The Blitz Club Culture

The musical Blood Brothers tells the story of twins, Mickey and Eddie, brothers separated at birth who reunite and become friends in their childhood. Blood Brothers explores the lives of the Johnson and Lyons families, exposing class differences. Mrs. Johnson and Mrs. Lyons are two very different women, yet are unable to avoid each other due to the connection the boys share. The differences in lifestyle, values and morals of these two families are stark and tangible. Circle in the Water values this opportunity to explore society and relationships identifying themes that resonate with Hong Kong life.

A sense of elitism has arisen within musical genes, stemming from rock, punk, folk, etc. believing that they are valid and true forms of music, but that due to the way disco is produced, it fails to be a genre. However, disco is much more than a genre- it is a whole unique culture that supports many marginalized identities. As Dyer states, ‘disco is also kinds of dancing, club, fashion, film, etc. – in a word, a certain sensibility’ (Dyer 20). 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

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. However, with the mainstream rush that it’s bands have made, it has changed the original meaning and reasons for punk rock. It was created when a group of people got together and all agreed that the direction of the early 1970’s U. K. society was not one that they were pleased with. The punk movement is highlighted by

Since the founding of the United States of America, culture, religion, and race have always been interlaced. If one of these changed, the others struggled to adapt. There was never a time in America’s short history that these three matters collided more brutally or ferociously than during the emergence of rock ‘n’ roll. It is quite obvious that not one single event, action, or phenomenon caused the turmoil during this era, but rather a perfect storm of cultural and racial revolutions that collided head on with tremendous religious backlash.

Next, there is behavior. Punk was created by young people viewing of themselves as “bored working-class youths looking for entertainment, rather than viewing themselves as artists” (Bailey 17). There were changes in behaviors of society such as rebellion, race, drug use, and was seen as an expression of insubordination towards adults (Bailey 17).

Raul Corniner a graduate student presented on gay dress and sexual identity in the Twentieth Century. During most of the twentieth century being gay was not something that was accepted by the majority leaving these people limited ways to express their sexual identity. Because being gay wasn’t accepted these people adapted sartorial codes among each other in order to communicate their sexual identity to each other through dress. In the early twentieth century sartorial codes were not used as a demonstration of gay pride but were secret codes that were mainly only understood by the gay community. Moving towards the later part of the twentieth century these sartorial codes became less of a secret and changed into deliberate expressions of ones sexual availability and orientation.

The flapper represented the “modern woman” in American youth culture in the 1920’s, and was epitomized as an icon of rebellion and modernity. Precocious, young, stubborn, beautiful, sexual, and independent, the flapper image and ideology revolutionized girlhood. The term “flapper” originated in England to describe a girl who flapped and had not yet reached maturity. Middle-class, white, adolescent girls embraced the symbol of the flapper and the development of change and innovation. It is important to note not all young women embraced the flapper’s rebellious movement and adhered to traditional pre-World War I morals and values. Young women who joined the flapper movement would no longer abide by pre-conceived conventional expectations

Men’s fashion consisted of the loss of constant formal attire, and the introduction of more casual wear. It even became acceptable for men to be seen in athletic wear. The most remarkable change was the evolution of women’s fashion- the introduction of the “flapper”. It became more acceptable for women to break free from former restrictions and shorten their hem, cut their hair and drink and smoke alongside their male counterparts.

“The Wild One” written by art historian Ellen Landau focuses on the psyche of post World War 2 American society and how Jackson’s Pollock’s influence was able to shatter the conventions of an “American hero”, simultaneously bringing about change to what is considered to be an acceptable approach to picture making. Landau’s article begins by asking the question “is he the greatest living painter in the United States?” , she lays this as the platform for her central argument, linking this argument by thoroughly evaluating Pollocks deep rooted personality traits which brought about his own unique style of art making.

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.

‘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. In this book the scenario is a teenage girl who is part of a prophecy and is transported to the 1870’s to the Rocks, Sydney to the Bow and Tallisker hold. ‘The stranger’ (teenage girl) must make the gift strong again so it is enabled to allow the Bow and Tallisker to continue on through the family. The gift has the ability to provide a sense of seeing the future and teleporting to the past and present, and enables to heal the wounded.

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.

In this the year, which marks, the centenary in which, women won the right to vote; this essay will be to ‘Discuss the presentation of the women in ‘The great Gatsby’. One cannot understand the writing of ‘The great Gatsby’ without considering the era in which it took place. The role of women first started to change after the First World War in United States of America. Before this war, women did not enjoy universal suffrage. However, that was to change. In the decade of the 1920s, there was enormous social and economic change. In this change, great numbers of women went to work and earned their own income. With income comes taxation and in United States of America as James Otis U.S. politician once said, “Taxation without representation is tyranny” (Ratcliffe, 2014). Therefore, what followed was the right of women to vote; with this, the voice of women where now represented in public office changing forever the political life of the nation. This new independence marked a big step to social equality.

The term “hip-hop” is used today to describe a specific form of dance and music, but actually encases a much broader art. “It [Hip-Hop] is the cultural embodiment of violence, degradation, and materialism . . . a multibillion-dollar industry based on debauchery, disrespect, and self-destruction” (3). Although hip-hop does heavily involve music and dance, Joseph G. Schloss has found that there are many more aspects that make up the hip-hop culture. Foundation is a collection by Schloss of his findings from his research of hip-hop. In this work, Schloss highlights his enthusiasm about discovering “b-boys and b-girls”. These are terms to describe people (usually young) who breakdance. Schloss writes Foundation in first-person point of view and is obviously thrilled to express his interest in this heterogenous dance form. This ethnography also includes the opinions of b-boys and b-girls on hip-hop. How this ethnography is constructed offers a very different view on this subject

The year 1660 marked an important juncture in the English theatre. Not only was monarchy restored in England but Charles II also allowed women to enter the stage. Thus, women replaced the young adolescent males who cross-dressed in order to portray the women characters in Shakespeare’s plays. Although, the cross-dressing motif might seem strange to some, this practice can be traced back to Ancient Greeks who did not allow women to enter the stage and therefore, men had to wear costumes and masks to represent women. Shakespearean critics, on the other hand, have been divided over the use of ‘cross-dressing’ in his plays. Questions like does Shakespeare use