Oi! Oi! Oi!: Class, Locality, and British Punk

Abstract

A supervisor program has been written for the IBM System/360 which allows the multi-programming of several jobs, each with its own input-output requirements.

‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress

“…The Rejects' crew came from football and consisted largely of The Cockney Rejects (Fig.13), with their pared-down style of Harringtons, MA-1 flight jackets, denim jackets, t-shirts, jeans and Dr. Marten boots, came out of a 'street punk' scene associated with bands such as Cock Sparrer, Sham 69 ( Fig.14), Menace and the Angelic Upstarts. These bands played an aggressive, stripped-down form of punk that was explicitly working-class and tied to football culture (Worley 2013).…”

The politics of the unknown: Uncertainty and the nuclear threat in Britain, 1979–1985

“…What makes these alternative milieus so valuable for an investigation into the wider socio‐political and economic politics of anti‐nuclear weapons activism, uncertainty, and the nuclear threat in the 1980s is the fact that they also represent expressions of a fundamental re‐evaluation of values that occurred in Britain and other Western European nations from the 1960s (A. Schildt & Siegfried, , p. 18). In a similar fashion, an examination of the synchronic dimensions of this politics of unknown could also engage with work on British youth cultures, class, rebellion, and punk music (Simonelli, ; Worley, , , ).…”

“…Schildt & Siegfried, 2006, p. 18). In a similar fashion, an examination of the synchronic dimensions of this politics of unknown could also engage with work on British youth cultures, class, rebellion, and punk music (Simonelli, 2002;Worley, 2012Worley, , 2013Worley, , 2017. Consequently, RAGE not only marked an example of an anti-anti-nuclear weapons movement that formed in response to the growing protests against the nuclear threat but also reveals the extent to which such groups formed part of a counter-movement against an "alternative milieu" with its distinct gender and class politics in the early 1980s.…”

White Working-Class Voices

“…In the midst of this, punk rock was claimed as a white workingclass phenomenon against a backdrop of crumbling housing estates, mass unemployment, crime and misdeeds, setting it apart from the aforementioned middle-class rock that held sway (Savage;Worley, 2013). As Hebdige (1979) recounts, these class credentials were emphasised in punk at every opportunity.…”

“…We have already noted that Oi! was adopted by white working-class skinheads and was supported by the National Front and British Movement (Worley, 2013).…”