1970s Culture

Stephen E Hunt has produced the definitive account of Street Farm (Graham Caine, Peter Crump and
Bruce Haggart), a London-based collective of anarchist architects working in the early 1970s.
The three friends put together Street Farmer, an underground paper that, alongside mutating tower
blocks, cosmic tractors and sprouting one-way signs, propagated ideas for the radical transformation
of urban living which they called ‘revolutionary urbanism’.
Taking inspiration from Situationism and social ecology, Street Farm offered a powerful vision of
green cities in the control of ordinary people. As well as writing and drawing, the group took part in
street activism and squatting, were exponents of autonomous housing and radical technology and
became rock ’n’ roll architects, going on the road with multimedia slideshow presentations to a
recorded soundtrack of music by the likes of John Lennon and Jefferson Airplane.
In 1972 Caine built and designed ‘Street Farmhouse’ with Haggart and other friends. It hit national and
international headlines as the first structure intentionally constructed as an ecological house,
appearing on an early BBC documentary introduced by a youthful Melvin Bragg. While their fame was
brief, their ongoing influence on prominent green architects including Howard Liddell, Brenda Vale and Robert Vale and Paul Downton has been more enduring.

The end of revolution. The transformation in the conception and way of living the making of history in the Italian social movements of the 70s

This article focuses on the Italian social movements of the 70s in order to grasp a crucial transformation in the conception as well as in the way of living the making of History. This transformation consists in the crisis of the 20th-century idea of «Revolution» like a horizon of expectation. The author points out three major factors contributing to such a transformation. First, the change in the conception of «working class», which is observed in the various components of the Operaism. Second, the rise of the Feminist principle «the personal is political» far beyond the Feminism movement. Third, the criticism and new articulation of the equivalence between power and government bodies. As the author underlines, this transformation is far from being linear. This is what he shows by analyzing the controversial status of the political violence with reference to the riots and their political interpretations in this horizon characterized by the crises of the 20th-century idea of «Revolution». Finally, the author examines the contemporary debates occasioned by the most important political pop festival of the decade - the «Parco Lambro» (Milano, 1976) - and the contradictions that this event brought to light.

L’articolo si concentra sui movimenti sociali italiani degli anni Settanta per cogliere un momento cruciale della trasformazione del modo di pensare e vivere il farsi della storia. Tale trasformazione prende la forma del venir meno dell’idea novecentesca di rivoluzione come orizzonte d’attesa. In particolare l’autore individua tre luoghi prioritari di questa trasformazione: l’evoluzione della concezione della classe operaia, ciò che è colto nell’eterogenea area dell’operaismo, l’imporsi del principio femminista «il personale è politico», l’articolazione di un’idea di potere che supera l’equivalenza fra potere e organi dello Stato. L’autore sottolinea anche quanto la trasformazione del modo di pensare e vivere il farsi della storia non sia lineare, ma attraversata da contraddizioni: a questo fine si sofferma sul controverso statuto della violenza politica, quale emerge nel caso specifico degli scontri di piazza e delle loro interpretazioni politiche in questo orizzonte caratterizzato dal venire meno dell’idea novecentesca di rivoluzione. Infine l’autore analizza i dibattiti contemporanei sul più importante festival musicale e politico del decennio, parco Lambro (Milano 1976), e sulle contraddizioni che questo evento portò alla luce.

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RON DOUD'S life reads like a film, but with a tragic ending. Doud grew up and studied interior design at Seattle, graduating in 1970. Decades before Grunge rock, Seattle did have an active counter-culture in the 1960s but for young Doud by the early Seventies, another city was calling... New York and bright lights beckoned and he moved here in 1972. By the mid-1970s he was in independent practice and in 1977 Doud rose to fame as the interior designer of the most famous nightclub of all time: Studio 54. Fame even lead to an interior designer advertising luggage for Samsonite. During 1977-79 Doud consolidated his position as 'a leading New York interior designer' (The New York Times, 1983). We might know what Studio 54 looked like but what was the rest of Doud's work like? This is the first profile of this much overlooked designer: Doud would probably be well-known today if he was still alive, able to speak up for himself but alas his life was snatched away from him as a quite early victim of AIDS, dying aged only 35 in 1983, several months before Klaus Nomi and Glam Rocker/cabaret artiste Jobriath's death in the same year. Best known for his Studio 54 work, by the time Doud-openly gay at a time when this was highly unusual-died in February 1983 he was treated like a leper.

