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Have you written a thesis on young people or youth, or do you know someone who has? Once again the Finnish Youth Research Society is looking for high-quality theses and will reward the best ones with the Youth Research Thesis Awards.

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The History of the United States Since 1865 provides a balanced approach to building historical awareness on the trends, concepts and key moments of a nation comprised of diverse experiences and perspectives.

Because the course is built on CogBooks' Advanced Adaptive technology, it instantly helps you teach more effectively and provide every student with the individual support they need.

Your students will find the experience miles ahead of a static textbook. And because our smart instructor tools give you deep insights into each individual student, you'll find you can use your valuable time much more productively.

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The History of the United States Since 1865 provides a balanced approach to building historical awareness on the trends, concepts and key moments of a nation comprised of diverse experiences and perspectives. Because the course is built on CogBooks' Advanced Adaptive technology, it instantly helps you teach more effectively and provide every student with the individual support they need.

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A 12-Disc Compilation Of Female-Fronted Punk | Electronic Beats

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A 12-Disc Compilation Of Female-Fronted Punk | Electronic Beats

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Electronic Music News Blog, Live DJ Sets, Events | Telekom Electronic Beats

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Electronic Beats ▸▸ The electronic music program by Telekom ▸▸ News blog and interviews with the most compelling artists and events in contemporary music.

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The Truth of Revolution, Brother Paperback edition | situationpress

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The Truth of Revolution, Brother Paperback edition | situationpress

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The Truth of Revolution, Brother Paperback edition

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The Truth of Revolution, Brother is a unique exploration of the philosophy of punk, based on the ideas, beliefs and lives of the people that created the movement. The punk explosion of the late 70s and early 80s changed the face of music, art, and fashion. But it didn't stop there.

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Turbulence Collective Sometimes all it takes to get moving again is a nudge in a new direction... We think now is a good time to ask the question: What is winning? Or: What would-or could-it mean to 'win?'

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Moments of Excess: Movements, Protest and Everyday Life

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Moments of Excess: Movements, Protest and Everyday Life

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Moments of Excess: Movements, Protest and Everyday Life

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The Free Association Weaves lucid descriptions of the intensity of collective action into a more sober reflection on the developing problematics of the 'movement of movements.'

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50 Ways to Use Twitter in the Classroom | TeachHUB

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50 Ways to Use Twitter in the Classroom | TeachHUB

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Music and Trance: A Theory of the Relations Between Music and Possession: Gilbert Rouget: 9780226730066: Amazon.com: Books

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Music and Trance: A Theory of the Relations Between Music and Possession: Gilbert Rouget: 9780226730066: Amazon.com: Books

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A House Divided? Christian Music in Black and White - Journal of Media and Religion - Volume 10, Issue 3

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A House Divided? Christian Music in Black and White - Journal of Media and Religion - Volume 10, Issue 3

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Popular Culture, Political Economy and the Death of Feminism: Why Women are ... - Penny Griffin - Google Books

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Popular Culture, Political Economy and the Death of Feminism: Why Women are ... - Penny Griffin - Google Books

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Popular Culture, Political Economy and the Death of Feminism

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While some have argued that we live in a 'postfeminist' era that renders feminism irrelevant to people's contemporary lives this book takes 'feminism', the source of eternal debate, contestation and ambivalence, and situates the term within the popular, cultural practices of everyday life.

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‘Politics are bollocks’: youth, politics and activism in contemporary Europe - Pilkington - 2015 - The Sociological Review - Wiley Online Library

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‘Politics are bollocks’: youth, politics and activism in contemporary Europe - Pilkington - 2015 - The Sociological Review - Wiley Online Library

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The oldest public collection of radical history completed a digital archive of over 2,000 posters. The Joseph A. Labadie Collection at the University of Michigan Library announced this month that its posters on anarchism, civil liberties, feminism, labor, and other political movements are online for the first time.

"It's not enough for us to preserve the artifact if people cannot see it," Julie Herrada, Labadie Collection curator, told Hyperallergic. "Posters are a difficult format because they are fragile and can only withstand so much physical handling, so providing access to these materials while keeping them safe is a complicated process, or it was, until the technology and resources became more readily available to us."

While all of the posters were scanned at high resolution, they appear online as thumbnails with navigation to zoom. The posters are just a portion of the material in the Labadie Collection, which includes pamphlets, journals, political buttons, and other ephemera, some of which is also in the library's digital collections. The collection's strongest holdings are in anarchism, andgo back to founder Joseph A. Labadie. The Detroit-area labor organizer, anarchist, and author had the idea for the social protest archive at the university in 1911.

"He knew the importance of these materials and wanted people to use them and learn from them," Herrada explained. "Since that time we have honored the tradition of collecting and providing access to materials that document 'history from below' and fill in the missing stories of our past."

Many of the posters are visually striking: a 1988 poster for a Toronto "Anarchist Unconvention" has ladies reminiscent of Matisse's "The Dance" turning around cracking columns; a 1982 March for Peace & Justice poster in New York features colorful legs of different people emerging from a white dove; and a 1996 Boston rally poster to defend rent control has raised fists illustrated as apartment buildings.

The collection moves from one political extreme to the other, from French anarchists proclaiming: "Worse than Hitler, Stalin, and Franco: the Nuclear," to Industrial Workers of the World attacking the Ku Klux Klan. With material going back to the early 20th century and spanning to today, it's an essential public archive on radical history around the world, and now it's finally available to that global audience.
View the digitized posters from the Labadie Collection online at the University of Michigan.

