UK Decay Communities June 05 UK DK TODAY Newsletter 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hard Floors, Harsh Sounds and the Northern Anti-Festival: Futurama 1979-1983
This is a repository copy of Hard floors, harsh sounds and the northern anti-festival: Futurama 1979-1983. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/110109/ Version: Accepted Version Article: Trowell, I.M. orcid.org/0000-0001-6039-7765 (2017) Hard floors, harsh sounds and the northern anti-festival: Futurama 1979-1983. Popular Music History, 10 (1). pp. 62-81. ISSN 1740-7133 https://doi.org/10.1558/pomh.32557 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Hard Floors, Harsh Sounds and the Northern Anti-Festival: Futurama 1979-1983 Abstract: This article explores the history and context of the post-punk festival Futurama, inaugurated in 1979 within the cavernous, makeshift and disintegrating venue of Leeds Queens Hall, and running on an annual basis for five years. -
Legislators Try to Ease Student Burden
DAILY Vol. 98, No.47 Published for San lose State University since 1934 Tuesday, March 31, 1992 Legislators try to ease student burden More students qualify for financial aid the House and the Senate before President Bush receives it. According to an aide to U.S. Rep. Don 20% fee hike in budget package By I,es Mahler are taking into account the middle-class stu- Edwards, D-San Jose, who did not want his Daily staff writer dents who have been deprived of an education name used, the newest version of the bill rais- By Les Mahler Part of last night's debate also revolved over the last decade," said Jeff Chang, legisla- es the qualifying ceiling to $50,000.1be cur- Daily staff writer around a bill by Assemblyman Thomas Federal financial aid reform is one step tive director of the California State Student rent qualifying level is $30,000 or below. Hannigan, D-Fairfield. closer after the U.S. house of Representatives Association. The House bill, HR 4471, differs from the Voting along party lines, the Democrat- That bill, AB 2275, which also passed voted to both increase the ceiling to qualify as "It will help in these tough financial times," Senate version, which was passed last month. ically controlled Assembly Ways and last night, would make permanent the 10 well as redefine eligibility. said Sean Garrett, public affairs assistant for The Senate bill, SB 1150, increases the Means Committee sent a $61 billion bud- percent surcharge already levied on student This opens the door for more students to Gov. -
D:\Teora\Radu\R\Pdf\Ghid Pop Rock\Prefata.Vp
DedicaÆie: Lui Vlad Månescu PREFAæÅ Lucrarea de faÆå cuprinde câteva sute de biografii çi discografii ale unor artiçti çi trupe care au abordat diverse stiluri çi genuri muzicale, ca pop, rock, blues, soul, jaz çi altele. Cartea este dedicatå celor care doresc så-çi facå o idee despre muzica çi activitatea celor mai cunoscuÆi artiçti, mai noi çi mai vechi, de la începutul secolului çi pânå în zilele noastre. Totodatå am inclus çi un capitol de termeni muzicali la care cititorul poate apela pentru a înÆelege anumite cuvinte sau expresii care nu îi sunt familiare. Fårå a se dori o lucrare foarte complexå, aceastå micå enciclopedie oferå date esenÆiale din biografia celor mai cunoscuÆi artiçti çi trupe, låsând loc lucrårilor specializate pe un anumit gen sau stil muzical så dezvolte çi så aprofundeze ceea ce am încercat så conturez în câteva rânduri. Discografia fiecårui artist sau trupå cuprinde albumele apårute de la începutul activitåÆii çi pânå în prezent, sau, de la caz la caz, pânå la data desfiinÆårii trupei sau abandonårii carierei. Am numit disc de platinå sau aur acele albume care s-au vândut într-un anumit numår de exemplare (diferit de la Æarå la Æarå, vezi capitolul TERMENI MUZICALI) care le-au adus acest statut. Totodatå, am inclus çi o serie de LP-uri BEST OF sau GREATEST HITS apårute la casele de discuri din întreaga lume. De aceea veÆi observa cå discografia unui artist sau a unei trupe cuprinde mai multe albume decât au apårut în timpul vieÆii sau activitåÆii acestora (vezi Jimi Hendrix, de exemplu) çi asta pentru cå industria muzicalå çi magnaÆii acesteia çi-au protejat contractele çi investiÆiile iniÆiale cât mai mult posibil, profitând la maximum de numele artiçtilor çi trupelor lor. -
PUNK AFTER ‘PUNK’ in the UK: 1978-1984 Sean Albiez
