Podcast appearances and mentions of dick hebdige

This is an excerpt from a patrons-only episode. To hear the full show, plus dozens more like it, visit Patreon.com/LoveMessagePod. We start this patrons episode with a tribute to Phil Cohen, a colleague of Jem and Tim's at UEL and a fellow traveller to the Birmingham cultural studies writers discussed in this episode. From there we pick up where we left off in our reading of the seminal edited collection ‘Resistance Through Rituals'. Tim and Jem cover the two ethnographies of 70s drug use found in the book - weed and acid if you're wondering - before rolling on to a disappointed essay on the Commune movement. We hear about Tim's experience on a Kibbutz, The Farm and a funky cut from YES. Later in the episode we examine two excellent pieces from the collection: Dick Hebdige on Reggae, Rastas and Rudis; and Ian Chambers on the Racial Politics of Rock'n'Roll. Next time we'll be completing our journey through the book with chapters on youth fashion, criminality and more, and taking a deep look at the weighty theoretical introduction. Produced by Matt Huxley. Tracklist: Yes - Yours is No Disgrace  The Farm Band - Loving YouBob Marley and the Wailers - Duppy Conqueror Big Joe Turner - Shake Rattle and Roll

In 1979, Methuen Press published Subculture: the meaning of style by Dick Hebdige, the first academic book to address Punk culture. In 1984, the University of Chicago Press published Paths of Neighborhood Change whose lead author was Richard Taub, a section of which discusses Hyde Park's urban renewal.

La relación entre moda y subculturas puede considerarse evidente y superficial cuando se habla de géneros musicales, pero su conexión es mucho más profunda. Como medio de expresión individual y grupal, el vestir encarna los valores de estos grupos y su manera de ver el mundo, mientras que la industria de la moda mercantiliza sus estéticas para beneficio propio al vender sus objetos simbólicos de manera descontextualizada. En este episodio de Salón de Moda examinamos estas dinámicas en el pasado y el presente, analizando ejemplos históricos y contemporáneos, desde el punk de los 70 hasta el streetwear de hoy.Referencias: Corinne François-Denève, Mythologies: Roland Barthes (Rosny-sous-Bois [Seine-Saint-Denis]: Bréal, 2002). Dick Hebdige, Subcultura: El significado del estilo (Barcelona: Paidós, 2004). Georg Simmel, Fashion (Burlington, Vt: Fox, Duffield & Co., 1905). Heike Jenss, Fashioning Memory: Vintage Style and Youth Culture (Londres: Bloomsbury, 2017). Karl Marx, El Capital (Madrid: Siglo XXI,  2017). Roland Barthes, Mythologies (Nueva York: Hill and Wang, 2013). Stuart Hall y Tony Jefferson, Resistance through Rituals: Youth Subcultures in Post-War Britain (Londres: Harper Collins, 1991). Thorstein Bunde Veblen, Teoría De La Clase Ociosa (México: Fondo de Cultura Económica, 1966). Peter Stallybrass, “Marx's Coat”, en Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer (Londres: Routledge, 1998), 183-207.  Encuéntranos en: http://www.modadospuntocero.com/p/salon-de-moda-podcast.html@moda2_0 @culturasdemoda #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

En este episodio, compartimos algunas de las definiciones de la moda que se han ofrecido desde los estudios de moda. Comenzamos explorando algunas de las definiciones más básicas, que parten de la asociación directa de la moda con la modernidad, Occidente, el cambio constante y acelerado y la esencia femenina. Luego ofrecemos algunas definiciones más amplias de la moda, que nos permiten entenderla como una articulación entre el vestido y el estilo, que se encuentra en la intersección de la persona que se viste y la sociedad, y como una práctica corporal localizada. Para terminar, compartimos la definición del “impulso de la moda” y buscamos la reconstitución total del término desde las teorías decoloniales y de la indigenización de la moda.Referencias:Carol Tulloch, “Style-Fashion-Dress: From Black to Post-Black”, Fashion Theory 14, no. 3 (2010): 273–304. Coletivo Indígenas Moda Brasil: @indigenasmodabr Dayana Molina: @molina.ela Dick Hebdige, Subcultura: El significado del estilo (Barcelona: Paidós, 2004). Jennifer Craik, The Face of Fashion: Cultural Studies in Fashion (Londres: Routledge, 1994). Joanne B. Eicher y Barbara Sumberg, eds., Dress and Ethnicity: Change Across Space and Time (Oxford: Berg, 1995). Pravina Shukla, Costume: Performing Identities Through Dress (Bloomington e Indianápolis: Indiana University Press, 2015). Susan B. Kaiser, Fashion and Cultural Studies (Londres: Bloomsbury, 2012). Thorstein Veblen, Teoría de la clase ociosa (México: Fondo de Cultura Económica, 1966). Encuéntranos en: http://culturasdemoda.com/salon-de-moda/ @moda2_0 @culturasdemoda #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