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The oldest public collection of radical history completed a digital archive of over 2,000 posters. The Joseph A. Labadie Collection at the University of Michigan Library announced this month that its posters on anarchism, civil liberties, feminism, labor, and other political movements are online for the first time.

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There's an app that will send you an alert when you're near a spot a woman made history

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There's an app that will send you an alert when you're near a spot a woman made history

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Rediscovering fierce and clever women whose contributions to history have been sadly overlooked? Believe it or not, there's an app for that.
Spark, a gender equality collective, has designed an app called Women on the Map which does exactly what it says on the tin - every time you are near a place where a woman achieved something extraordinary, your phone will buzz with an alert saying so.

Some members of Spark, a collective of around 30 women under the age of 23, noticed that women's achievements are not honoured with statues, plaques and street names in the same way men are: in New York City, for example, there are 145 statues of men, and just five of women.

They decided to use modern technology to start rewriting the history books, crowdsourcing the stories of around 119 women in 28 different countries so far.

Anyone can nominate a woman to be included by emailing Spark with 300 words about someone they feel should be included in their community or area who has been neglected by mainstream historical narratives.

"We didn't want to start with women who everyone had heard of," Edell told . "We want the project to expand what it means to be part of history." So far, 60 per cent of the stories are about women of color.

American-born French dancer, singer, and actress Josephine Baker

If you find yourself near Le Vésinet in Paris, your phone will buzz about Josephine Baker, and in San Francisco you can learn about Mary Ellen Pleasant, who was born in the city as a slave and went on to become a major civil rights activist. If you're in Lyme Regis, you'll be told about paleontologist Mary Anning, who discovered fossils of the Plesiosaurus in 1823.

The app is available through Google Field Trip, a background app that sends notifications when you approach significant destinations. Just turn on the 'Women on the Map' option and you're ready to start exploring women's history.

Check out Spark's video introducing the app below:

More: This is what politics looks like when women are in charge

More: This picture explains why it took so long for Apple to remember women menstruate

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There's an app that will buzz when you're near a spot a woman made

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Rediscovering fierce and clever women whose contributions to history have been sadly overlooked? Believe it or not, there's an app for that. Spark, a gender equality collective, has designed an app called Women on the Map which does exactly what it says on the tin - every time you are near a place where a woman achieved something extraordinary, your phone will buzz with an alert saying so.

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It's Only Teenage Wasteland – Voices of East Anglia

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It's Only Teenage Wasteland – Voices of East Anglia

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It's Only Teenage Wasteland - Voices of East Anglia

Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters? There was a time when our bedroom walls marked out our true tastes and also helped cover up some pretty minging wallpaper. Here we look back to a time when all that seemed to matter was who was Number One and when the new Jam single was being released.

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It's Only Teenage Wasteland - Voices of East Anglia

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Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters?

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(1) Subcultures, Popular Music and Social Change

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(1) Subcultures, Popular Music and Social Change

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Jamie Reid's response to a Guardian article on the new Virgin Sex Pistols credit card, outlining his position in regard to Virgin's use of his original artwork. Thanks to Yves Louis Loveless for...

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The VICE Oral History of Dubstep | VICE | United Kingdom

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The VICE Oral History of Dubstep | VICE | United Kingdom

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My relationship with dubstep dates back about a decade. I left school in Glasgow in 2005 and thought I'd go to university, but was too busy drinking cider in the park to decide what to study, or where. I'd often end up at hardcore shows, but eventually got bored of what they had to offer. Then I discovered clubbing. I was living in an entirely different country from the one that I felt was spawning everything new and exciting in British dance music at the time, but sneaking into parties underage I was able to hear some of the DJs who were playing at the London nights I desperately wanted to go to: FWD>> at Plastic People, and DMZ at Mass.

Around that time, I got a job in the budget music shop Fopp. "Let us buy some of this music in," an employee and I asked. "You can have five CDs, OK?" they replied. "Then, if they sell, we'll see." We ordered Skream's debut album, the first Tectonic Plates compilation, Burial's debut album, Dubstep Allstars Vol. 4, mixed by DJs Hatcha and Youngsta, and the Mary Anne Hobbs-curated Warrior Dubz compilation. They sold out almost immediately. Hundreds of miles away from the epicentre of this sound, there was an appetite for it - my own almost aggressive in its confidence. 'This is the most fucking incredible thing I have ever heard,' I would think, and still do.

UK club music is a conflation of sounds and cultures that feel gargantuan in their legacies: reggae, dub, jungle, garage, drum and bass, house and techno. By the turn of the millennium, some of these genres were standing strong, while some were crumbling under the weight of their own mediocrity and ego - and it was this stagnation that bred something shocking and unique. In the late 90s and early 2000s, a crew of friends from south London decided that, fuck it, they'd had enough of these legacies; loved them, yes, but for their history rather than their sense of urgency. Now, they were going to do their own thing.

These friends went on to create a sound that changed electronic music. Dubstep is nearly, roughly, 15 years old this year (and with the sold-out DMZ party's 10th birthday in south London next month, it feels more loved than ever), so the summer of 2015 seems like a fitting time to tell its story. This is not an encyclopaedia of a genre; that will come, I'm sure. This is a story of a sound and culture, told by some of those who built it, and it's dedicated to the memory and work of Stephen Samuel Gordon, AKA Spaceape. Rest in peace.
Intro and interviews: @codeinedrums / Photos: @drumzofthesouth

CHAPTER ONE: "There's a Reason It All Came from Croydon"

CHAPTER BIOS:

Mala: One of the founding members of the London-based DMZ club night and label, he's also one half of the production duo Digital Mystikz, along with Coki, as well as a solo DJ and producer.
Loefah: A producer, DJ and one of the core members of the DMZ club night and label, he also runs the Swamp81 label.
Sgt Pokes: The main MC for the DMZ club nights, Sgt Pokes has MC'd dubstep parties for over 15 years.