Through the years and the mediums Mexican women have been depicted with different
meanings and ways. One very important medium that has been significant in capturing the
experience of Latin America women has been photography. Thus the following essay will
aim to show and analyse the way in which the experience of being a woman has been
depicted in Latin American photography.

The main problems encountered when researching recent contemporary art in an academic rather than a curatorial or art-critical context are, on the one hand, the lack of archives and sources and, on the other, the fact that the actors and witnesses of the field under study are our contemporaries.

"For the master's tools," the poet Audre Lorde wrote, "will never dismantle the master's house." Dismantlings is a study of literary, political, and philosophical critiques of the utopian claims about technology in the Long Seventies, the decade and a half before 1980. Following Alice Hilton's 1963 admonition that the coming years would bring humanity to a crossroads—"machines for HUMAN BEINGS or human beings for THE MACHINE"—Matt Tierney explores wide-ranging ideas from science fiction, avant-garde literatures, feminist and anti-racist activism, and indigenous eco-philosophy that may yet challenge machines of war, control, and oppression.

Dismantlings opposes the language of technological idealism with radical thought of the Long Seventies, from Lorde and Hilton to Samuel R. Delany and Ursula K. Le Guin to Huey P. Newton, John Mohawk, and many others. This counter-lexicon retrieves seven terms for the contemporary critique of technology: Luddism, a verbal and material combat against exploitative machines;communion, a kind of togetherness that stands apart from communication networks; cyberculture, a historical conjunction of automation with racist and militarist machines; distortion, a transformative mode of reading and writing; revolutionary suicide, a willful submission to the risk of political engagement; liberation technology, a synthesis of appropriate technology and liberation theology; and thanatopography, a mapping of planetary technological ethics after Auschwitz and Hiroshima. Dismantlings restores revolutionary language of the radical Long Seventies for reuse in the digital present against emergent technologies of exploitation, subjugation, and death.

John Berger’s warnings around the gaze in Ways of Seeing and the discourses surrounding NASA’s Blue Marble, the 1972 image of the whole Earth from space, propose a visual practice based on vision as inculcating an alienating objectivity. I return to these foundational texts from 1972 in order to produce symptomatic readings that suggest a background for certain attitudes around digital images. Introducing Donna Haraway’s notion of diffraction multiplies the interpretive identities of such texts and pushes against over identifications that limit a text’s contemporary resonance, as I explain through my discussion of Ways of Seeing and then model through various approaches to Blue Marble. My analysis identifies how attributes of each object contribute to the disappearance of the image as something one looks at, but by reclaiming vision, a new kind of critical visuality becomes available, particularly as it applies to digital culture, as I address in my conclusion.

Early academic article on McCartney's songs during/after the Beatles. This focuses on themes of time and nostalgia alongside musical innovation in a selection of McCartney songs, 1963-2001. Some of my later publications on McCartney (and Lennon) are also available on my academia.edu page.

In the 1970s, Hollywood experienced a creative surge, opening a new era in American cinema with films that challenged traditional modes of storytelling. Inspired by European and Asian art cinema as well as Hollywood’s own history of narrative ingenuity, directors such as Martin Scorsese, Robert Altman, William Friedkin, Stanley Kubrick, Woody Allen, and Francis Ford Coppola undermined the harmony of traditional Hollywood cinema and created some of the best movies ever to come out of the American film industry. Critics have previously viewed these films as a response to the cultural and political upheavals of the 1970s, but until now no one has explored how the period’s inventive narrative design represents one of the great artistic accomplishments of American cinema.

