 Stop the City campaign and, 167 – 68 The Adverts (band), 90 , 112 – 13 , 178 suburbia critiqued by, 119 – 20 The Affl icted (band), 156 – 58 Anarchy Collective, 168 Afghanistan, Soviet invasion of, 239 – 40 ‘Anarchy in the UK’ (Sex Pistols) After Hours (fanzine), 59 – 60 Northern Ireland violence and, 234 – 35 agency politics and lyrics of, 39 – 40 , 89 – 90 , media as tool for, 77 – 78 158 – 59 punk’s drive for, 46 – 48 , 55 – 57 , 74 – 76 , popularity of, 24 – 25 248 , 252 – 54 release of, 5 – 6 , 65 – 66 Albertine, Viv, 177 – 79 Anarchy in the UK fanzine, 253 – 54 Allen, Richard, 215 – 17 Anathema fanzine, 44 – 45 Allen, Ros, 179 – 80 Andi Sex Gang. See Hayward, Andrew All Mod Cons (The Jam), 55 androgyny, goth culture and, 210 – 13 ‘All- Time Festive 50,’ 24 – 25 Angelic Upstarts (band) Almond, Marc, 202 – 3 class politics and, 103 Alternative TV (band), 134 – 35 , 163 – 64 , criminality and, 230 197 , 221 – 22 , 247 – 48 Falklands War and, 245 Altman, Billy, 268n. 15 formation of, 34 Amebix (band), 241 – 43 media coverage of, 35 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17689-8 — No Future Matthew Worley Index More Information 382 382 / Index Angelic Upstarts (band) (cont.) Baker, Danny, 60 – 61 politics and, 8 , 26 – 27 , 67 , 229 – 30 on Sham 69 , 101 as social realism symbol, 86 – 87 Balance, John, 202 – 3 . See Burton, Geoff unemployment issues covered Ballard, J. G., 114 , 219 – 21 by, 98 – 99 Ballion, Susan (Siouxsie Sioux), 4 – 5, Animal Liberation Front (ALF), 166 37 – 38 , 61 – 62 Anti- Nazi League (ANL), 40 , 145 – 46 feminism and, 177 , 179 – 80 RAR and, 148 – 49 personal politics of, 174 – 75 Anti- Nowhere League (band), 24 – 25 , on politics, 139 – 40 119 – 20 , 178 on suburbia, 115 Anti Pasti (band), 92 – 94 Band Aid event, 250 – 52 Antisect (band), 219 – 20 Bandez, Ann (Annie Anxiety), 127 – 29 , Anti- System (band), 164 , 242 163 , 185 antiwar movement, punk and, 239 – 46 Bangs, Lester, 268n. 15 Anxiety, Annie. See Bandez, Ann Barker, Simon, 4 – 5 , 39 Apathy in Ilford fanzine, 180 ‘Battle of Orgreave,’ 217 – 21 ‘Apocalypse Now’ tour, 92 – 94 Bauhuas (band), 34 The Apostles (band), 80 , 169 , 201 – 2 BBC, punk music coverage on, 38 archivist culture, punk movement The Beat (band), 103 and, 54 Beckett, Andy, 11 – 13 Arena (BBC series), 100 Beckett, Samuel, 137 – 38 Ari Up. See Forster, Ariane Beggars Banquet label, 67 – 68 , 73 The Art Attacks, 188 Bella Donna (Sue Cooper), 189 – 92 Artifi cial Life fanzine, 211 Bell UK, 61 – 62 Ashby, Linda, 198 – 200 , 257n. 18 Benjamin, Walter, 40 – 41 Aspinall, Vicky, 59 – 60 , 179 , 188 – 89 Bennett, Glenn, 41 – 43 , 156 –58 ‘Asylum’ (Crass), 72 – 73 , 133 – 34 , Bennett, Ronan, 139 , 255n. 2 , 255n. 3 283n. 112 Bennett, William, 107 – 8 ‘Atmosphere’ (Joy Division), 267n. 4 Berlin. See Marshall, Bertie (Berlin) ‘Atrocity Exhibition’ (Joy Bertrand, André, 79 – 80 Division), 219 – 21 Bestley, Russ, 22 ‘Attack’ (The Exploited), 136 – 37 Betjeman, John, 118 – 19 Attilla the Stockbroker, 143 – 44 , Beverley, John (Sid Vicious), 137 , 286n. 10 194 – 214 , 257n. 18 Au Pairs (band), 176 , 187 – 89 , 234 – 35 ‘Big A Little A’ (Crass), 174 – 75 authoritarianism, punk movement bIG fLAME (band), 36 , 71 – 72 and, 229 – 38 ‘Big Man, Big M.A.N.’ (Crass), 203 – 4 Autonomy Centre, 163 – 64 Billy Idol. See Broad, Billy Autopsy (fi lm), 162 Birthday Party (band), 212 – 13 Black, Pauline, 104 – 5 , 143 – 44 , 179 – 80 ‘Babylon’s Burning’ (The Ruts), 90 – 91 Black and Blue (Rolling Stones), 176 Bad Manners (band), 42 Black Flag newspaper, 169 Bad News EP (Hit Parade), 234 – 35 Blake, John, 39 Bailey, Steve (Steve Havoc; Steve Severin), ‘Blind Ambition’ (The Partisans), 4 – 5 , 37 136 – 37 Baine, John (Attila the Blinko, Nick, 137 Stockbroker), 26 – 27 Blitz (band), 91 – 94 Baines, Una, 172, 179 – 80 Blondie (band), 27 – 28 Baker, Clarence, 90 – 91 , 232 – 33 Blood and Roses (band), 210 – 11 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17689-8 — No Future Matthew Worley Index More Information 383 383 / Index Blood & Honour, 154 – 55 , 157 – 58 Büld, Wolfgang, 19 The Blood (band), 133 – 34 Bulldog magazine, 41 – 43 , 154 – 57 ‘Bloody Revolutions’ (Crass), 150 – 51 The Bunker (venue), 164 – 65 Blow it Up, Burn it Down, Kick it Till it Burchill, Julie, 29 – 33 , 177 Breaks EP (Apostles), 169 on homosexuality, 198 – 200 Bogshed (band), 109 – 10 on politics and punk, 139 – 40 , 147 Bohn, Chris, 36 , 92 – 94 Burgess, Anthony, 219 – 20 ‘Boil in the Bag Man’ (Adam and the Burke, Steve, 43 – 44 Ants), 129 – 30 Burnel, Jean-Jacques, 89 – 90 , ‘“A” Bomb in Wardour Street’ 204 – 5 , 229 (The Jam), 91 Burnham, Hugo, 172 Bond, Rebecca (Beki Bondage), 26 – 27 , Burns, Jake, 90 – 91 , 94 – 95 245 Burns, Pete, 198 – 200 Bondage, Beki. See Bond, Rebecca Burroughs, William, 9 , 82 – 83 , 219 – 21 Bone, Ian, 169 Burton, Geoff (John Balance), 106 Bones. See Roberts, Tony Bushell, Garry Boon, Richard, 68 – 69 , 79 – 80 , 125 on class politics, 34 – 36 , 40 – 41 bootboy music, 102 on Crass, 170 boredom, as punk theme, 111 – 14 on Oi!, 204 – 5 Bowers, Paul, 43 – 44 on punk, 24 – 27 , 29 – 30 Bowie, David, 50 – 51 , 136 – 37 , 153 – 54 , on unemployment, 100 175 – 76 , 195 – 96 , 209 – 10 The Business (band), 39 , 102 , 230 Bow Wow Wow (band), 63 – 65 , 99 – 100 Buzzcocks (band) Boy George (George O’Dowd), 130 – 31 , Boon as manager of, 79 – 80 324n. 59 boredom as theme for, 111 – 12 Bracewell, Michael, 115 , 122 – 23 , 195 – 96 formation of, 34 Bradbury, Michael, 269n. 23 media coverage of, 5 Bragg, Billy, 203 – 4 , 286n. 10 rejection of consumer culture by, 125 Brandon, Kirk, 227 – 28 self- produced EP by, Brass Lip fanzine, 176 , 180 63 – 66 , 68 – 69 Brazier, Chris, 148 – 49 The Smiths and, 207 – 8 Brigandage (band), 211 women artists and, 181 – 83 , 193 ‘Bring on the Nubiles’ (The Stranglers), 178 , 196 – 97 Cabaret (fi lm), 4 – 5 Britain in Agony (Clutterbuck), 11 – 13 Cabaret Voltaire (band), 60 – 61 , 81 – 83 British Electric Foundation, 281n. 82 dystopian vision, 222 – 24 British Market Research Bureau, 67 – 68 existentialism in music of, 135 – 36 British Movement (BM), 1 – 2 , 39 , 41 – 43 , marginal and suppressed images used 145 – 46 by, 105 class politics and, 155 – 57 Cabut, Richard, 36 , 166 , 174 – 75 , 210 punk and, 154 – 58 Callaghan, James, 87 , 229 – 30 British Patriot magazine, 41 – 43 ‘Camera’ (Six Minute War), 170 Brixton disorders, 94 Campaign for Homosexuality Equality Broad, Billy (Billy Idol), 257n. 18 conference, 199 – 200 Bromley contingent, 4 – 5 , 8 – 9 Campbell, Richard, 232 – 33 Brutal Attack (band), 157 Camus, Albert, 134 – 37 Buchan, Wattie, 92 – 94 , 234 – 35 , Cane (band), 196 – 97 241 – 43 capitalism, punk music linked to, 9 , 70 , Bucks Fizz (band), 318n. 59 98 – 99 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17689-8 — No Future Matthew Worley Index More Information 384 384 / Index Cardew, Cornelius, 143 – 44 politics and music of, 39 – 40 , 139 – 40 , ‘Career Opportunities’ (Clash), 39 – 40 142 – 44 , 229 Caroline K. See Walters, Caroline punk movement and, 45 – 48 Carr, Stewart, 255n. 2 RAR and, 145 Carroll, Kay, 177 reggae and, 146 – 47 Carroll, Ted, 67 – 68 rock music and, 49 – 52 , 206 – 7 ‘Cartrouble’ (Adam and the terminology of punk and, 277n. 23 Ants), 119 – 20 unemployment in music of, 95 – 100 Casey, Jayne, 179 – 80 , 198 – 200 ‘White Riot’ mythology and, 84 – 86 Cavani, Liliana, 212 class politics Cave, Nick, 212 – 13 anarcho- punk and, 160 – 61 , 168 –71 CBS company, 61 – 62 feminism and, 178 – 79 Centre for Contemporary Cultural homosexuality and, 198 – 200 Studies (CCCS) (Birmingham masculinity and, 195 – 96 University), 17 , 21 – 22 , 77 New Left discourse and, 144 Centro Iberico, 163 – 64 , 211 Northern Ireland violence and, 234 – 35 Challenge (newspaper), 39 – 41 , 177 personal identity and, 175 – 76 Chaos UK (band), 241 – 43 pop music and youth culture Chappaquiddick Bridge (Poison and, 120 – 22 Girls), 189 – 92 postindustrialism and, 221 – 22 , 228 Chelsea (band), 5 , 38 punk culture and, 22 , 31 , Chernenko, Konstantin, 240 – 41 34 – 36 , 97 – 99 Chicken magazine, 63 – 65 radical musicians and, 142 – 44 ‘Chip on my Shoulder’ (Cock RAR movement and, 148 Sparrer), 102 Rock Against Communism Chiswick label, 67 – 68 and, 153 – 58 ‘Christian Militia’ (New Model Sham 69 and, 100 –5 Army), 133 – 34 suburbanization and, 116 – 17 , 122 – 23 Christie, Stuart, 169 Class War newspaper, 169 Christopherson, Peter, 106 , 183 – 85 , A Clockwork Orange (fi lm), 219 – 20 195 , 202 – 3 *CND, 40 , 139 – 40 Christ – The Album (Crass), 244 – 46 Crass and, 163 , 240 – 41 Chron Gen (band), 91 –94 , 241 – 43 growth of, 152 – 53 Chrysalis label, 65 – 66 Cochran, Eddie, 54 Chtcheglov, Ivan, 79 – 80 Cockney Rejects (band), 8 , 17 – 18 , 35 , Chumbawamba (band), 163 – 64 , 250 – 52 157 , 230 Clapton, Eric, 145 as social realism symbol, 86 – 87 Clarke, Tim (TJ), 80 ‘cock rock,’ 176 The Clash (band), 5 , 7 – 8 Cock Sparrer (band), 5 , 102 , 219 – 20 boredom as trope for, 112 – 13 Falklands War and, 245 consumer culture critiqued by, 127 – 29 Cocteau Twins (band), 180 criticism of, 277n.
Recommended publications
  • Beginner's Puzzle Book