MALA: I remember growing up and thinking that the sky was grey, the streets were grey, and the buildings were grey. On the weekends we'd have teams play on pitches, at the back of this so-called "lake" that you could literally walk across. They called it the "country park" but the council didn't bother with the upkeep and it just became a place to set fire to old bunkers. There really wasn't much going on.
Are you into dance music? Check out Thump, our entire website dedicated to the stuff.
LOEFAH: There's a reason it all came from Croydon. Croydon was just an incestuous town, with people just working, drinking, thieving and getting fucked. I used to go out to hardcore raves, and then split off into jungle and drum and bass, but drum and bass became homogenised with the "liquid" sound and then suddenly, garage happened. Before the summer holidays in 1997, everyone was into jungle. After the holidays, everyone was into garage. It was that quick.

MALA: Myself, Coki and Pokes were at school together. We played at house parties in the mid 90s, and we met Loefah at around 15 years old through mutual friends. He was the junglist who was into [seminal drum and bass label] Metalheadz, just like us.

SGT POKES: My dad even worked with Mala's dad, and went to school with Coki's dad. Around 2000-01, I was managing a bar in Croydon called The Black Sheep, where I was also MCing drum and bass nights. Mala was an MC, too; playing garage nights like Twice As Nice under the name Malibu. If you do the maths, of who Digital Mystikz are now: Mala and Coki? One was Malibu, and the other was Coke. Mala actually made a track with an MC called Onyx Stone, who was his MC partner at Twice As Nice, called "Whadda We Like?" - which came out on Cooltempo in about 2001, I think. I think that, maybe, Mala saw a side of the music industry after that period that made him react so aversely; to be the anti-commercial vibe he's been for years, you know?

LOEFAH: We all started writing bassline music at around 138BPM, then meeting up on Fridays and playing them to each other. Since we grew up around soundsystems, the sound was all about the bottom end, but we had our own vibes: Mala had his broken dub house, Coki was more ragga and dancehall and I was trying to re-invent jungle in my head, because I just couldn't understand why it wasn't working.

Then, we met [key figure in developing the dubstep sound and Big Apple record shop employee] Hatcha. He gave Mala and I a lift home one night after a rave, in the April or May of 2003, and there was a CD of Mala, Coki and my own beats in the car. Hatcha heard them and said, "I could play these at [vital East London dubstep and grime night] FWD>>." We were like, "What's FWD>>?" The first time we went to FWD>> he played "Chamber", "Pathways" and "Mawo Dub". From then on, we were proper hooked.

I know that Sub FM was there, but that was more of an up-and-coming thing then, so if you had access to Rinse, Rinse was it. Mala used to come round to mine when Hatcha and Youngsta were on air, park his car in a street in South Norwood and pick up a signal by the Crystal Palace tower. It was such a dodgy reception - and the heating in his car didn't work either, so it was fucking freezing - but we'd just sit in our car for hours, sparking zoots and listening to Rinse.

SGT POKES: Mala called me and said, "I've written some tracks. Hatcha's cut some of mine, some of Coki's" - around the time of "Indian Dub", "Pathways", "Mawo Dub", "Hurricane Kick", "Fire Elements" and DMZ001, long before it was on dubplate. It was some of the aggiest fucking stuff I'd ever heard. I wanted to hear it in a club so badly. I'd been to FWD>> before, and knew that I could bun and chat in there, but I went down to hear my friends' tunes after that - and it was just their music, all night.

Click through to the next page.

CHAPTER TWO: "These records, they were mongrels of garage."

CHAPTER BIOS:

Martin Clark: A London-based journalist and DJ who has worked for a variety of UK publications and now runs the Keysound label and club night.
Youngsta: Widely recognised as one of dubstep's key DJs.
Kode9: Scottish-born, London-based producer and DJ, who founded and continues to run the Hyperdub label.
Oris Jay: Also known as Darqwuan, the Sheffield-based producer and DJ helped to lead the breaks element of the dubstep sound.

MARTIN CLARK: Around 2000, I came across a few records that hinted at something different. As garage was disintegrating, there were people who wanted to keep it dark, and still MC-focused, but these records, they were the mongrels of garage: creative and prolific, in their own dark, weird corner. I was working at at the time, and they asked me to organise a garage photo-shoot in Croydon in the Easter of 2000, so I met [producers whose music bridged the gap, chronologically and/or stylistically, between garage and dubstep] J Da Flex, Zed Bias and El-B.

The garage heads were adamant that this music wasn't garage, but that was the point. El-B had a real topography of a style, in the warmth and darkness of his instrumentalism. It was all hidden in the signal and noise of poppy garage at first, but then it became obvious that they needed to concentrate it into one or two places to find its feet. That was when [FWD>> founder and Rinse FM station manager] Sarah "Soulja" Lockhart and Neil Joliffe, who ran Tempa and Shelflife, formed a company called Ammunition, around 2000-01.

YOUNGSTA: I saw a shift when DJ Zinc's "138 Trek" was released in 2000, and was getting played by all the massive garage DJs. For me, it was all down to my sister, Sarah ["Soulja" Lockhart]. She got me onto Freek FM. I remember being 13 years old when I got my first 2-4AM slot. Sarah even took me to Freek FM every Saturday, because I was too young to go by myself. She was also supplying me with tunes because of her work: for a distributor, then at a record shop where the Vibe bar used to be and then at Black Market in Soho. I'd get all the test pressings early through her and when she started Ammunition with Neil Joliffe, I was getting all of the promos, too.

