- Title Pages
- Figures and tables
- Notes on contributors
- Foreword: In search of discographic others
- References
- 1 Introduction: <i>Desert Island Discs</i> in context
- Personal Spin A
- 2 The cultural baggage of the desert island
- 3 From <i>Forces’ Choice</i> to <i>Desert Island Discs</i>: The BBC’s promotion of personal choice in wartime
- 4 Desert island discomorphoses: Listening formations and the material cultures of music
- Personal Spin B
- Personal Spin C
- 5 Adrift or ashore? <i>Desert Island Discs</i> and celebrity culture
- 6 Playlists and prizes: Cultural authority, personal taste, and musical value since the 1940s
- 7 What does it mean to be cultured? <i>Desert Island Discs</i> as an ideological archive
- Personal Spin D
- Personal Spin E
- 8 <i>Desert Island Discs</i> and British emotional life
- 9 Punk, class, and taste in <i>Desert Island Discs</i>
- 10 Peripheral identities on <i>Desert Island Discs</i> and <i>Beti a’i Phobol</i>
- Personal Spin F
- Personal Spin G
- 11 Public and narrative selves in <i>Desert Island Discs</i>
- 12 Desert island dislocation: Emotion, nostalgia, and the utility of music
- 13 Musicianly lives musically told: Oral history, classical music, and <i>Desert Island Discs</i>
- Personal Spin H
- Personal Spin I
- Personal Spin J
- 14 Afterword: Playing the discographic self
- Index
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
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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- Title Pages
- Figures and tables
- Notes on contributors
- Foreword: In search of discographic others
- References
- 1 Introduction: <i>Desert Island Discs</i> in context
- Personal Spin A
- 2 The cultural baggage of the desert island
- 3 From <i>Forces’ Choice</i> to <i>Desert Island Discs</i>: The BBC’s promotion of personal choice in wartime
- 4 Desert island discomorphoses: Listening formations and the material cultures of music
- Personal Spin B
- Personal Spin C
- 5 Adrift or ashore? <i>Desert Island Discs</i> and celebrity culture
- 6 Playlists and prizes: Cultural authority, personal taste, and musical value since the 1940s
- 7 What does it mean to be cultured? <i>Desert Island Discs</i> as an ideological archive
- Personal Spin D
- Personal Spin E
- 8 <i>Desert Island Discs</i> and British emotional life
- 9 Punk, class, and taste in <i>Desert Island Discs</i>
- 10 Peripheral identities on <i>Desert Island Discs</i> and <i>Beti a’i Phobol</i>
- Personal Spin F
- Personal Spin G
- 11 Public and narrative selves in <i>Desert Island Discs</i>
- 12 Desert island dislocation: Emotion, nostalgia, and the utility of music
- 13 Musicianly lives musically told: Oral history, classical music, and <i>Desert Island Discs</i>
- Personal Spin H
- Personal Spin I
- Personal Spin J
- 14 Afterword: Playing the discographic self
- Index
