Manchester University Press
Afterword – the cultural impact of punk
Abstract
This chapter presents an interview between the author and Jon Savage regarding the cultural impact of punk. The interview sought to ascertain Savage's thoughts on the core themes of this book; that is, on punk's import beyond the music and in terms of identity, space and communication. Among the numerous accounts of punk's origins and early development that exist, Jon Savage's England's Dreaming is peerless. Combining sharp critical analysis with participatory insight, it locates British punk squarely within its socio-economic, cultural and political context. Savage's reading of punk may be traced back to his 1976-produced fanzine London's Outrage, which interspersed media clippings and pop cultural references with an essay forewarning Britain's descent into fascism. Though Savage's writing and broadcasting work has since led him to explore far wider vistas of popular culture, he remains a foremost commentator on punk's history and continuing relevance.
Abstract
This chapter presents an interview between the author and Jon Savage regarding the cultural impact of punk. The interview sought to ascertain Savage's thoughts on the core themes of this book; that is, on punk's import beyond the music and in terms of identity, space and communication. Among the numerous accounts of punk's origins and early development that exist, Jon Savage's England's Dreaming is peerless. Combining sharp critical analysis with participatory insight, it locates British punk squarely within its socio-economic, cultural and political context. Savage's reading of punk may be traced back to his 1976-produced fanzine London's Outrage, which interspersed media clippings and pop cultural references with an essay forewarning Britain's descent into fascism. Though Savage's writing and broadcasting work has since led him to explore far wider vistas of popular culture, he remains a foremost commentator on punk's history and continuing relevance.
Chapters in this book
- Front matter i
- Epigraph v
- Contents vii
- List of contributors ix
- The Subcultures Network xii
- Foreword xiii
- Acknowledgements xiv
- Introduction 1
-
Part I I wanna be me: punk and identity
- 1 ‘If you want to live, you better know how to fight’ 13
- 2 Oi! Oi! Oi! 34
- 3 Playing a-minor in the punk scene? 65
- 4 Immigrant punk 77
- 5 Crass, subculture and class 99
-
Part II Transmission: punk and place
- 6 ‘Flowers of evil’ 119
- 7 Distortions in distance 139
- 8 Lo spirito continua 155
- 9 Shared enemies, shared friends 170
- 10 Ostpunx 186
-
Part III When the punks go marching in: punk, communication and production
- 11 Silver screen sedition 205
- 12 ‘Punk belongs to the punx, not business men!’ 232
- 13 Normality kills 252
- 14 ‘Militant entertainment’? 268
- 15 Punk zines 287
- Afterword – the cultural impact of punk 304
- Index 317
Chapters in this book
- Front matter i
- Epigraph v
- Contents vii
- List of contributors ix
- The Subcultures Network xii
- Foreword xiii
- Acknowledgements xiv
- Introduction 1
-
Part I I wanna be me: punk and identity
- 1 ‘If you want to live, you better know how to fight’ 13
- 2 Oi! Oi! Oi! 34
- 3 Playing a-minor in the punk scene? 65
- 4 Immigrant punk 77
- 5 Crass, subculture and class 99
-
Part II Transmission: punk and place
- 6 ‘Flowers of evil’ 119
- 7 Distortions in distance 139
- 8 Lo spirito continua 155
- 9 Shared enemies, shared friends 170
- 10 Ostpunx 186
-
Part III When the punks go marching in: punk, communication and production
- 11 Silver screen sedition 205
- 12 ‘Punk belongs to the punx, not business men!’ 232
- 13 Normality kills 252
- 14 ‘Militant entertainment’? 268
- 15 Punk zines 287
- Afterword – the cultural impact of punk 304
- Index 317