PUNK AFTER ‘PUNK’ IN THE UK: 1978-1984 Sean Albiez This is an unpublished book chapter that was intended to be the introductory chapter of a book on contemporary perspectives on punk and hardcore – after a very protracted process, and all sorts of publisher shenanigans, the book never saw the light of day – so I‟m making this available here instead. ---------------------------------------------------------------------------------------------------------------------------- Punk is what you make it. Paradoxically, this is the essence of punk, and only „true‟ punks realise this. (Muggleton 2000: 2) PUNK ROCK is a receding object; as one approaches, it disappears. (Home 1995: 52) Punk, and in particular UK punk, has no history. That is, more often than not, what passes for UK punk history is a naïve and myopic reiteration of the usual founding myths, and ends in 1978. Inexplicably these myths and half-truths continue to underpin the musical, cultural and political identity of the genre and subculture in music journalism and popular media histories. They gain greater authentic explanatory weight over time, as a snowball indiscriminately gains mass while tumbling down a snow- covered hillside. The belief that UK punk appeared as an autonomous, working class social and cultural movement in the mid to late 1970s, and challenged both the music industry and the British establishment is a caricature that should have long since receded from view. Typical of such erroneous history is the following from Clark (2004), who cites Henry (1989) in support of his outline of the role of class in punk: Early punk was a proclamation and embrace of discord. In England it was begun by working class youths decrying a declining economy and rising unemployment, chiding the hypocrisy of the rich, and refuting the notion of reform. -
28. Wave Gotik Treffen Errors and Changes Are Possible
28. Wave Gotik Treffen Errors and changes are possible. Database of 03.06.19 20:05 Schedule version Welcome to 28. Wave Gotik Treffen WGT planner This document was created based on the information available at the time of creation. The information primarily comes from both the WGT's organising team and public event notes. Therefore, no guarantee of completeness will be provided. This WGT planner is used for simple and clear planning of personal WGT visit. Due to the time arrangement, it is simply possible to detect overlaps or to look for alternatives. But it is also a helpful tool on the go, as it makes it completely independent of electricity and internet and can be planned at any time. With the help of the Excel table, you can also create your own individual plan. But this should wait until the final game plan version of the WGT has been released ... Changes are guaranteed until then and even the game plan version can still change-even until Friday. The plan is constantly updated up to the WGT-sometimes until hours before the official start! Under each band we tried to write the Genere for the band so that you can classify it quickly. These entries come from last.fm-No guarantee is given that they are correct:-D Even after the WGT, you will find a detailed review of the WGT at http://monkeypress.de! The planner is listed under the CC-BY-SA 4.0 license and may be shared and modified by the author;) Author: monkeypress.de Preliminary report on the WGT: https://bit.ly/WGT2019 Author: Monkeypress.de | The planner may be changed and distributed as long as the author remains visible. -
Records O. the Year
RECORDS O THE YEAR THE MICK 54 As the year was a write-off for writing, which was distinctly off, it’s nice to end the year with two quick issues of the magazine, covering Xmas and now all the reviews I have done. There have been some truly great records by new and old artists alike, and I hereby commend them to the House. Next year we should be back to normal, with regular issues, which is a relief for me as I have missed it. I doubt you have but will earn back your enthusiasm. A Happy New Yearto you all. I go now. JANUARY VARIOUS ARTISTS mix of The Eden House’s ‘To PAGAN LOVE SONGS: Believe In Something’ bathe you ANTITAINMENT 2 in its radiant sobriety. Fliehende (Alice In.../Broken Silence) Stürme glide seamlessly through the delightful dusk atmosphere of I feel it’s important to start the new year ‘Satellit’, Frustration sound a bit off with some real quality and as you’re like Action Directe staggering not going to find a more dedicated, open- home from the pub in ‘No minded and knowledgeable couple than Trouble’ and then Varsovie burst Thyssen brothers Thomas and Ralf, the some veins during the punky men behind PLS who bring this to you humping of ‘Leningrad.’ Charles for your own benefit, a 2CD goldmine for De Goal sit back and snarl the price of one (CD that is, not sardonically through a flickering goldmine) I’d say the quality was pretty ‘Décadence’ obvious. BFG are a welcome, invigorating surprise with their robust Shock Therapy fidget spicily through the ‘Anonymous’ and The Exploding warm, knowing pop swagger of ‘Pain’ Boy -