When she made the move around 2000 to start the label and FWD>>, it was to release this, well, really strange music. 2000-01 was a fucking mixed up time. Even Hatcha was playing Eskimo. We were both doing our own thing - I came from Freek FM, he came from UpFront FM - but even though we both ended up on the garage circuit, the only times we played together then were if we were both at FWD>>, after Sarah asked me to be a resident.

KODE 9: Hyperdub started in 2001 as a web magazine, but we also did a few events in the early days before becoming a label. We did one at The Bug Bar in Brixton, with myself, Actress and Gavin [Weale], who was running Werk Discs and doing some writing for Hyperdub. In 2002, myself, Actress and [music writer and theorist] Mark Fisher were at the ICA, presenting spoken word, performances and [seminal Afrofuturism documentary film] The Last Angel of History.

In 2003, we did a launch for a philosophy book about bacteria written by Luciana, the wife of [late poet and MC] Spaceape, with Spaceape doing readings from the book sound-tracked by lots of bass. That was also the first night we had copies of "Sine of the Dub/Stalker", I believe.

Between 2001-03 I was writing about this darker garage stuff, like El-B, Horsepower Productions and Oris Jay, and Ammunition were running a website called dubplate.net, streaming dubplates months, if not years, before they came out. Because I was writing about all of these artists on Hyperdub, I ended up running dubplate.net for Ammunition.

ORIS JAY: One day, I was sitting in the office with Sarah Lockhart, Martin Clark and Neil Joliffe, and we were talking about [the DJ and producer] Benny Ill, and a magazine feature that was due. "It's like 2-step, but it's got dub in it. It's kind of like... dubstep." At that point we were like, "Yeah, yeah: it's bass-driven, the beats are steppier. Why don't we just call it dubstep?"

KODE 9: I do remember there being a front cover of XLR8R with the word "dubstep". I wrote a short article called "Yardcore" for that issue, too, as an attempt to talk about the Jamaican influence on garage, grime and dubstep; as a splicing of soundsystem culture and hardcore.

The name made sense, though. Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal. El-B pushed the release of those instrumentals: trying to bring the moodiness from early Metalheadz into garage, and so on.

"It's like 2-step, but it's got dub in it. It's kind of like... dubstep"

The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.) All of that, along with soundsystem culture, were the elemental influences of early dubstep.

The sound needed a hub to grow, and that hub was Big Apple. I remember when I went into the shop for the first time. I was supposed to interview Benga, and Hatcha and Artwork and Danny from DND were hanging out the window with a catapult and rolls of wet toilet paper, firing at people in the market. They haven't changed.

Click through to the next page.

CHAPTER THREE: "Rahhhh, I like this, but what the fuck is it?"

CHAPTER BIOS:

Artwork: Something of a father figure to a number of younger dubstep DJs, Artwork is a producer, DJ, engineer and one third of Magnetic Man, along with Skream and Benga.
Benny Ill: DJ, engineer and one half of seminal production and DJ duo Horsepower Productions.
Joe Nice: Baltimore, Maryland-based DJ who started the first dubstep party in America, Dub War.
Coki: One half of Digital Mystikz, along with Mala, Coki is one of the core members of the DMZ label and club night.
Skream: Croydon-born producer and DJ who was picked up as the so-called teenage poster boy of the dubstep scene.
Chef: A dub cutter and engineer at Croydon's Transition Studios, he was also one of the early core DJs of the dubstep scene, joining Skream and Benga's Smooth Criminals crew as a teenager.

ARTWORK: Big Apple was a record shop in Croydon that started out selling techno and tech house. There was a floor for drum and bass and jungle upstairs, where Skream's brother Hijak and DJ Bailey, who's now a DJ on BBC Radio 1, used to work. Because I was their mate, I would hang out on that floor all day, waiting for new records to come in. There was a recording studio upstairs and after a few years the shop owner, John Kennedy, said, "Do you want to move into this studio? You can have it." I started making beats - sort of at the tail end of drum and bass, but also messing around with techno - but it was a haze because everyone was so fucking stoned all the time.

By the time I was making techno as Grain, garage had started to creep into the shop. I was so into the US stuff, like Masters At Work, but walking downstairs and hearing the UK stuff, too, I decided to put garage vocals into the techno. Once I started making garage as Menta with Danny Harrison, who I was also engineering music for, it had got to a point where you'd see that we had three or four white labels on the wall at any one time, under five or six different names. We were sometimes doing 5,000-10,000 of our white labels then, easily.

If you ask me what the turning point in that shop was, it was Benny Ill. I made a record that came out on Decay Records: a weird label run by this nutty guy called Heidi from Switzerland, based out of a flat in Streatham. John and I went and made this record with him, and Benny Ill was the engineer. He knew how to use the room and desk, he had a TR-909 drum machine - and he was phenomenal. We'd ask him to help us mix the record and he'd walk in, look at it, and turn everything down. Turn the hi-hat up, light a joint and slightly turn a frequency that you couldn't hear; sit back, make a cup of tea, then get a compressor out... You'd think: 'What the fuck is he doing?'

One day he knocked on our studio door and said, "Awrite Arthur mate, I've been making some garage. Can you have a listen?" And he played this fucked up stuff. We said, "Benny, your beats are all... on the wrong fucking beat, mate": samples from films, in with this dubby, weird bass. He said, "What do you think I should do?" I didn't know, did I, but Hatcha said, "This is fucking great, I'm going to play this." I remember when Benny had a remix of Elephant Man "Log On" and - fuck me - I'd never seen anything go off like that track at FWD>>.

