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DIY, im Eigenverlag

East German Tamizdat LPs

Seth Howes

approach. This was in part a matter of genre. The first four were punk and post-punk lp s; Der Expander des Fortschritts was not. It was also a question of timing, as Der Expander des Fortschritts was negotiating a very different landscape from the one

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Cyrus Shahan

Audible in the technological aesthetics of West German post punk is a 1980s strategy for escaping the political, cultural, and aesthetic contradictions of a nation trapped by the compulsion to, reconstruction of, and march toward a democratic

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Searching for the Young Soul Rebels

On Writing, New Wave, and the Ends of Cultural Studies

Richard Langston

tortured parlance. We are not, after all, experienced rock journalists. Rather, we all have our problems with writing that we wish not to cover up. 15 Given the magazine’s early admiration for the bristling rawness of post-punk bands—issue 1 hailed, for

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Sounds German?

Popular Music in Postwar Germany at the Crossroads of the National and Transnational

Kirkland A. Fulk

Schlager and disco and the ways in which these contributed to and expanded notions of West German identity during the 1970s. Cyrus Shahan’s contribution similarly mines popular music’s emergent technologies in his investigation of post punk’s attempts to

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Mirko M. Hall

“We aim to please with constant unease!” 1 The post-punk genre of neofolk or apocalyptic folk—with its melancholy lyrics, acoustic melodies, and martial beats—has been an enduring feature of the dark alternative music scene of the past

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Ronald de Rooy

post-punk Dante and Virgil make their way through the kitschy world of an immense shopping mall’ where they meet a series of ‘faded TV stars, toys, robots, and pop “icons”’ and a ‘menagerie of Disney creatures’, transforming the journey to salvation

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Thatcher’s Sons?

1980s Boyhood in British Cinema, 2005–2010

Andy Pope

this. Control (2007) , Awaydays (2009) , and Cass (2008) are just three of those films part of the narrative of which is set in the 1970s. The rebellious, self-determining culture of punk and post-punk is evident in these films, specifically in

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William P. Seeley

and tradition. Transplanted from post-war Europe and Japan to the post-punk early 1980s in New York, the same normative compositional conventions have lost contact with those meanings. Rather they represent the tactile aesthetic delight of a pedestrian

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Maggie Gray, Kees Ribbens, Sebastian Domsch, and Dyfrig Jones

British writers for American publishers and audiences, are presented as anarchic commentaries on American cultural power, viewed through the lens of MTV and post-punk. But more importantly, Murray is able to locate the innovations of the 1980s within their

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‘The Inexhaustible Surface of Things’

Stefano Tamburini's Comic Book Work

Simone Castaldi

: obscure post-punk icons, the works of painter Mario Schifano (a version of whom is later incorporated into one of the stories as character), self-referential comic book quotes, and the magnified anatomies of Michelangelo's paintings as realised by Tanino