Too Loud in ‘Ere
1 Too Loud In ‘Ere A Tale of 20 Years of Live Music Jonny Hall, June 2017 (c) Jonny Hall/DJ Terminates Here, 2017. Some rights reserved. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 2 Introduction Every live gig I’ve ever been to has given me some kind of story to tell. You could ask me about any of them and I could come up with at least one occurrence that captured the spirit of the night. But not every live show has been truly ‘special’. I’ve seen excellent performances by bands with crowds numbering in their thousands that were simply ‘very good nights out’. No more, no less. No, it’s those gigs that leave you buzzing all the way home that count, the ones where you really felt part of something special and years later, need only think of that occasion to be right back there, in soul if not in body. Sometimes the whole gig doesn’t have to be brilliant, a single ‘magic moment’ is all you need. And it’s those events that have kept me coming back for more. Most people just settle for a few favourites and watch them every time they come round. I’m not like that. I’ve rolled the dice on catching relatively unknown bands plenty of times (especially at festivals). You never know what you might discover. It doesn’t always work. I’ve had my share of dead nights, shitty soundsystems and line-ups that seem to shift every time you look at them. -
Zoundbies Vol.1
Zoundbies Compilation Vol. 1 By Dj ALien S Pagan 66 Fucking Tracks by International Bands, from USA, Canada, Germany, Finland, France, Italy, Portugal, Spain, Poland, Australia, Greece, Austria, Colombia, Brazil, Mexico, UK, Norway, Slovakia.... And... From Mars? Be Careful, This Songs Are "Zoundbies"... And They're Going to Invade your Mind! Alien 1. 13 Bats -The Cry 2. 1 3th Moon - Under The Mask 3. Acid Bats - RIP 4. Alexandras - Here Comes The Time 5. Bella Lune - Transmissions 6. Brigitte Handley & The Dark Shadows - Sleeping With a Vampyre 7. Brotherhood Of Pagans - The Fate 8. Cadillac and Cadavers - Tender Flesh 9. Camp Z - Retroscopic (Zoundbies Edit) 10. Capitao Fantasma - Opio, Sexo, Jogo & Rock N Roll - 1 1 . Cyteres El Mortal De Cyteres 12. Dancing Golem - Fading Colours 13. Date At Midnight - Crucify my lies 14. Deadbeats - Movin 15. Die Perlen - Jeudi Noir (Demo Version) 16. Droserae - Metropolis 17. El Viejo Matadero - La Puta Del Cementario (unrealised demo) 18. Elvira & The Bats - Fils de Frankenpire Vampirstein 19. Escarlatina Obsessiva - Strain Under Streets 20. Eyaculacion Post Mortem - Quiero Ser Parroco 21. Fangs On Fur - Cigarette 22. For Against - Sabres 23. Frustration - Waiting For The Bad Things 24. General Decay - Nobody's Home 25. Graveyard Soul - Chaos Cat 26. Hellbats - Kiss The Viper 27. Horror Vacuii - Los Espejos Viven 28. Hysteric Helen - Damned Game 29. Imprint - Reptilian 30. Jacquy Bitch - Les Enfants Damnes - 3 1 . Jamey Rottencorpse & The Rising Dead Somewhere Under The Graveyard 32. Joy Disaster - Remember The Time 33. Karma Deva - Feed Your Soul 34. La Peste Negra - Vida Telequinetica 35. -
JOMEC Journal Journalism, Media and Cultural Studies
JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press White Youth: The Far Right, Punk and British Youth Culture, 1977–87 Matthew Worley and Nigel Copsey Teesside University (Nigel Copsey) Email: [email protected] University of Reading (Matthew Worley) Email: [email protected] Keywords Punk Fascism Youth Culture Britain Abstract ‘White Youth’ recovers and explains the relationship between far-right organisations and British youth culture in the period between 1977 and 1987. In particular, it concentrates on the cultural spaces opened up by punk and the attempts made by the National Front and British Movement to claim them as conduits for racist and/or ultra-nationalist politics. The article is built on an empirical basis, using archival material and a historical methodology chosen to develop a history ‘from below’ that takes due consideration of the socio-economic and political forces that inform its wider context. Its focus is designed to map shifting cultural and political influences across the far right, assessing the extent to which extremist organisations proved able to adopt or utilise youth cultural practice as a means of recruitment and communication. Today the British far right is in political and organisational disarray. Nonetheless, residues tied to the cultural initiatives devised in the 1970s–80s remain, be they stylistic, nostalgic or points of connection forged to a transnational music scene. Contributor Notes Nigel Copsey is professor of modern history at Teesside University. He has published extensively on the far right in Britain. His major publications are Anti-Fascism in Britain (2000; 2nd edn, 2016) and Contemporary British Fascism: The British National Party and the Quest for Legitimacy (2004; 2008). -