    Beginner's Puzzle Book

    CRASS JOURNAL: A record of letters, articles, postings and e-mails, February 2009 – September 2010 concerning Penny, Gee and Allison’s ‘Crassical Collection’. 1 Mark Hodkinson Pete Wright POMONA 22nd March, 2004 Dear Mark, I was sent a copy of your book, ‘Crass - Love Songs’ by Gee recently. Having read your introduction, and the preface by Penny, I felt moved to write to you. Crass was a group functioning on consensus with the occasional veto thrown in for good measure, so I thought you might be interested in a slightly different view of the proceedings. From the nature of your introduction, I’d say that you have a pretty thorough grounding in certain aspects of the band. I’d like to broaden the context. Things were fine when we started gigging, before we had any status or influence. The main discomfort I felt and still feel about what the band promoted, started when I realised that Thatcher’s sordid right-wing laissez-faire was little different from what we were pushing. It was an unpleasant shock. Neither Thatcher nor we considered the damage done. We concentrated on the ‘plus’ side always. To say that everyone can ‘do it’, and counting it a justification when the talented, the motivated, or the plain privileged responded, while ignoring the majority who couldn’t ‘do it’, and those who got damaged trying, is a poor measure of success. Just as Putin has become the new Tzar of Russia, Crass used the well worn paths to success and influence. We had friends, people with whom we worked and cooperated.
  • Moment Sound Vol. 1 (MS001 12" Compilation)

    Moment Sound Vol. 1 (MS001 12" Compilation)

    MOMENT SOUND 75 Stewart Ave #424, Brooklyn NY, 11237 momentsound.com | 847.436.5585 | [email protected] Moment Sound Vol. 1 (MS001 12" Compilation) a1 - Anything (Slava) a2 - Genie (Garo) a3 - Violence Jack (Lokua) a4 - Steamship (Garo) b1 - Chiberia (Lokua) b2 - Nightlife Reconsidered (Garo) b3 - Cosmic River (Slava) Scheduled for release on March 9th, 2010 The Moment Sound Vol. 1 compilation is the inauguration of the vinyl series of the Moment Sound label. It is comprised of original material by its founders Garo, Lokua and Slava. Swirling analog synths, dark pensive moods and intricate drum programming fill out the LP and at times evoke references to vintage Chicago house, 80's horror-synth, British dub and early electro. A soft, dreamlike atmosphere coupled with an understated intensity serves as the unifying character of the compilation. ….... Moment Sound is a multi-faceted label overseen by three musicians from Chicago – Joshua Kleckner, Garo Tokat and Slava Balasanov. All three share a fascination with and desire to uncover the essence of music – its primal building blocks. Minute details of old and new songs of various genres are sliced and dissected, their rhythmic and melodic elements carefully analyzed and cataloged to be recombined into a new, unpredictable yet classic sound. Performing live electronics together since early 2000s – anywhere from art galleries to grimy warehouse raves and various traditional music venues – they have proven to be an undeniable and highly versatile force in the Chicago music scene. Moment Sound does not have a static "sound". Instead, the focus is on the aesthetic of innovation rooted in tradition – a meeting point of the past and the future – the sound of the moment.
  • Coil Another Brown World / Baby Food Mp3, Flac, Wma