In Hollywood Incoherent, Todd Berliner offers the first thorough analysis of the narrative and stylistic innovations of seventies cinema and its influence on contemporary American filmmaking. He examines not just formally eccentric films—Nashville; Taxi Driver; A Clockwork Orange; The Godfather, Part II; and the films of John Cassavetes—but also mainstream commercial films, including The Exorcist, The Godfather, The French Connection, Willy Wonka and the Chocolate Factory, Dog Day Afternoon, Chinatown, The Bad News Bears, Patton, All the President’s Men, Annie Hall, and many others. With persuasive analyses, Berliner demonstrates the centrality of this period to the history of Hollywood’s formal development, showing how seventies films represent the key turning point between the storytelling modes of the studio era and those of modern American cinema.

In 1974, Melbourne teenager Jennifer Sketchley started keeping a daily diary. It continued until 1985, describing everyday life as a schoolgirl, leaving school at the age of 16, studying by correspondence and entering the workforce. She was happiest watching films and television, with her diary recording what she watched from morning to night. Sketchley's diaries provide an intimate insight into the television habits and preferences of one Australian. This girl-centred article frames this unique record within the context of her family circumstances and within the field of girls' media studies. It examines the everyday practice of an active television consumer and fan, engaging with programmes (especially Star Trek) and television periodicals, and seeking comfort and community.

This essay reconsiders the constituencies of fans and detractors present at disco's 1970s prime and subsequent bursting. It argues for a more gender-inclusive conception of disco's multiracial ‘gay’ revellers and for a particular convoluted conception of ‘homophobia’ as this applies to the Middle-American youths who raged against disco in midsummer 1979. Their historic eruption at Chicago’s Comiskey Park came just weeks after the chart reign of Gloria Gaynor’s ‘I Will Survive’, today a classic emblem of gay culture in the post-Stonewall and AIDS eras and arguably disco’s greatest anthem. Disco inspired lovers and haters, too, among music critics. Critical adulation and vitriol are conjoined in the present reading of musical rhetoric, which explores disco’s celebrated power to induce rapture in devotees at the social margins while granting anti-disco critics’ charge of inexpressivity in its vocals. In ‘Survive’ musical expressivity is relocated in the high-production instrumentals, where troping of learned and vernacular, European and Pan-American, sacred and profane timbres and idioms defines a euphoric space of difference and transcendence. The use of minor mode for triumphant purposes is also a striking marker of difference in ‘Survive’ and is among the factors at work in the song’s prodigious afterlife.

This essay recommends a revised framework for approaching periodicals by putting the Bay Area Dadaists’ 1970s “Dadazines” into
dialogue with San Francisco punk zines, and by linking these periodicals
with each group’s performances. For these artists and for punks, zines offered a shared, cheap, quick means of expression and communication. Their zines also show that periodicals have the potential to be dynamic sites, like performances, that foster cross-fertilization and interaction and productively hold in tension materiality and ephemerality, mediation and liveness. Indeed, we can understand them as performances in their own right.

In the 1970s, several young, innovative directors released horror films that benefited from the techniques of exploitation marketing. These films became infamous not only because they delivered a level of violence and brutality that had rarely been seen by audiences before, but also because they were attached to brilliant marketing schemes hearkening back to the ballyhoo techniques used in vaudeville and the sideshows of the early twentieth century. This article examines the marketing campaigns for THE LAST HOUSE ON THE LEFT (1972), THE EXORCIST (1973) and THE TEXAS CHAIN SAW MASSACRE (1974) exploring how these campaigns helped to drive the controversy surrounding the films, and also how they influenced audience reception.

