Մարմիններդով սարսուռ կանցնի..

Մարմիններդով սարսուռ կանցնի, երբ լսեք սա…Առաջին հայ տրանսգենդեր կին Լիլիթը՝ մարմնավաճառության մասին. ի՞նչ բացահայտումներ է նա անում իր անցյալից. ՏԵՍԱՆՅՈՒԹ Մարմիններդով սարսուռ կանցնի, երբ լսեք սա…Առաջին հայ տրանսգենդեր կին Լիլիթը՝ մարմնավաճառության մասին. ի՞նչ բացահայտումներ է նա անում իր անցյալից. ՏԵՍԱՆՅՈՒԹ Մարմիններդով սարսուռ կանցնի, երբ լսեք սա…Առաջին հայ տրանսգենդեր կին Լիլիթը՝ մարմնավաճառության մասին. ի՞նչ բացահայտումներ է նա անում իր անցյալից. ՏԵՍԱՆՅՈՒԹ

 

 

 

 

 

 

 

 

The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of the Business guitarist Steve Kent, «trendy university people using long words, trying to be artistic … and losing touch».[334] According to Bushell, «Punk was meant to be of the voice of the dole queue, and in reality most of them were not. But Oi was the reality of the punk mythology. In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music.»[335] Lester Bangs described Oi! as «politicized football chants for unemployed louts».[336] One song in particular, the Exploited’s «Punks Not Dead», spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas; one banda named itself PND, after the song’s initials.[337]

Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a white power skinhead following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the «middle-class establishment».[338] In the popular imagination, the movement thus became linked to the far right.[339] Strength Thru Oi!, an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a neo-Nazi jailed for racist violence (Bushell claimed ignorance).[333] On July 3, a concert at Hamborough Tavern in Southall featuring the Business, the 4-Skins, and the Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering.[340] Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.[341]

Anarcho-punk
Main article: Anarcho-punk
Two members of the rock band Crass are shown at a performance. From left to right are an electric guitarist and a singer. Both are dressed in all black clothing. The singer is making a hand gesture.
Crass were the originators of anarcho-punk.[342] Spurning the «cult of rock star personality», their plain, all-black dress became a staple of the genre.[343]
Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspired by Crass, its Dial House commune, and its independent Crass Records label, a scene developed around British bands such as Subhumans, Flux of Pink Indians, Conflict, Poison Girls, and the Apostles that was concerned as much with anarchist and DIY principles as it was with music. The acts featured ranting vocals, discordant instrumental sounds, primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.[344] Anarcho-punk musicians and fans disdained the older punk scene from which theirs had evolved. In historian Tim Gosling’s description, they saw «safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry. … Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with ‘the establishment,’ the anarcho-punks kept clear of ‘the establishment’ altogether».[345]

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