BENNY ILL: When Hijak and Arthur had the studio, it was a really sociable set-up - not always to the pleasure of management, mind you. I remember Chef used to come down on his moped with a soundsystem on the back. He'd park it outside, and people would be hanging around and listening to records. I'd taken some tapes down to Big Apple for the owner, John, and this fella Neil Joliffe, who worked for a distributor that supplied to the shop, to listen to. John told me to give the tracks to Neil because he was dealing with a lot of garage stuff that we liked - labels like Public Demand, Allstar, Acetate - and was in a position of knowledge for distributors and pressing plants. One thing lead to another, and Neil ended up creating [record label] Tempa out of Ammunition for us, as Horsepower Productions.

ARTWORK: Hatcha came into the shop when he couldn't see over the counter. He just wanted to DJ. He got decks and got really good, really fucking fast, and he had brilliant taste. He was also phenomenal at selling records - even the absolute dog-shit ones. If someone came in, he could turn it up loud and give "the Hatcha nod" - and then they'd get home with their haul and think, 'The fuck have I bought this for?' He was also totally fucking lazy, though. There was a weird relationship with him and John because he was brilliant, but didn't like to work. He just wanted to play records.

JOE NICE: I don't think people realise the salesman and showman Hatcha actually is. He had a way of making you buy a record that you may not have necessarily wanted when you went in. What do you do, tell him, "Nah man, I've got 20 quid and I want to eat dinner tonight?" He had a way of making the bass pulsate in the store. You couldn't have it too loud, because there were people buying flowers and fruit outside and shit, but at the same time it was a very cosy and personable experience. I mean, where else was I going to buy Big Apple 005?

COKI: In 2003 I was playing a couple of tracks I'd made to Mala, and he told me to take them to Hatcha at Big Apple. I was like, "Who? What do you mean?" "They're looking for that type of sound down there," he said. When I walked in I saw this little guy behind the counter and - honestly? I was apprehensive. There was a lot of shit going on around in the ghetto. We were kids, doing stupid things, and he knew my younger cousin was in jail, so I think they thought I was trouble. When I told him I was there to show him some music, he was like, "Really?" "Yeah bruv!" "Oh, nice. Bring it in, then!" We started vibing from there.

I was never a person that went out and listened to a lot of music, so it wasn't till Hatcha was playing me Skream and Benga bits in the shop that the sound started to fit in my head. "The Judgement" really caught my ear: the way they used the bass, the filters; how the groove was laid back but still on this happy, bouncing vibe. I was like, 'Rahhhh, I like this, but what the fuck is it?'

SKREAM: I was helping out in Big Apple when I was about 14 years old - I should lie and say that I was just working there on the weekends, but I was in there every day. I used to sit in the back of Benny's studio most evenings, too. My mum thought it was a bit strange, that I was going to this guy's house to sit and watch him make music. I used to be stoned most of the time, but so was Benny. I found it amazing to watch him work - he was using Cubase on an old Atari, for fuck's sake. I'd never seen anything like it. I'd watch him make these tunes, then go out to FWD>> to hear what he'd been making, go back to mine, and try to make my own tunes all night.

Benga was friends with my older brother, and I was a friend with Benga's older brother, Flash; through girls and hanging out in Croydon. I was working in Big Apple on a Sunday, and Benga's big brother came in and said, "My brother makes music," and we ended up speaking on the phone before we met, playing each other tunes down the phone. Back then I made tunes in batches: I'd get an idea rolling and as soon as I got bored, I'd start another one. I'd take all those ideas down to Hatcha, and he'd pick which ones he wanted me to finish.

A RTWORK: Oli [Jones AKA Skream] and Benny [Adejumo AKA Benga] were coming into the shop every week with Minidiscs of their tunes, and within a year they'd gone from complete rubbish - with the kicks too loud, blowing the speakers - to making records on Music 2000 and Fruity Loops that... I've got 10 grand's worth of studio upstairs, and I couldn't make a mix that sounded that good. They'd knock out six records a day; basic as fuck loops with a 16-bar intro before the drop. If they wanted tracks for that weekend, they'd just go and cut them as they were, because they weren't going to play them for more than 32 bars. You don't need to make a seven-minute epic when you only ever play the first minute.

"I was young, and gassed, so I rolled up to a party on my moped with my tunes one night when I was 16 years old, and went back to back with Benga - and we fucking smashed it up" - Chef

CHEF: I used to hear about this boy called Benga. People were like, "Yeah, this kid Benga, he's the boy wonder. He's 13 years old and he mixes like EZ." I was like; "I'll see it when I believe it." My mate had a UKG crew that I DJ'd with, and he said that I should do a clash with Smooth Criminals, which was Benga and Skream. I bumped into them at a house party and Artwork came up to me and said, "I've heard about you, Chef. A lot of people are rating you." I was young, and gassed, so I rolled up to a party on my moped with my tunes one night when I was 16, and went back to back with Benga - and we fucking smashed it up. We ended up playing together everywhere - in snooker clubs, house parties - after that.

SKREAM: We'd just turn up and take over at these parties, like fucking bass vigilantes. They'd book one of us, and 15 of us would turn up. There was a place called Bar Rendezvous, and I made a bootleg of Cleptomaniac's "All I Do" for a party there. It was a cover of the Stevie Wonder tune, but I made a bootleg of the flip, the Bump N Flex Dub; with this long intro on it, with me talking all pitched down on it. I'll never forget that.