The publication of the sixth volume of the official history of the BBC, Pinkoes and Traitors: The BBC
and the nation 1974‐1987 by Jean Seaton is reviewed. The book is found to contain numerous
errors, mis‐statements of facts and significant omissions rendering the book an unreliable source
for those researching either the history of the BBC or the impact of the BBC on Britain’s political
and cultural life. Seaton’s major errors and omissions are catalogued as an aid to future researchers
and alternative, more reliable, secondary sources identified.
KEYWORDS
BBC, HISTORY, BROADCASTING, TELEVISION, RADIO, BBC LOCAL RADIO, BBC NATURAL HISTORY UNIT, BRITISH
HISTORY, ASA BRIGGS, JEAN SEATON, HUW WHELDON, ALASDAIR MILNE, PLAY FOR TODAY, THE HITCHHIKER’S
GUIDE TO THE GALAXY, GARDENER’S QUESTION TIME, THE MOUSETRAP, HOWARDS’ WAY, THE THORN BIRDS,
LIFE ON EARTH, NEWSNIGHT, PANORAMA, I, CLAUDIUS, BOYS FROM THE BLACKSTUFF, EDGE OF DARKNESS, BLUE
PETER, BAGPUSS, THE WOMBLES, NATIONWIDE, GRANDSTAND, POT BLACK, THE GENERATION GAME, MATCH OF
THE DAY, BLACK AND WHITE MINSTREL SHOW, EASTENDERS, STARSKY AND HUTCH, MARK TULLY, GRAHAME C
GREENE, CHRISTOPHER ANDREW, TIMOTHY GARTON ASH, TOM BOWER, PAT LOUGHREY, DAVID MCKITTRICK,
BRYCE MCCRIRICK, KELVIN MACKENZIE, GILES OAKLEY, NAOMI SARGANT, RONNIE STONHAM, DAVID
ATTENBOROUGH, DERYCK COOKE, DERRICK AMOORE, SALLY DOGANIS, TIM EGGAR, AUSTEN KARK, SARA
NATHAN, STEWART PURVIS, STEWART PARKER, PHILLIP WHITEHEAD, TONY SMITH, ALASDAIR MILNE, AUBREY
SINGER, ANNA HOME, HUMPHREY BURTON MARK DAMAZER, FRANCESCA KIRBY‐GREEN, DONALD GRATTAN,
ALAN YENTOB, BROADCASTING STANDARDS COUNCIL

Der Beitrag untersucht den sexualwissenschaftlichen Diskurs um  Pädophilie zwischen 1960 und 1995 beispielhaft anhand der Schriftenreihe „Beiträge zur Sexualforschung“ sowie der Fachzeitschriften „Sexualmedizin“ und „Journal of Sex Research“. Die Disziplin der Sexualwissenschaft erscheint dabei – so die zentrale These – als ein Feld, in dem Forderungen nach einer Legalisierung pädosexueller Handlungen zwischen Beginn der 1970er- und Anfang der 1990er-Jahre relativ widerspruchsfrei geäußert werden konnten. Dabei wendet sich der Beitrag gegen ein Narrativ der Liberalisierung und betont demgegenüber die Bedeutung der empirischen Wende in der Sexualwissenschaft. So drehte sich die Debatte um pädosexuelle  Kontakte weitgehend um den empirischen Nachweis ihrer (Un-)Schädlichkeit. Beim Blick auf vergeschlechtlichte Vorstellungen von Normalität und Devianz, von der Persönlichkeit des Pädophilen, der Rolle von Kindern in pädosexuellen Verhältnissen und der Frage danach, woran genau sich eine mögliche Schädlichkeit dieser Beziehungen bemessen lasse, werden vielfältige Verschiebungen innerhalb des Sexualitätsdispositivs über den Gegenstand der Pädophilie hinaus deutlich.

This essay was published in the American magazine "Rhizomes: Cultural Studies in Emerging Knowledge", 28, summer 2015: The american artist Hermine Freed's video work "Art Herstory" (1974) is unfamiliar to most people today. By means of montage and through a self-critical gaze, this pioneering video work highlights the processes of historicisation, its more or less arbitrary inclusions and omissions, its hidden operations. With the passing years, "Art Herstory" has itself succumbed to precisely these processes, turning it into a good illustration of the same marginalisation which the video seeks to put up for debate.

Après une première sortie annulée en 2013 pour des raisons obscures (a été mentionné un blocage de la part de la veuve Giraud en raison d'une possible violation des droits concernant les dessins de son mari, largement présents dans le film), le documentaire de Frank Pavich sur l'adaptation cinématographique avortée en 1975 du planet opera culte de Frank Herbert (Dune, publié en 1965) par le réalisateur d'origine chilienne Alejandro Jodorowsky, est finalement sorti dans les salles françaises en mars 2016 (après avoir été largement visible depuis 2014 et son édition en Blu-ray).