Sociale media kosten meer dan dat ze opleveren. We verrichten elke dag gratis werk voor steenrijke platformen die onze persoonsgegevens doorverkopen en onze samenleving uithollen. Pim vertelt over zijn leven zonder smartphone en Annelot over haar poging om Instagram te verpesten. Ze vragen zich af of verzet nog wel mogelijk is. Hoe kan het beter? Bro Codes: ‘Heartbreaker (https://www.youtube.com/watch?v=kMCGvtlL4fw)’ maakt zonneklaar hoe fantastisch Mariah Carey is. Iedereen zou ‘The meaning of Mariah Carey (https://themeaningofmariahcarey.com/the-meaning-of-mariah-carey.html)’ moeten lezen. In ‘No Ordinary Man (https://www.parabolafilms.ca/no-ordinary-man/)’ duiken de documentairemakers in het leven van muzikant Billy Tipton om te onderzoeken hoe we transverhalen vertellen. Olivia Laings nieuwste boek ‘Everybody (https://www.athenaeum.nl/boek/?authortitle=olivia-laing/everybody--9781509857111)’ onderzoekt de relatie tussen het lichaam en vrijheid aan de hand van kunstenaars en denkers. Jenny Odell probeert in haar boek ‘How to do nothing (https://www.athenaeum.nl/boek/?authortitle=odell-jenny/how-to-do-nothing--9781612197494)’ aan de aandachtseconomie te ontsnappen. Fack ons, volg Broodbuis (https://www.broodbuis.nl/). Het artikel dat Annelot schreef over Instagram verpesten vind je hier (https://journals.sagepub.com/doi/full/10.1177/1367549420944519). Haar eigen pagina, waar ze nog steeds haar best doet de boel wat deprimerender te laten zijn dan in de gemiddelde Instagram post, vind je hier (https://www.instagram.com/lennartspion/). Dit maakt haar uiteindelijk gewoon een sadgirl (https://i-d.vice.com/en_us/article/pabzay/a-taxonomy-of-the-sad-girl). Terry Nguyen schreef dit artikel (https://www.vox.com/the-goods/21359098/social-justice-slideshows-instagram-activism) over de opkomst van de sociale rechtvaardigheid slide show op instagram. Dick Hebdige schrijft hoe subculturen (zoals punk) worden opgenomen in de samenleving en daardoor hun rebelse kracht kwijtraken (https://en.wikipedia.org/wiki/Subculture:_The_Meaning_of_Style). Hoopvol zijn is een morele plicht, zei Sinan tegen Farah in onze eerdere aflevering (https://www.hetredelijkemidden.nl/2-6-sinan-cankaya). Vraag Tim Hofman (twitter.com/debroervanroos) wanneer we gaan staken voor een kortere werkweek met behoud van inkomen. Meer over de BDS-beweging vind je hier (https://bdsmovement.net/). Vergeet niet ons geld te geven (https://petje.af/hetredelijkemidden).

Un podcast sobre la relación entre música y subculturas recorriendo el desarrollo de distintas expresiones artísticas alternativas. Los análisis históricos, sociológicos y técnico-musical convergen guiados por una banda sonora seleccionada para la ocasión y las referencias al autor Dick Hebdige. Integrante: Uriel Levin. Colaboraciones: Marina Di Giovanni, Agustín Llauradó, Verónica Guillerat.