Click through to the next page.

CHAPTER FOUR: "Bottom line: dubplates keep you in the room."

CHAPTER BIOS:

Loefah: A producer, DJ and one of the core members of the DMZ club night and label, he also runs the Swamp81 label.
Joe Nice: Baltimore, Maryland-based DJ who started the first dubstep party in America, Dub War.
Chef: A dub cutter and engineer at Croydon's Transition Studios, he was also one of the early core DJs of the dubstep scene, joining Skream and Benga's Smooth Criminals crew as a teenager.
Mala: One of the founding members of the London-based DMZ club night and label, he's also one half of the production duo Digital Mystikz, along with Coki, as well as a solo DJ and producer.
Jason Goslin, AKA Jason Goz: The master engineer and dub cutter at Croydon's Transition Studios, Jason is regarded as essential to the creation of the dubstep sound.
Sgt Pokes: The main MC for the DMZ club nights, Sgt Pokes has MC'd dubstep parties for over 15 years.

LOEFAH: Transition is a cutting house based in Forest Hill, near where we lived in south London. We heard that's where Grooverider got his dubs cut, and that was enough for us, frankly, so I started going there in probably 2003. There were rules: you only paid for your own dubs if you wanted them for yourself. If Hatcha wanted one of my tracks to play out, he'd have to pay to get it cut to dub, and then that was his copy. It all depended on what rate you were on, too: I was on 25 quid for two sides of a 10-inch, 30 quid for a 12-inch. They swapped from 10-inch to 12-inch 'cause they "ran out" of 10-inch, around 2005-06, but that was a step up. Going back to 10-inch might have made us look cheap, y'know?

JOE NICE: I started pressing and stayed on 10-inch because it was less expensive but, for me, when I was playing the early Dub War parties, it was as much a visual cue as anything else. If someone sees me pull out something that doesn't look the same size from a distance, they're thinking, "Yo, is that a 10-inch? Yooo, 10-inch are dubplates. Yooo, Joe Nice has a dubplate? Oh shit - I gotta hear what this brother's gonna play." Bottom line: dubplates keep you in the room.

CHEF: I was cutting dubs at Transition, and I saw that Jason [Goz], the master engineer, was looking to bring someone in to be a trainee. I said to him straight up, "That's my job, you can take that advert down." I was cutting dubs from 17-years old - I remember my first was Skream "Bubble", with Benga "Blood" on the flip. Jason really helped get the best out of not just me, but everyone.

MALA: It was very important for me to be part of finishing a track, and that meant going to Jason: hearing the difference between my finished version and Jason's version; seeing what subtle changes in frequencies he'd adjusted, what compression or limiting he might have applied. It was, and still is, expensive, but back then it was overtime money that was paying for my dubplates, so if you're paying 30 or 40 quid for two tracks, you'd got to be damn sure that those tracks were as good as they could possibly be.

What I learned most from Jason is that certain frequencies just won't translate on vinyl - and if you roll off, roll off and roll off the bottom end, it actually gets heavier. The one that sticks out the most is "Anti War Dub". I actually sampled that tune: there's a full song of "Anti War

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My relationship with dubstep dates back about a decade. I left school in Glasgow in 2005 and thought I'd go to university, but was too busy drinking cider in the park to decide what to study, or where. I'd often end up at hardcore shows, but eventually got bored of what they had to offer.

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BBC - BBC Arts - Big Gold Dream: The story of Scotland's post-punk music scene

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BBC - BBC Arts - Big Gold Dream: The story of Scotland's post-punk music scene

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Subcultures, Popular Music and Social Change - The Subcultures Network - Google Books

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Subcultures, Popular Music and Social Change - The Subcultures Network - Google Books

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Subcultures, Popular Music and Social Change

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Style-based subcultures, scenes and tribes have pulsated through the history of social, economic and political change. From 1940s zoot-suiters and hepcats; through 1950s rock 'n' rollers, beatniks and Teddy boys; 1960s surfers, rudeboys, mods, hippies and bikers; 1970s skinheads, soul boys, rastas, glam rockers, funksters and punks; on to the heavy metal, hip-hop, casual, goth, rave, hipster and clubber styles of the 1980s, 90s, noughties and beyond; distinctive blends of fashion and music have become a defining feature of the cultural landscape.

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Punk in Russia: Cultural Mutation from the “useless” to the “moronic” - Ivan Gololobov, Hilary Pilkington, Yngvar B Steinholt - Google Books

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Punk in Russia: Cultural Mutation from the “useless” to the “moronic” - Ivan Gololobov, Hilary Pilkington, Yngvar B Steinholt - Google Books

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Punk culture is currently having a revival worldwide and is poised to extend and mutate even more as youth unemployment and youth alienation increase in many countries of the world. In Russia, its power to have an impact and to shock is well illustrated by the state response to activist collective and punk band Pussy Riot.

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A Video about the 1993 tour of the U.K. by Riot Grrl bands Bikini Kill and Huggy Bear. Also contains contributions by the Raincoats, Sister George, and Skinned Teen, interviews with all bands and many girls at shows.

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The Lawbreakers - Bristol Radical History Group

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The Lawbreakers - Bristol Radical History Group

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The Lawbreakers - Bristol Radical History Group

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A BBC film from 1973 about the squatting movement in Bristol. See also Mac McConnell's talk "Housing Activism and Squatting in 1970's Bristol" at the 2015 Anarchist Bookfair.

