Some Wear Leather, Some Wear Lace

Marloes Bontje, Andrea Harriman

Description

It was a scene that had many names: some original members referred to themselves as punks, others, new romantics, new wavers, the bats or the morbids. 'Goth' did not gain lexical currency until the late 1980s. But no matter what term was used, 'postpunk' encompasses all the incarnations of the 1980s alternative movement. Some Wear Leather, Some Wear Lace is a visual and oral history of the first decade of the scene. Featuring interviews with both the performers and the audience to capture the community on and off stage, the book places personal snapshots alongside professional photography to reveal a unique range of fashions, bands and scenes.



A book about the music, the individual and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books. Whether you were part of the scene or are just fascinated by different modes of expression, this book will transport you to another time and place.

INTRO 

ATMOSPHERE 

Kings of the Wild Frontier 

Places: Scandinavia 

A New Dark Age 

Places: Behind the Iron Curtain 

Everyday is Halloween 

This Corrosion 

Memorabilia 

A NEW FORM OF BEAUTY 

Spirit (We love our audience!) 

Painted Bird 

Places: Japan 

Like Cockatoos 

Places: Grufti Nation 

Promised Land 

Places: The Netherlands 

Face to Face

MEAT OF YOUTH

Photo Collections

I. Style: Creatures of the Night 

II. La Movida: New Cultural Identity 

III. Boredom of Life: Spheres and Sentiments 

IV. To the Batcave! 

V. Shot!: Becoming History 

Winklepickers 

THE LAST SONG 

Acknowledgements

Sujets

• Performing Arts
• Sociologie, société et politique
• Película fotográfica
• Popular music
• Reference
• Popular culture
• History of art
• History of fashion design
• Fashion
• History of film
• Punk
• Cultural Studies
• Mode (habillement)
• Music
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 15 août 2014
• Nombre de lectures: 0
• EAN13: 9781783203536
• Langue: English
• Poids de l'ouvrage: 48 Mo

Extrait

SOME WEAR LEATHERSOME WEAR LACE

The Worldwide Compendium of Postpunk and Goth in the 1980s

By Andi Harriman and Marloes Bontje

S O M E W E A R L E A T H E RL A C EW E A R S O M E

Fîrst pubîsed în te UK în 2014 by ïnteect, he Mî, Parna Road, Fîsponds, Brîsto, BS16 3JG, UK

Fîrst pubîsed în te USA în 2014 by ïnteect, he Unîversîty o Cîcago Press, 1427 E. 60t Street, Cîcago, ïL 60637, USA

Copyrîgt © 2014 ïnteect Ltd

A rîgts reserved. No part o tîs pubîcatîon may be reproduced, stored în a re- trîeva system, or transmîtted, în any orm or by any means, eectronîc, mecanîca, potocopyîng, recordîng, or oterwîse, wîtout wrîtten permîssîon.

A cataogue record or tîs book îs avaîabe rom te Brîtîs Lîbrary.

Cover îmage: © Tory smokîng, 1989, US. Courtesy o Tory Starbuck

Cover desîgner and typesettîng: Stepanîe Saros Productîon manager: Betan Ba Copy-edîtor: MPS Tecnoogîes

ïSBN 978-1-78320-352-9 ePDF ïSBN 978-1-78320-353-6

Prînted & bound by Gwasg Gomer Cy / Gomer Press Ltd, UK

S O M E W E A R L E A T H E RS O M E W E A R L A C E

The Worldwide Compendium of Postpunk and Goth in the 1980s

By Andi Harriman and Marloes Bontje

intellectBristol, UK / Chicago, USA

C O N T E N T S

I N T R O

A T M O S P H E R E Kings o te Wild Frontier Places: Scandinavia A New Dark Age Places: Behind the Iron Curtain Everyday is Halloween his Corrosion Memorabilia

A N E W F O R M O F B E A U T Y Spirit (We love our audience!) Painted Bird Places: Japan Like Cockatoos Places: Grufti Nation Promised Land Places: The Netherlands Face to Face

