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The Blitz Club Culture

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The New Romantics was a subculture born out of dissatisfaction with the way ‘punk had become a parody of itself’ (Cole, 2000) that, once adopted by the mainstream, began to alienate ‘many of those who were at first attracted to it’s embracing of difference and individuality’ (Cole, 2000). Where punk had originally been about a very ‘DIY’ ethic and energy, it evolved into something uniform and hyper-masculinised. In doing so, the punk scene became much less of a welcoming space for LGBTQ+ youth, such as George O’Dowd (better known today as cultural icon, Boy George) and the Bromley Contingent (which included Siouxsie Sioux and Billy Idol) who ‘spent more time hanging out at gay clubs’ (Rimmer, 2003). Consequently, those who didn’t fit …show more content…

With both the men and women incorporating silks, satin, lace and makeup into their outfits, aesthetics related to cross-dressing were an important part of the scene’s ethos. Strange may have demanded the ‘right’ kind of people, but his ‘right’ would have been considered very much ‘wrong’ in mainstream club culture and society. The existence of the Blitz club was the permission people needed to loudly and glamorously question the norms entrenched around gender …show more content…

Huge hair lacquered and heels high, they danced to Kraftwerk and discovered a world away from their usual suburbia. One where clothing signified sexuality. This community was a life line ‘because clothing, along with adornment and demeanour’ is ‘a primary method of identification for and of gay men’ (Cole, 2000). Bridging a gap between alternative and gay club culture, it was the answer for boys like Richard who wanted to express themselves through the ‘most outrageous, shocking clothes and dance to the music of Siouxsie and the Banshees’ and ‘meet a boyfriend’ (Cole,

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To conclude ‘Playing Beatie Bow’ published in 1980 encompasses the contrast in the social and cultural context between the 1870’s and 1970’s in the Rocks Sydney. Family structure in the lower rocks Sydney 1870’s tended to be extended. Contrasting the social context in ‘Playing Beatie Bow’ feminine stereotypes were juxtaposed in the 1870’s and 1970’s. Cultural context in ‘Playing Beatie Bow’ clothing varies a lot between both centuries as they had different styles.

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443 Words | 2 Pages

In this extremely controversial work, Glenn C. Altschuler takes aim on the government’s accusations, the prejudice from the police, and the affect that rock ’n’ roll made in America through the late forties and fifties. Glenn makes many accusations of his own through the way he shifts the momentum of the story from time to time. Through the years back then and now, music has caused many racial and gender controversies. In this book, Glenn explains all these problems and what rock did to start or get of them.

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1270 Words | 6 Pages

“The Gay Liberation Youth Movement in New York: "An Army of Lovers Cannot Fail" : Stephan Cohen : Free Download, Borrow, and Streaming.” Internet Archive, 14 August 2019, https://archive.org/details/cohen-gylib. Accessed 23 March 2023. K, Kristi. “Something Like A Super Lesbian: Stormé DeLarverie (In Memoriam).”

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1176 Words | 5 Pages

This “new order” of culture, “reflected indulgence, and an emphasis on immediate gratification, often in the form of sex and other bodily pleasures.” Sexual experiences combined with sexual promiscuity liberated young women to own their own bodies and to reject shame for doing so. Young women flaunted their new found sexuality by the specific clothing they chose to represent the flapper

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1330 Words | 6 Pages

Even time, one of the most seemingly constant things in life is relative. Within this relative space is queer time. The queer movement has had its own timeline and relationship with time both within and outside of the dominant timeline. Unlike in the dominant culture in which one’s past remains in the past and the future is always progress, queer time constantly looks simultaneously forward and backward, appreciating the importance of the past for the creation of the future. This more fluid definition of time is demonstrated through editing and framing in “Hollywood Je T’aime” and the historical basis of “A Slacker and Delinquent in Basketball Shoes” as is the idea that people are not forgotten, simply because they are in the past.

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1073 Words | 5 Pages

This sensibility not only combats the accusations that disco is not a legitimate form of music, but also provides minorities and oppressed groups a safe space that differs from those that rock and punk may provide. These differences in how disco allows people to be fabulous come through in the aspects

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890 Words | 4 Pages

When people look at the 1980’s, the question often times asked is, “what was even going on”. Known for its characteristically bright neons, crazy hair dos, and high school coming of age films, this decade definitely made a mark on history. Oftentimes stereotyped with these aspects, the reality of the decade was revolt against the social, financial, and political turmoil of the 1960’s and 70’s. Predating this decade, the United States of America had seen many conflicts in all aspects of life and culture. Beginning in the 1960’s, a new age of counterculture was on the rise.