Wrench those eyeballs wide open for our discussion of Anthony Burgess’s A Clockwork Orange (1962), a novel about a teenage droog and his rehabilitation by a dystopian police state. We have a very hard time with the politics of this one, given that they’re wildly incoherent, but we discuss the language games, ultraviolence, the police state, and the conditions of Kids These Days. We get into the “angry young man” genre and how this novel does a pretty shitty job with what is actually a cool moment in British class politics. We read the Norton edition, edited by Mark Rawlinson. We do not recommend Burgess’s own introduction to the book, because it ruins what remains of the novel’s fun qualities. We discuss Dick Hebdige’s germinal Subculture: The Meaning of Style (1979) and recommend it for anyone interested in cultural studies and youthful rebellion. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

Esta semana el episodio está dedicado a la evolución de los imaginarios sobre moda colombiana conectados tanto con ideas de identidad nacional como con la mirada que desde el exterior se ha formado sobre las prácticas del vestir en el país, explorado en las investigaciones de Melissa Zuleta Bandera y Jeniffer Varela Rodríguez. Desde cómo se han construido esas representaciones gracias a fenómenos como la narcoestética, hasta la internacionalización del tropicalismo colombiano; este capítulo trata las ideas detrás de estas manifestaciones: clasismo, subculturas, comodificación, exotización, ideales corporales y el famoso tropical chic. Referencias: Melissa Zuleta Bandera. "The Discourse About Sinbol Jeans: From Colombia's Narcoaesthetics to Best-Selling Export Product." (Tesis de maestría, Parsons School of Design, 2019). https://bit.ly/3f35PrU Jeniffer Varela Rodríguez. "Fashion after Narcos The Reconfiguration of Colombian Aesthetics to the World" (Tesis de maestría, Parsons School of Design, 2019). https://bit.ly/2Z2Ehx1 Pierre Bourdieu. La distinción: Criterio y bases sociales del gusto. 1979. Joanne Entwistle. El cuerpo y la moda: Una visión sociológica. 2000. Michel Foucault. La arqueología del saber. 1969. Dick Hebdige. Subculture: The Meaning of Style. 1979. Thorstein Veblen. Teoría de la clase ociosa. 1899. Ruth Wodak, Rudolf De Cillia, Martin Reisigl y Karin Liebhart. The Discursive Construction of National Identity. 1998. Héctor Abad Faciolince. "Estética y Narcotráfico." Revista de Estudios Hispánicos 42, no. 3 (2008). Laura Beltrán-Rubio. "Colombia For Export: Johanna Ortiz, Pepa Pombo and the Re-creation of the Cultural Identity for a Global Fashion Market." Cuaderno 64 (2017). Frances Aparicio y Susana Chavez-Silverman. Tropicalizations: Transcultural Representations of Latinidad. 1997. Encuéntranos en: http://culturasdemoda.com/ | http://www.modadospuntocero.com/ Instagram: @moda2_0 @culturasdemoda @camila_abisambra @jenvrod @laurabelru @sandramgr @mezuba Twitter: @moda2_0 @CulturasDeModa @JenVRod @sandramgr90 @laurabelru @mezuba Facebook: https://www.facebook.com/culturasdemoda/ | https://www.facebook.com/BlogModa2.0/ #SalonDeModa Agradecemos a Fair Cardinals (@faircardinals) por la música, a Jhon Jairo Varela Rodríguez por el diseño gráfico y a Maca Rubio por la edición del audio.

In de vierde aflevering van de Schemerzone ontmoeten we onze tweede gast: DJ, producer en kunstenaar Joeri Woudstra. Met hem hebben we het over hoog- en laagcultuur en vragen we ons af of de kermis een subcultuur is. We hebben het over de RBMA lecture van DJ Sprinkles die haar stijl beschrijft als ‘referentieel' en plaatsen dat in de context van cultural appropriation en voyeurisme. Ten slotte hebben we het over Joeri's hometown Den Haag en het muziekfestival Rewire dat daar dit weekend plaats vindt.Dick Hebdige over subcultuur: https://www.goodreads.com/book/show/609121.Subculture DJ Sprinkles op RBMA: http://www.redbullmusicacademy.com/lectures/terre-thaemlitz-deep-thoughts Joeri op Noisey: https://noisey.vice.com/nl/article/a3y37b/joeri-woudstra-en-de-tragiek-van-de-kermis Helix die weet hoe je moet scratchen: https://soundcloud.com/the-ransom-note/helix-the-euphoria-in-dance-music-mix