The Mick 52.Pdf
THE MICK 52 UK DECAY December 2009 sane as they ever were Gothic Legends return! - an epic interview - MOMENTO MORI ZEITGEIST PHOENIX MARIE Medical Appeal ZERO Will Dance For Chocolate BLACK Screaming Banshee Aircrew TAPE FOR A Resist + Albums Of 2009 BLUE GIRL The Filth & The EL CLAN Furries EDITORIAL VOMIT Hello. Bizarrely I actually think this is the best issue I have done, so I intriguing comeback of MOMENTO MORI. There’s even a wonderful will be asking you something during this short preamble, before you indie band in WILL DANCE FOR CHOCOLATE, which isn’t like me start ambling on your own. I have been busy this month, creating three at all. You’ll love them. issues to try and catch up on the bands I have wanted to interview, and there’s enough material I am currently organising to see me through So this is what I do and through the combination of actually putting until March on a regular schedule, so things are starting to take shape the work in, having a certain insight, and contacts made through the nicely. years, I believe I’m bringing you a magazine which provides something I just love the content this issue. The UK DECAY piece contains some others don’t. Maybe you’ll agree, fabulous quotes and memories, which will enthral, or should. Spon maybe not, but this month you’ll went to great lengths to ensure I got the piece quickly, and I can’t hopefully notice I have done thank him enough. It’s a fascinating look at what a band remembers, something I haven’t done before – I and what a band experiences. -
Gothic Rock Une Anthologie En 100 Albums 1980-2000 Victor Provis Gothic Rock Gothic
VICTOR PROVIS GOTHIC ROCK UNE ANTHOLOGIE EN 100 ALBUMS 1980-2000 VICTOR PROVIS GOTHIC ROCK GOTHIC M — LE MOT ET LE RESTE R couv_ROCK_GOTH.indd 3 06/07/2021 17:47 VICTOR PROVIS GOTHIC ROCK UNE ANTHOLOGIE EN 100 ALBUMS 1980-2000 le mot et le reste 2021 Mes pensées vont d’abord à Mattéo à qui je dois beaucoup. Le premier à m’avoir encouragé. Après King, Lovecraft, il aurait savouré que je retourne aux univers de notre adolescence. PRÉFACE Le rôle de tout artiste est d’observer le monde et de le réfléchir au travers sa propre interprétation. C’est une grande responsabi- lité que doit l’artiste à cette vérité plus large qui ressort de cette observation et qui lie toutes choses à sa vie. Le post-punk a d’abord été décrit comme un mouvement défini par un son. Ce n’est qu’un petit détail d’un tableau plus grand. Je dirai qu’il a surtout été défini par une attitude, du moins à l’époque. Une attitude qui a donné le la pour le développement musical des années à venir. Il a récupéré le désir de révolution culturelle qu’avait amorcée le punk. C’était un mouvement fier, bruyant et visionnaire, et l’attitude en prenait toute la part. Il s’agissait surtout d’une liberté d’expression, qui ne devait pas se limiter à un son ou un genre. La Grande-Bretagne à la fin des années soixante-dix enflait sous cette ferveur populaire et au cœur de ce phénomène, il y avait Londres. -
UKDK R3 Program Cover
UK Decay Communities Class of 1979 – 1989 Reunion III Welcome to the Reunion How this all started Officially, this is our third annual party but the initial event that spawned these reunions took place at The Cork and Bull, Cumberland St. Luton on August the 12th 2004. Formally known as The Grapevine, it was the hub of Luton’s punk scene back in the day. A former Luton punk, Blink brought his Leicester based band The Pokers back to town to put on a show. The gig was originally booked to happen at Luton music venue The Well but a few days before, it had shut down leaving the planned gig high and dry. With just a few days to go the news of the venue change was broken on the UK Decay Communities website amidst a flurry of activity on the popular forum, within the next few days most of the community knew of the venue change. Blink was a popular ex Lutonian punk musician returning to his former town after an absence of a decade or two, there was a large crowd at the old Grapevine that night. Many from the old scene were there and the talk amongst the attendees was of a further reunion. This came to pass (as they say!) over a year later on December 22nd 2005 when the first official UK Decay Communities Class of 1978-1989 Reunion, again took place at the Cork and Bull. UK Decay Communities Class of 1979 – 1989 Reunion III The live entertainment on that first Reunion was provided by, Mojag, Dead Girl on the Pavement and Thee Dirty Stooges (Blinks new band).