M E A T O F Y O U T H Poto Collections I. Style: Creatures of the Night II. La Movida: New Cultural Identity III. Boredom of Life: Spheres and Sentiments IV. To the Batcave! V. Shot!: Becoming Histor y Winklepickers

T H E L A S T S O N G Acknowledgements

6

12 14 21 22 32 34 40 48

54 56 66 77 82 100 108 116 117

122

124 138 156 168 186 202

208 214

5

I

6

N

T

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S O M E W E A R L E AT H E R , S O M E W E A R L A C E

O

7

S o m e w e a r l e a t h e r, s o m e w e a r l a c e S o m e w e a r m a k e u p o n t h e i r f a c e . S o m e a r e y o u n g , s o m e a r e o l d , S o m e t o o h o t , s o m e t o o c o l d . S o m e a r e p o o r, s o m e a r e r i c h , S o m e s o l o n e l y, a n d s o m e t h e y b i t c h S o m e a r e l o v e r s , s o m e f r i e n d s i n b e d , 1 S o m e h a v e l i s t e n e d t o t h e t h i n g s w e s a i d .

Sexbeat’s se-tîted song îs deInîtîve o te postpunk scene. ït descrîbes te orîgînaîty, te reedom, and te communa spîrît o a subcuture: od, young, poor, and rîc – a group tat accepted ît a. Reeased în 1983, te song îs a generatîon’s antem about a scene caugt between te outbreak o punk and grunge. Wît more compexîty tan punk and more darkness tan pop’s ceeru mentaîty, postpunk maîntaîned prosperîty because o îts atmospere and romance. he movement în îts începtîon was nameess. ït, as we ound, as many deInîtîons and assocîatîons. Some orîgîna members o te scene reerred to tem- seves as “punks,” oters “new romantîcs,” “new wavers,” “te bats,” or “te morbîds,” or exampe. “Got” oten dîd not become a term untî te ate 1980s or, în some countrîes suc as Peru, a abe în te 1990s. hereore, “postpunk,” în a îts varîety, îs deemed as te sînge word tat encompasses a evoutîons o te 1980s proto-punk aternatîve movement. ïn one decade, te genre evoved, grew darker, and crossed borders: rom Argentîna to te Neterands, Greece to Canada, and Begîum to Japan. Even toug te postpunk and got tîme- îne varîed among countrîes, te movement began în approxîmatey 1978 and concuded în around 1992. As a subcuture tat accepted dîversîty, te postpunk and got scene aowed te yout to Ind soace în îts com- munîty regardess o socîa or economîc actors. hus to îdentîy and encompass te words “postpunk” and “got” îs an arduous task sînce everyone as a dîferent per-

8

S O M E W E A R L E AT H E R , S O M E W E A R L A C E

spectîve on suc deInîtîons – no sînguar trut about teîr tîmeîne or attrîbutes exîst. hereore, tîs book îs about te musîc, te îndîvîdua, and te creatîvîty o a wordwîde communîty rater tan teoretîca deInî- tîons o a subcuture. houg not a compete îstorîca book on post- punk and got,Some Wear Leater, Some Wear Laceîs a compendîum tat ony embodîes te 1980s wordwîde 2 scene. he ocus o tîs project îs paced on Irst-and experîence wîtîn te postpunk communîty and îs, tereore, a vîsua and ora îstory o te Irst decade o te scene. he team ound and întervîewed bot te perormers and te audîence în order to capture te communîty bot on and of stage. Partîcîpants o te project dug troug teîr persona arcîves or po- tograps o teîr past, and tese are paced aongsîde proessîona potograpy. By combînîng bot persona coectîons and proessîona îmages, a unîque range o asîons, bands, and scenes are reveaed wîtîn tese pages. Postpunk’s înluence în te 1980s Itered troug dîverse regîons because o îts partîcuar appea to tose wo dîd not conorm to socîety. As Sean Capman, a new romantîc rom Brîgton, Unîted Kîngdom says, “Our ony rea îdeoogy was to create and to îve îe as unconventîonay as possîbe.” Artîsts, poets, desîgners, and creatîve mînds gatered wîtîn a subcuture tat understood and sympatîzed wît one anoter. hese sentîments were transated în te yrîcs and attîtude o te musîc.