    Coil Another Brown World / Baby Food Mp3, Flac, Wma

    Coil Another Brown World / Baby Food mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Another Brown World / Baby Food Country: Belgium Released: 2017 Style: Industrial, Experimental MP3 version RAR size: 1468 mb FLAC version RAR size: 1195 mb WMA version RAR size: 1667 mb Rating: 4.4 Votes: 169 Other Formats: MP4 AHX WMA AC3 MMF VOC MP1 Tracklist Hide Credits Another Brown World A Producer [Produced By], Mixed By – CoilRecorded By – Danny HydeWritten-By – John Balance, Peter Christopherson Baby Food B Performer [Essentials] – Danny HydePerformer [Fundamentals] – Peter ChristophersonPerformer [Vibrant Rays Of Spiritual Psychosis] – John BalanceWritten-By, Performer [Performed By] – Coil Companies, etc. Recorded At – Threshold House Pressed By – Record Industry – 9543 Notes Side A: Recorded by Danny Hyde at Threshold House, London, Summer 1989. Vocals recorded at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma. First issued 1989 on Myths 4 • Sinople Twilight In Çatal Hüyük compilation. Side B issued 1993 on Chaos In Expansion compilation. Both tracks were commissioned by Sub Rosa. Barcode and Other Identifiers Barcode: 5411867114437 Matrix / Runout (Side A, stamped): 9543 2A SRV443 Matrix / Runout (Side B, stamped): 9543 2B SRV443 Other versions Category Artist Title (Format) Label Category Country Year SRV443 Coil Another Brown World / Baby Food (LP, Comp) Sub Rosa SRV443 Belgium 2017 Related Music albums to Another Brown World / Baby Food by Coil 1. Coil - The Restitution Of Decayed Intelligence 2. Coil - Panic / Tainted Love 3. Danny Peppermint - One More Time / La Dee Dah 4. Blue Jay Boys - My Baby / Brown Skin Mama 5. Coil - Horse Rotorvator 6.
  • Reed First Pages

    Reed First Pages

    4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism.
  • Smash Hits Volume 60

    Smash Hits Volume 60

    35p USA $1 75 March I9-April 1 1981 W I including MIND OFATOY RESPECTABLE STREE CAR TROUBLE TOYAH _ TALKING HEADS in colour FREEEZ/LINX BEGGAR &CO , <0$& Of A Toy Mar 19-Apr 1 1981 Vol. 3 No. 6 By Visage on Polydor Records My painted face is chipped and cracked My mind seems to fade too fast ^Pg?TF^U=iS Clutching straws, sinking slow Nothing less, nothing less A puppet's motion 's controlled by a string By a stranger I've never met A nod ofthe head and a pull of the thread on. Play it I Go again. Don't mind me. just work here. I don't know. Soon as a free I can't say no, can't say no flexi-disc comes along, does anyone want to know the poor old intro column? Oh, no. Know what they call me round here? Do you know? The flannel panel! The When a child throws down a toy (when child) humiliation, my dears, would be the finish of a more sensitive column. When I was new you wanted me (down me) Well, I can see you're busy so I won't waste your time. I don't suppose I can drag Now I'm old you no longer see you away from that blessed record long enough to interest you in the Ritchie (now see) me Blackmore Story or part one of our close up on the individual members of The Jam When a child throws down a toy (when toy) (and Mark Ellen worked so hard), never mind our survey of the British funk scene.
  • Riotous Assembly: British Punk's Diaspora in the Summer of '81