S'il permet effectivement d'entrevoir des esquisses inédites du fameux story-board de mille pages dessiné par Jean Giraud/Moebius (et d'imaginer à quoi celui-ci ressemblerait si on l'adaptait sous forme d'anime), le documentaire de Pavich ne fournit aucune révélation particulière à l'endroit du projet « donquichottesque » du réalisateur : son histoire ayant été moult fois relatée, à commencer par Jodorowsky lui-même (qui en publia un compte rendu dès 1985 dans le supplément au numéro 107 de Métal Hurlant : « Dune, le film que vous ne verrez jamais »). Malgré son aspect « bonus DVD d'un film qui n'existe pas », Jodorowsky's Dune permet tout de même d'apprécier la place que tient ce ratage légendaire au sein de l'histoire hollywoodienne, ou dans l'imaginaire cinéphile contemporain.

Enfin, étant entièrement acquis à la « cause » du réalisateur, il offre l'opportunité de se confronter à une nouvelle version des faits et de découvrir ainsi de nouvelles failles au sein de la « légende officielle » du projet ; de confirmer - au cas où cela serait encore nécessaire - que tout ce qui est dit à son sujet doit être pris avec prudence.

https://academic.oup.com/gh/advance-article-abstract/doi/10.1093/gerhis/ghy067/5091968?redirectedFrom=fulltext

My review of the first two academic monographs on Krautrock, published in the journal "German History": (1) Alexander Simmeth's "Krautrock Transnational: Die Neuerfindung der Popmusik in der BRD, 1968-1978" (Bielefeld: transcript, 2016) and Ulrich Adelt's "Krautrock: German Music in the Seventies" (Ann Arbor: University of Michigan Press, 2016).

In this study, approaches of political parties in Turkish Republic of Northern Cyprus (TRNC) to Cyprus Issue will be examined. Although it is impossible to oversee contributions and effects of guarantor states and international organizations to Cyprus Issue, political parties in Turkish Republic of Northern Cyprus are the reflectors of will of Cypriots. In order to examine politics of political parties, history of Cyprus Issue, general elections and presidential elections since 1976 will be evaluated. Furthermore, leftist and rightist parties that formed governments and Presidents with leftist and rightist backgrounds will be examined in regard to their perspectives of Cyprus Issue. Presidential office runs negotiations with Greek side in the name of Cypriots as their representatives. In this study, literature review was conducted with the help of quantitative study. In addition, interwievss were held with Derviş Eroğlu who is the third President of T.R.N.C. and Assembly Member of Communal Democracy Party, Mehmet Burhan.
Keywords: Cyprus Issue, Turkis Republic of North Cyprus, Political Parties

Deze paper is een analyse van de parlementaire werkzaamheden tussen 1970 en 1975, ter voorbereiding van een nieuwe drugswetgeving. In de jaren zeventig van vorige eeuw is er een verschil ontstaan in de wetgeving én in de maatschappelijke aanpak van het drugprobleem tussen België en Nederland. Hoe is dit in de parlementen van de twee buurlanden tot stand gekomen? Er werd gesteund op de parlementaire verslagen als voornaamste bron. Het werd een criminologisch-historische verhandeling. En, er werd een oorzaak gevonden!

English
"Why is there a difference between the Netherlands and Belgium in tackling the drug problem?"
This paper is an analysis of the parliamentary work between 1970 and 1975, in preparation for new drug legislation. In the seventies of the last century, there was a difference in legislation and the social approach to the drug problem between Belgium and the Netherlands. How did this happen in the parliaments of the two neighboring countries? It was supported by the parliamentary reports as the main source. This treatise is a criminological-historical analysis. And, a cause was found!

After the original one was canceled in 2013 for obscure reasons (it was speculated that the widow Giraud objected due to alleged copyright infringement concerning her late husband's drawings, prominently featured in the film), Frank Pavich's documentary, centered on the failed 1975 cinematic adaptation of Frank Herbert's cult classic planet opera (Dune, 1965) by Chilean director Alejandro Jodorowsky, finally premiered in French theaters in March 2016 (although it has been widely available since 2014 through its Blu-ray edition). While it does offer new glimpses of the famous thousand-page storyboard drawn by Jean Giraud/Moebius (and allows us to envision what it might have looked like as an anime), Pavich's film doesn't unveil any significant revelations about the director's quixotic project, the story of the latter having already been recounted numerous times, primarily by Jodorowsky himself (who published his own account as early as 1985 in the supplement to issue #107 of the French magazine Métal Hurlant: “Dune, le film que vous ne verrez jamais”).