In de vierde aflevering van de Schemerzone ontmoeten we onze tweede gast: DJ, producer en kunstenaar Joeri Woudstra. Met hem hebben we het over hoog- en laagcultuur en vragen we ons af of de kermis een subcultuur is. We hebben het over de RBMA lecture van DJ Sprinkles die haar stijl beschrijft als ‘referentieel’ en plaatsen dat in de context van cultural appropriation en voyeurisme. Ten slotte hebben we het over Joeri’s hometown Den Haag en het muziekfestival Rewire dat daar dit weekend plaats vindt.Dick Hebdige over subcultuur: https://www.goodreads.com/book/show/609121.Subculture DJ Sprinkles op RBMA: http://www.redbullmusicacademy.com/lectures/terre-thaemlitz-deep-thoughts Joeri op Noisey: https://noisey.vice.com/nl/article/a3y37b/joeri-woudstra-en-de-tragiek-van-de-kermis Helix die weet hoe je moet scratchen: https://soundcloud.com/the-ransom-note/helix-the-euphoria-in-dance-music-mix

Autobiography? Fiction? Essay? When I Love Dick was published in the US back in 1997, readers weren’t sure what to make of it. But over the last 20 years the ‘novel’, like Kraus herself, has acquired an army of devoted fans. For one thing, it’s very funny. I Love Dick tells the story of ‘Chris’, a ‘failed’ video artist who falls for, and writes a series of love letters to, her husband’s friend Dick (based on real-life cultural theorist Dick Hebdige). In the wake of the (long overdue) UK publication, Chris Kraus comes to Dublin to discuss her startlingly original take on femininity, desire and the epistolary novel in the company of journalist and broadcaster Una Mullally.

Cairo Drive is a documentary exploration of Egyptian identity and change spanning the critical period before the revolution and up to the most recent presidential elections. Shot from 2009 to 2012 the film portrays the congested streets through encounters in traffic with taxi drivers, ambulance, traffic cops, and private citizens. The director Sherief Elkatsha talks with Professors Laila Shereen Sakr and Dick Hebdige from the UCSB Department of Film and Media Studies. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 30804]

Cairo Drive is a documentary exploration of Egyptian identity and change spanning the critical period before the revolution and up to the most recent presidential elections. Shot from 2009 to 2012 the film portrays the congested streets through encounters in traffic with taxi drivers, ambulance, traffic cops, and private citizens. The director Sherief Elkatsha talks with Professors Laila Shereen Sakr and Dick Hebdige from the UCSB Department of Film and Media Studies. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 30804]

Mick, Steve and Tara explore the role of Dick Hebdige's "Subculture" in the memes project.  Particularly Mick asks about the level of consciousness in and through bricolage.

In the almost 30 years since Richard Hell et al at CBGB’s in New York and Johnny Rotten & Co. at the Worlds End in London snagged the public’s eye and ear and kicked the corpse of hippy dreaming, the world has witnessed the fall of the Berlin Wall, the rise of the internet and the cell phone, the rise and fall of the global economy and the stabilization to permanence of punk as (anti) fashion statement, marketable music genre, and secessionist life-style choice. That same period has also seen the rise and fall of dance club culture and the invasion of the international art-fashion-media scape by Japanese anime and Takashi Murakami. This talk uses Murakami’s work as a lens to look at how ideas about and attitudes towards youth and youth culture, consumerism, appropriation tactics, the power of perversion, the value of negation, the politics of insubordination, sex and love have changed in the three decades since “Subculture” was first published in 1979. Dick Hebdige has written extensively on contemporary art, media and culture and has published 3 books: “Subculture: The Meaning of Style” (1979), “Cut ‘n’ Mix: Culture, Identity and Caribbean Music” (1987) and “Hiding in the Light: On Images and Things” (1988). He taught through the 90’s at CalArts before moving first to UC Santa Barbara then last July to UC Riverside where his title is Director of Arts and Interdisciplinary programs at UC Riverside’s Palm Desert Graduate Center. His current interests include writing for performance, writing across media and the emergent interdisciplinary field of Desert Studies. April 30, 2009