    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
  • “Punk Rock Is My Religion”

    “Punk Rock Is My Religion”

    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
  • 2 Punk – Eine Einleitung

    2 Punk – Eine Einleitung

    DIPLOMARBEIT Titel der Diplomarbeit „Die Geschichte des Punk und seiner Szenen“ >Band 1 von 1< Verfasser Armin Wilfling angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. A 316 Studienblatt: Studienrichtung lt. Musikwissenschaft Studienblatt: Betreuerin / Betreuer: Dr. Emil Lubej Die Geschichte des Punk und seiner Szenen, Armin Wilfling Seite 2 1 KURZBESCHREIBUNGEN...................................................................................................................... 7 1.1 DEUTSCHSPRACHIGE ZUSAMMENFASSUNG ........................................................................................... 7 1.2 ENGLISH ABSTRACT .............................................................................................................................. 7 2 PUNK – EINE EINLEITUNG.................................................................................................................... 9 2.1 STILDEFINIERENDE MERKMALE DES PUNKS ......................................................................................... 9 2.2 LESEANLEITUNG ................................................................................................................................. 13 3 PUNK – EINE GESCHICHTE ................................................................................................................ 15 3.1 URSPRÜNGE UND VORLÄUFER ............................................................................................................ 17 3.1.1 Garage Rock.................................................................................................................................
  • A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild

    A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild

    ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents .
  • New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry

    New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry

    New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network.
  • Punk Is Dead” Catalog Includes, the SST Records the Inventory Representing the “Punk Is Collection, C

    Punk Is Dead” Catalog Includes, the SST Records the Inventory Representing the “Punk Is Collection, C

    2016 PUNK IS DEAD Lux Mentis, Booksellers Lux Mentis Booksellers specializes in fine press, artist books, first editions, Punk rock evolved over several and esoterica with a particular emphasis generations and manifestations of youth on challenging and unusual materials. culture beginning in the 1970s. Even after 40 years, punk subculture still We actively collaborate with archives demonstrates the capability to influence and special collections libraries to meet successive contemporary elements of the research and collecting needs of art, music, and fashion regardless of its public learning institutions, private, original intention to lambast conformity. independent libraries and collections with primary sources. Selected inventory in the “Punk is Dead” catalog includes, the SST Records The inventory representing the “Punk is Collection, c. 1979-1996; original Dead” collection is a retrospective artwork from famed punk artist, selection of critical primary source Raymond Pettibon; correspondence materials documenting the punk rock from Gordon Gano, original member of movement of the 1970s-1990s. The the Violent Femmes; and several unique collection illustrates the profound fanzine and alternative publications. subculture of punk from an artistic and politically fueled era from Los Angeles, Lux Mentis regularly features and New York, and London. showcases punk culture related materials at major ABAA book fairs and Please contact us for an appointment or continues to cultivate the acquisition of with questions regarding the inventory. subculture materials for research and collection development purposes. 110 Marginal Way #777 Portland, ME 04101 Member: ILAB/ABAA T. 207.329.1469 Email: [email protected] Front cover image: From the SST [email protected] Records Collection, detail of “Outcry” Web: http://www.luxmentis.com magazine Blog: http://www.asideofbooks.com Cataloged created by Kim Schwenk and edited by Ian Kahn 2 Ginn, Greg, Pettibon, Raymond, et al.
  • Music 10378 Songs, 32.6 Days, 109.89 GB

    Music 10378 Songs, 32.6 Days, 109.89 GB

    Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…