Beyond resembling a “DVD bonus about a movie that never came to fruition”, Jodorowsky's Dune allows us to appreciate the significance of this legendary failure within Hollywood history, lingering in the depths of cinephile memory. Moreover, by fully immersing us in the director's cause, it offers an additional perspective on the project's backstory, allowing us to uncover potential new flaws within its official legend. This reaffirms, if there was any doubt, the need to approach everything told about it with much caution.

Ten years in the making, An Alternative Seventies: the last age of Radicalism is a revisionist look at design and styling in the 1970s and sets out to demolish the long-established fallacy that all is hideous from this decade. Diligent research and the author’s long-term interest in this radical period of cultural history has a revealed a lost world of bold and exciting design which in many ways is far less conservative than today’s post-Minimalist landscape. One of this survey’s central arguments is that once the political and societal reforming energy of the 1960s had been expended by about 1971, this nevertheless irrepressible momentum found alternative outlets in brazen design and for that matter also pioneering music during the 1970s. Early 1970s radicalism would then see its last chance saloon with Punk during 1976-78, a final act of defiance in the face of a second half of the decade return to conformity, a state of existence consolidated by the 1980s. 

An Alternative Seventies : the last age of Radicalism is a revisionist reading of 1970s design; based on a non-parodic appreciation, parody still being the mainstream perception of the decade. This survey strives to show that high-calibre design did emerge from a long misunderstood and still-underexplored decade in design history.

This book is probably the first ever attempt at identifying and codifying the formal traits of 1970s design from architecture to product design.

The 1970s might now be ‘in’ but if a developer can make money from a site, 1970s architecture and interior design faces very likely destruction, from London to Milan. This survey therefore aims to guide conservationists in terms of what to look for and then protect.

A look at the ways that plotlines, visuals, and soundtracks of American "Made-For-TV" Movies about teen runaway girls evolved over the 1970s decade, subliminally promoting an increasingly conservative ideology to both parental and teen viewers.

Ouvrage désormais accessible sur CAIRN : https://www.cairn.info/revue-etudes-theatrales-2008-3.htm

Placée sous le signe du quotidien, une part importante de la production théâtrale des années 1970 est marquée par la volonté de faire accéder à la lumière ce qui en est habituellement exclu. Or ce geste s'avère doublement paradoxal : dramatiquement, parce qu'il promeut la vie ordinaire de gens sans histoire au rang d'objet théâtral digne d'être représenté ; politiquement, dans la mesure où, prenant le parti du plus grand éloignement par rapport aux lieux canoniques du pouvoir, il ne renonce pas pour autant à sa représentation mais s'attache au contraire à en révéler les modes imperceptibles de fonctionnement. Sans que nous ayons affaire à une École unitaire, ce geste s'offre comme le point de convergence des recherches menées durant la décennie par des auteurs tels que Kroetz, Sperr, Fassbinder, Deutsch, Wenzel ou Vinaver.

Comment rendre visible un pouvoir qui ne s'impose pas de l'extérieur à ses sujets ? Au prix de quels aménagements la forme dramatique peut-elle représenter les opérations de détail par lesquelles le pouvoir marque son empreinte sur les gestes et les discours ? Partant de la nouvelle économie de la visibilité des rapports de force sociaux diagnostiquée par Michel Foucault, cet essai analyse les modalités selon lesquelles les dramaturgies des années 1970 expérimentent la réalité sans corps du pouvoir contemporain. Engageant un changement d'échelle qui cherche à dessaisir le quotidien de sa familiarité, ces dramaturgies permettent d'interroger le devenir formel du drame. Mais c'est surtout la fonction critique du théâtre qu'elles invitent à questionner, dessinant, sous l'influence de Büchner, Horváth ou Fleisser, le territoire méconnu d'une scène alternative qui n'a cessé de repenser les pouvoirs de la représentation et ses rapports avec la réalité.