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Defining the Discographic SelfDesert Island Discs in Context$
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Defining the Discographic Self: Desert Island Discs in Context

Julie Brown, Nicholas Cook, and Stephen Cottrell

Print publication date: 2017

Print ISBN-13: 9780197266175

Published to British Academy Scholarship Online: May 2018

DOI: 10.5871/bacad/9780197266175.001.0001

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PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 22 October 2021

Punk, class, and taste in Desert Island Discs

Punk, class, and taste in Desert Island Discs

Chapter:
(p.173) 9 Punk, class, and taste in Desert Island Discs
Source:
Defining the Discographic Self
Author(s):

Peter Webb

, Julie Brown, Nicholas Cook, Stephen Cottrell
Publisher:
British Academy
DOI:10.5871/bacad/9780197266175.003.0014

This chapter attempts to use popular music as a way of connecting a number of castaways who shared a similar love of punk and post-punk and who described certain experiences that their appreciation of that music had resonance with. The music is used as a starting point to trace the experiences of the castaways to wider sets of social, cultural, and political histories of the UK. Among the castaways chosen are Kathy Burke, Ian Rankin, Ricky Gervais, and Hanif Kureshi. Each of these had a working-class upbringing and Kureshi grew up in a working-class area with parents who had been well off in India before moving to the UK. The choice of music intertwines with their descriptions of economic hardship, domestic violence, and racism but also a developed sense of community, sensitivity, and humanism that illustrates a sector of British life in the 1950s through to the 1980s.

Keywords:   punk, class, milieu, taste cultures, popular music, community

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