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1551 Words | 7 Pages

“branded by music journalists and critics alike as a critical resurgence of British... or more specifically., ' English ', popular music that rekindled the spirit of the mid-1960s 'British ' invasion of the US by groups such as the Beatles, the Rolling Stones, the Kinks, the Who and the small faces. Indeed, a number of these groups, notably the Beatles, the Kinks and the Small faces were frequently cited as key influences by leading Britpop artists such as Blur and Oasis.” (Bennett & Stratton, 2010) Characteristics of the British invasion influenced ‘Britpop’, a subgenre of rock and pop music that originated in the United Kingdom emerged from the British independent music scene of the early 1990s that created a period of increased pride in the culture of the United Kingdom throughout most of the 1990s nicknamed ‘Cool Britannia’ For instance, the Union Jack once again became a prominent symbol of the movement for fashion, props and for other uses to brand the British origins of these artists. Noel Gallagher of the indie band Oasis would be commonly seen playing a Union Jack painted Epiphone Sheraton for live performances.

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990 Words | 4 Pages

What do you call a rock that listens to The Ramones? Punk Rock. While some people are familiar with this genre of music, there are others who have no clue what music it is. However, depending on the person, that may be a good thing. The Punk Rock genre of music has affected American society because of trends, behavior, stereotypes, parenting, and suicide rates.

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1385 Words | 6 Pages

Looking at Brian Slade’s real-life cultural counterpart, David Bowie, we can further extend the conversation of artifice and commercilisation of the queer identity. When Bowie decide to borrow from subcultures that are identifiable as queer creations (specifically facets of drag culture and camp) and when he allowed himself to be fashioned by openly gay figures such as Andy Warhol and Lindsay Kemp, he effectively became a queer

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1363 Words | 6 Pages

Punk rock is either one of the best or worst movements in society depending on how you look at it. Rebellion itself can be very scary to a country or very liberating for its people. It takes sacrifices from groups of people who are looking to make things better. A perfect example is the Civil Right protests that took place in the early 60’s. The cultural influence that punk carried still has values that can be observed today.

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789 Words | 4 Pages

Is drag is an object which casts a dense and expansive shadow from which implications of existing on the marginalised periphery of mainstream culture can be discerned? In this essay I seek to explore the motives and outcomes of drag, in Jennie Livingston’s documentary film Paris is Burning (1991), which records the activities of gay and transgender black and latino men aligned with the Harlem underground drag-ball circuit.

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1316 Words | 6 Pages

The new-found freedom changed women’s attitudes to themselves, to men, marriage and to the family. The result of the change was liberating fashion in clothing and hairstyles. Before this, dress and hair were longer and modest. Now, bobbed hair was the rage ‘Hair was first bobbed, then shingled, and then Eton cropped in 1926-7.

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856 Words | 4 Pages

This unique new “grunge” sound was a mix of high energy 1970’s heavy metal (Hunter 2013), old-fashioned rock and roll, and punk combined with angst filled lyrics that really ‘spoke’ to it’s large youth following (Borgman 1993). The movements early bands and musicians accredited a variety of punk bands as their greatest influences, even though grunge ended up holding punk philosophies to be largely invaluable (Brenner). Members of the movement were not referred to by others or by themselves as “grungers” and it’s characterization as a self-conscious subculture has been debated over time. Much unlike other movements grunge was not driven in any sense by politics or political opinions, it was driven by music and the self expression of sadness, disconnect, and an unsatisfied craving for freedom (Price 2005). This focus on self-expression brought forth the grunge aesthetic and cheap, durable, timeless “non-fashion’ that came to be associated with the movement

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1706 Words | 7 Pages

The study critiques the evidence of coquetry in relation to sexualised culture and young people’s sexual discourse, demonstrating how it displays masculinity. It argues that the field of coquetry is defined by inadequate methodology, and one-dimensional interpretation. It identifies a need to expand definitions of young people’s sexual verbal behavior to include a focus on activity and participation, including pleasure, performance and capacity to inform future steet discourse patterns. Coquetry is one of the attention-grabbing illustrations of the ways sexuality is captivating on new forms of street verbal behavior which disrupt older conceptions of its status and its place in society. Today, ‘sex’ may be an out of body practice, very intimately accomplished across time and distance.

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