Uploaded June 2019 | Updated September 2026, 2 days ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
“The Cord is Cut”: Exit Narratives of British anarcho-punks 1978-1986
Matt Grimes - Birmingham Centre for Media and Cultural Research, Birmingham City University
Email: matt.grimes@bcu.ac.uk
/// ABSTRACT
Taking its title from 1980’s British anarcho-punk band Conflict, this presentation seeks to illuminate the reasons for an individual’s disassociation with a musical scene/subculture, specifically British anarcho-punk. Whilst work on subcultural membership is plentiful, and work on ageing within punk scenes and punk subcultures is increasing (e.g Bennett 2013; Haenfler 2012, Davis 2006), studies relating to the processes of exiting from punk scenes and punk subcultures are limited (e.g Haenfler 2004, Gordon u.p). I draw on a number of interviews from my ongoing doctoral research into past participant’s memories of their involvement within the British anarcho-punk scene (1978-1986), and its continuing significance in their life-course. Although geographically distinct, these regional articulations of anarcho-punk were connected through a much larger anarcho-punk network. Adapting Ebaugh’s (1988) framework of role exit and role identity, I present a discursive analysis of a number of interviews, with past members of regional anarcho-punk scenes in the UK, as to their reasons for exiting the anarcho-punk subculture and scene, and subsequently their anarcho-punk identity. In doing so I aim to address the omissions in punk literature as to why people exit punk scenes or punk subculture’ and build on the existing work about musical scene and subcultural identities and practices within life course transitions, the negotiation of ageing, fandom and identity (e.g Hodkinson 2013, Harrington et al 2011, Bennett and Taylor 2012), and the wider punk rock scenes (e.g Bennett 2006, Davis 2006 and 2012).
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
“The Cord is Cut”: Exit Narratives of British anarcho-punks 1978-1986
Matt Grimes - Birmingham Centre for Media and Cultural Research, Birmingham City University
Email: matt.grimes@bcu.ac.uk
/// ABSTRACT
Taking its title from 1980’s British anarcho-punk band Conflict, this presentation seeks to illuminate the reasons for an individual’s disassociation with a musical scene/subculture, specifically British anarcho-punk. Whilst work on subcultural membership is plentiful, and work on ageing within punk scenes and punk subcultures is increasing (e.g Bennett 2013; Haenfler 2012, Davis 2006), studies relating to the processes of exiting from punk scenes and punk subcultures are limited (e.g Haenfler 2004, Gordon u.p). I draw on a number of interviews from my ongoing doctoral research into past participant’s memories of their involvement within the British anarcho-punk scene (1978-1986), and its continuing significance in their life-course. Although geographically distinct, these regional articulations of anarcho-punk were connected through a much larger anarcho-punk network. Adapting Ebaugh’s (1988) framework of role exit and role identity, I present a discursive analysis of a number of interviews, with past members of regional anarcho-punk scenes in the UK, as to their reasons for exiting the anarcho-punk subculture and scene, and subsequently their anarcho-punk identity. In doing so I aim to address the omissions in punk literature as to why people exit punk scenes or punk subculture’ and build on the existing work about musical scene and subcultural identities and practices within life course transitions, the negotiation of ageing, fandom and identity (e.g Hodkinson 2013, Harrington et al 2011, Bennett and Taylor 2012), and the wider punk rock scenes (e.g Bennett 2006, Davis 2006 and 2012).
