Best Of Siouxsie And The Banshees Rar
If your looking for something that will always challenge, have something still a little familiar, gives a new meaning to emotional, and most defiantly expands the punk music box to the point of bursting, and if you have like myself only jumped into GIS at this stage, this album is the best point to enter the devils lair.
best of siouxsie and the banshees rar
"Love Music, Hate Racism":The Cultural Politics of the Rock Against Racism Campaigns, 1976-1981Ashley DawsonCollege of Staten Island, City University of New Yorkadawson@gc.cuny.edu 2005 Ashley Dawson.All rights reserved.In his classic study of post-1945 youth subcultures, Dick Hebdige suggests that Black British popular culture served as a template for defiant white working class subcultural practices and styles (29). The kind of affiliatory cultural politics that Hebdige describes is best exemplified in the little-studied Rock Against Racism (RAR) campaign of the late 1970s. As Paul Gilroy stresses in There Ain't No Black in the Union Jack, his seminal analysis of British culture and nationalism, unlike much of the Left at the time, RAR took the politics of youth cultural style and identity seriously. Surprisingly, neither Gilroy himself nor subsequent cultural historians have extended his brief discussion of RAR; as a result, our understanding of this movement, its cultural moment and its contradictions remains relatively undeveloped. This is particularly unfortunate since, unlike previous initiatives by members of Britain's radical community, RAR played an important role in developing the often-latent political content of British youth culture into one of the most potent social movements of the period. In 1978 alone, for instance, RAR organized 300 local gigs and five carnivals in Britain, including two enormous London events that each drew audiences of nearly 100,000. Supporters of RAR claim that the movement played a pivotal role in defeating the neo-fascist threat in Britain during the late 1970s by quashing the electoral and political appeal of the National Front. Although there has been debate about the ethics and efficacy of the campaign, there can be little doubt that RAR provoked a rich and unprecedented fusion of aesthetics and politics.