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(1) SOUND SYSTEM CULTURE: BRISTOL – official launch of a new photographic exhibition

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(1) SOUND SYSTEM CULTURE: BRISTOL – official launch of a new photographic exhibition

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到 Facebook 查看帖子、照片和更多内容。

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Shout Out! UK Pirate Radio in the 1980s | Institute of Contemporary Arts

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Shout Out! UK Pirate Radio in the 1980s | Institute of Contemporary Arts

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Kathleen Hanna, the lead singer of Bikini Kills, Le Tigre, and The Julie Ruin spoke at Bergen Community College about her life, career, as well as her views on culture and empowerment.

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Consuming Behaviours: Identity, Politics and Pleasure in Twentieth-Century Britain: Amazon.co.uk: Erika Rappaport (Editor), Sandra Trudgen Dawson (Editor), Mark J. Crowley (Editor): 9780857857392: Books

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Consuming Behaviours: Identity, Politics and Pleasure in Twentieth-Century Britain: Amazon.co.uk: Erika Rappaport (Editor), Sandra Trudgen Dawson (Editor), Mark J. Crowley (Editor): 9780857857392: Books

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politics and pleasure in twentieth-century britain

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consumers - great britain - history - 20th century

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consumption (economics) - social aspects - great britain - history - 20th century

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consumption (economics) - social aspects - history - 20th century

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business & economics/economics - macroeconomics

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history / europe / great britain / general

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history/europe - great britain - general

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social science / anthropology / cultural & social

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Consuming Behaviours: Identity, Politics and Pleasure in Twentieth-Century Britain

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In twentieth-century Britain, consumerism increasingly defined and redefined individual and social identities. New types of consumers emerged: the idealized working-class consumer, the African consumer and the teenager challenged the prominent position of the middle and upper-class female shopper...

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Robin James, "Resistance and Melancholy: Pop Music, Feminism and Neo-Liberalism" (Zero Books, 2015)

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Robin James, "Resistance and Melancholy: Pop Music, Feminism and Neo-Liberalism" (Zero Books, 2015)

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HugeDomains.com - NewBooksInCriticalTheory.com is for sale (New Books In Critical Theory)

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Besides being memorable, .com domains are unique: This is the one and only .com name of it's kind. Other extensions usually just drive traffic to their .com counterparts. To learn more about premium .com domain valuations, watch the video below:

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if punk never dies, how does it age? | read | i-D

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if punk never dies, how does it age? | read | i-D

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It's hard to imagine just how rupturing punk was to conventional beauty norms. Brighton-based artist Countess Pasha du Valentine, 52, remembers her look back then as a vertiginous mohawk which was dyed weekly, plucked eyebrows, a Union Jack in the shape of a streak of lightning painted across her face, lips done in four quarters black and red, a pierced nose, and seven holes in her ear often chained up together. "I was definitely rejecting feminine beauty ideals. I hated the passivity of the status quo female look," she recalls of the motivation for her punk beauty manifesto. "I hated the sameness, the normality, the lack of imagination. Most of all I detested the lack of power... The 'come get me fluffy rabbit' look."

Gail Thibert, 50 now was a backing singer and keyboard player in the punk band Flowers in the Dustbin, also wanted to rail against convention. "I didn't feel like one of the 'normal' people. I wanted to be different. I felt I was different."

For Karen Amsden of the punk band Hagar the Womb, it was not so much a rejection of normative beauty as an appreciation of women who looked alternative. "I just had different ideas of what was beautiful," she says "We wanted to look like these women because we wanted to be performers with such distinct identities. I went to see the film Jubilee repeatedly mainly because I really loved the look of Jordan."

The objective was to reject a commercial and received vision of feminine beauty, not to stop being a woman. "If you mean was I de-feminizing myself by challenging and trying to destroy the patriarchal, cultural constructs of masculine and feminine, then yes we were." Says Michelle Brigandage, 55, who runs the clothes label Sexy Hooligans and sings in the band Brigandage. "I cannot explain how powerful it was to walk down the road where men would usually pass daily value judgements on your appearance and see them flinch and recoil in horror!"

Making such a bold political statement is relatively easy when you are young, but what happens when you get older? "As a young punk rock feminist anarchist I always swore I'd get old disgracefully," Michelle explains.

But ageing can be tough, punk or not, and more often than not, personal style does evolve over the years. "Yes, I have mellowed with age," admits Countess Pasha du Valentine. "I would still have a mohawk if I could get away with it. I did have an undercut (shaved one side) a year or so ago but couldn't rock it."

Karen Amsden, meanwhile, has come full circle. In 1981 as a 17-year-old in anarchist feminist band Hagar the Womb, she had a mohawk that varied in color between pink, red, blue and green. "A whole can of Boots extra hold hairspray was put on it every week to keep it staying up rigid." However, when the band split up her taste in music and style changed to become more conventional. Between the ages of 22-46, she describes herself as "not looking very punk." "I think that most people I knew during this time would have been surprised to find out about my anarchist punk past." But when her band reformed after 27 years, she rediscovered her punk roots, going from a self proclaimed 'housewife' and mother to two young children with greying hair to "a working mother in a punk band." She narrates how she has "reverted in many ways back to my original style of 50s style dresses, bright hair and make up. I think my original style was still lurking but just got lost for about 20 years, and it has been quite a shock for my family as I rediscover it!"

