No future : punk, politics and British youth culture, 1976-1984 / Matthew Worley.

By: Worley, Matthew [author].

Material type: materialTypeLabel

ArticlePublisher: Cambridge : Cambridge University Press, 2017Copyright date: ©2017Description: xiii, 404 pages : illustrations (black and white) ; 23 cm.Content type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781316625606 (paperback).Subject(s): Youth -- Social conditions -- Great Britain -- 20th century

| Punk culture -- Great Britain -- 20th century

| Youth -- Political activity -- Great Britain -- History -- 20th century

DDC classification: 305.235094109047

Contents:

What's this for? Punk's contested meanings -- Rock and roll (even): Punk as cultural critique -- Tell us the truth: reportage, realism and abjection -- Surburban relapse: the politics of boredom -- Who needs a parliament? Punk and politics -- Anatomy is not destiny: punk as personal politics I -- Big man, big M.A.N: punk as personal politics II -- No future: punk as dystopia -- Alternatives: chaos and finish.

Summary: 'No Feelings', 'No Fun', 'No Future'. The years 1976-84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.

Holdings
Item type	Current library	Call number	Status	Date due	Barcode	Item holds
General Lending	MTU Crawford College of Art and Design Library Lending	305.235094109047 (Browse shelf(Opens below))	Checked out	02/02/2024	00230087

Total holds: 0

Enhanced descriptions from Syndetics:

'No Feelings', 'No Fun', 'No Future'. The years 1976-84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.

Includes bibliographical references (pages 254-379), filmography (pages 378-379) and index.

Reviews provided by Syndetics

CHOICE Review

British punk sought to shock and disturb. The Sex Pistols, the Clash, the Damned, the Slits, the Nips, Fatal Microbes, and scores of other bands combined a do-it-yourself ethos of amateur musical artistry with outrageous lyrics that excoriated the sacred traditions of conventional society. Historian Worley (Univ. of Reading, UK) has written a scholarly book that places this cultural phenomenon within its historical context. He explains the emergence of punk within the faltering British economy of the 1970s. He also details the complex relationship of this music with the politics of the era, including its appropriation by elements of both the Left and the Right. Punk luxuriated in its transgressions but struggled against its inevitable incorporation by a musical industry long accustomed to catering to youthful fashions. British punk's often desperate nonconformity imposed its own curiously restrictive expectations on alienated insurgents who, like other cultural rebels before them, eventually succumbed to yet another musical trend. Worley writes well, and his sober analysis becomes enlivened by sentences that include such phrases as "McLaren's situationist roots revealed themselves through Bow Wow Wow." Over 100 pages of footnotes and bibliography. Summing Up: Recommended. Upper-division undergraduates and above. --D. L. LeMahieu, Lake Forest College