Zillah Minx, lead singer of the band Rubella Ballet hasn't mellowed in the slightest. From coming out as punk at 15 in 1976 when she would dye her blonde hair with food coloring, she has retained her confrontational hair and make up "No I haven't mellowed, I am more determined to keep my appearance; it is part of who I am. I want to look different from others, don't try and brand me with your ubiquitous blue jeans and sneakers." But how does such an appearance work with regard to employment in the mainstream of society? "Most punks are intelligent enough to have created their own employment with bands, fashion, and tattoo parlors, photography etc." replies Minx. "Since 15, I have maintained my punk identity and appearance throughout my band life and employment in the mainstream. As a punk with pink hair I have met and talked to the Queen whilst employed as a charity fundraiser. She didn't bat an eyelid as I introduced her to my trainees."

It seems that for punks and alternative rockers in the public eye such as Siouxsie Sioux and Viv Albertine, there is the pressure to stay youthful looking. Debbie Harry recently revealed to The Telegraph that she'd had some cosmetic surgery, commenting 'it goes with the job'.

Of course you could argue that surgery and injectables are a form of subversion in that you are putting your finger up to the onslaught of nature. But others might postulate that you are selling out and conforming to mainstream ideals of youth and beauty. "I can understand a few nips and tucks if it makes you feel better," says Brigandage, who is quite mellow in her attitude to surgical intervention. "I wouldn't consider Botox as I don't have many wrinkles at the moment and I don't want a static face! But my friend has had it and it's different and softer. But she has what I call the hound dog lines around the mouth and chin (as do I) which are hereditary and bloody upsetting and she's had filler and looks great!"

"Punk is about acceptance of the self and in all shapes and sizes." Say Gail Thibert. "Flowers in the Dustbin have a slogan--it's OK to be Ugly--and really, it is. Punk attracts people who feel they don't fit in with the norm and that would be people who have disfigurements and unusual body shapes. No one judges them on it and its safe to be who they are."

"Punk rock is an attitude, not a look," maintains Brigandage. "It's better to be punk on the inside," concludes Thibert. "You will find that many members of punk bands didn't actually look as 'punk' as their fans. It's more about attitude and if someone thinks all you have to do to be punk is put on some bondage trousers and spike their hair, then they are guilty of following fashion, which is exactly what punk was rebelling against in the first place."

Credits

Text Bethan Cole
Photography Rainer Theuer

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The original punk generation are now well into their 50s with an arsenal of anti-aging technology at their disposal. But how has the generation that stuck its finger up at conformist beauty in the 70s adapted to the post-millennial beauty culture?

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The Anti-University, London 1968 - YouTube

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The Anti-University, London 1968 - YouTube

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Local news clip about opening of legendary Anti-University in Shoreditch east London in 1968, featuring interviews with David Cooper & Allen Krebs. Also footage of John Latham

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An adrenalin-charged trip through some of the cultural flashpoints of the past few decades, Pop Grenade celebrates the power of music as a force for change. Based on first-hand, personal reportage from raves, riots and rebellions, it explores how music has been used as a weapon in struggles for liberation and attempts to create temporary paradises.

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When Pop Ruled My Life: the Fans' Story, BBC4, TV Review: These superfans were a scream - Reviews - TV & Radio - The Independent

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When Pop Ruled My Life: the Fans' Story, BBC4, TV Review: These superfans were a scream - Reviews - TV & Radio - The Independent

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When Pop Ruled My Life: the Fans' Story started off with some serious screaming: ear-piercing screeching worthy of a horror flick rather than a music documentary. The racket was actually archive footage of Beatles fans. The rest of this engaging documentary was much more tuneful - and good fun to watch.

You got an audio history of pop music obsessions from the Fab Four to One Direction via Iron Maiden and Soul II Soul, interwoven with interviews with devotees (some lapsed, others not) and the subjects of their affections. It was all framed around presenter Kate Mossman's own Bildungsroman worshipping at the altar of Queen.

This was BBC4, so the talking heads were eloquent types attempting to analyse the psychology of a fan. They'd managed to find both a "fan historian" and a "fan expert" to explain devotion "forged in the white heat of adolescence" but it was Mossman's interviews with the superfans that delivered gems.

Beatlemaniac Lillian Adams was one of the screamers (others wet themselves, allegedly): "I don't think I ever heard a word that was sung or spoken," she said of the band's concerts, her pink and leopard creepers and Lennon round glasses a hint at her fandom past.

There was an appearance from Labour MP Alan Johnson. In his youth, Johnson was a McCartney wannabe and later a mod; one of those working-class boys who wore their buttoned-up Fred Perry shirts and perfectly creased trousers as levellers in an unfair society: "There was a mentality to it that you're as good as anyone else."

Mossman was an endearing presenter, sharing her cringeworthy Roger Taylor diaries (sample excerpt: "The news from hell: he's shaved off his beard.") and trying - fruitlessly- to make sense of it all, not least by enquiring why Lillian and her generation screamed so loud that they couldn't even hear John, Paul, Ringo and George? "I have absolutely no idea," said Adams. "You just did."

Reuse content

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When Pop Ruled My Life: the Fans' Story, BBC4, TV Review: These

# data[].attributes.attachment_link.description
When Pop Ruled My Life: the Fans' Story started off with some serious screaming: ear-piercing screeching worthy of a horror flick rather than a music documentary. The racket was actually archive footage of Beatles fans. The rest of this engaging documentary was much more tuneful - and good fun to watch.

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"Broken Men" and "Thatcher's Children": Memory and Legacy in Scotland's Coalfields | Andrew Perchard - Academia.edu

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"Broken Men" and "Thatcher's Children": Memory and Legacy in Scotland's Coalfields | Andrew Perchard - Academia.edu

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"Broken Men" and "Thatcher's Children": Memory and Legacy in Scotland's Coalfields

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"Broken Men" and "Thatcher's Children": Memory and Legacy in Scotland's Coalfields