Abstract
Networks of Sound, Style and Subversion provides an in depth perspective of The Punk and Post-Punk Worlds of Manchester, London, Liverpool and Sheffield from 1975 to 1980. Crossley’s examination and analysis of these networks displays the nature and growth of an era of music which has had a phenomenal impact on the music and fashion industry. Crossley draws upon Howard Becker’s (1982) concept of ‘art world’ in attempting to conceptualize ‘punk and post-punk as “music worlds”’ (p. 235).
Initially, Crossley, discusses the meaning of music bringing together earlier works and concepts, while motioning as music develops, be it on a local level such as a city, or reaching further fans which in turn takes conventions and identity to a national level, yet there is overlap between ‘music worlds’ which Crossley conveys throughout the book. The devise, development and growth of punk emerged through a series of facets such as social constraints, strains, frustrations ‘which its pioneers are said to have reacted against’ (p. 235), and although he recounts the theories and thoughts of key individuals from the punk era (such as, Rotten and McLaren) Crossley recognizes there is more to unwrap to fully understand ‘[...] the microcosm in which punk emerged, its micro-mobilisation context’ (p. 78). Further, the Centre for Contemporary Cultural Studies ‘explains punk as a response to the twofold alienation of working-class youth, for example, and to frustration at the co-optation of previous youth cultural responses to this alienation’ (p. 235).
In Chapter 4, Crossley starts to gain an understanding of these music worlds as he concludes: ‘Music worlds are a form of collective action and they arise through a process of mobilisation and collective effervescence’ (p. 96). Further, Crossley notes this concept is executed through ‘a critical mass of interested individuals’ who are connected to one another through friendships or social networks or by resources (p. 96). Therefore he believes the emergence of punk would be greater in larger cities based on their social networks/connections rather than small towns with smaller populations. Crossley reiterates how one individual’s musical taste may facilitate the growth of a new music genre such as punk, having being a fan of a group similar to the upcoming band(s) and attending gigs which in turn facilitates individuals to meet new people and form further friendships and social networks – in a way spreading the word.
Crossley tries to understand why punk’s primary network evolved from London rather than other areas of the country such as Manchester or Sheffield, drawing upon the initial belief that it was down to the fact that ‘the Sex Pistols’ gigs played a big part in the growth of London’s punk network’ (p. 147). But Crossley states this is not a satisfactory answer and proposes further that it could also be due to the ‘network generated around McLaren and his shop’ (p. 147) – SEX. This network and resources that surrounded McLaren and Westwood – who also had a shop which was attractive to ‘alternatively inclined youths’ – facilitated others to find out about and explore the music of the Sex Pistols which in turn extended the network of punk. Sex Pistols’ gigs were announced via the network surrounding McLaren and likeminded individuals which added to the moulding and shaping of these groups and of punk. Further, Crossley notes there were other individuals (Mick Jones, Tony James, T.V. Smith and Gaye Advert, Pete Shelley and Howard Devoto) who were attempting to do similar things in and outside of London but that up until the Sex Pistols’ breakthrough they were operating in a ‘vacuum’. Whereas the Sex Pistols were shaped and supported by likeminded individuals. Although the network was small, it was still influential. Crossley states: McLaren’s Kings Rd network provided the launch pad from which they could perform and advertise their performances. It was the means through which they acquired a following and also imitators and competitors who, playing alongside them, would generate a punk world. (p. 147)
Yet, in Liverpool there were bands such as Deaf School and Albert Dock which were also ‘beginning to generate something of a music world within the Liverpool context’ (p. 148).
So It Goes, a television programme presented by Tony Wilson gave the Sex Pistols their first TV appearance. This initial mass media production did not go smoothly for the group or the production team of So It Goes resulting in band chaos ‘as the cameras panned out’ (p. 162) while one of the band members was wearing a swastika armband which was unable to be concealed. However, causing this type of controversy, in addition to the ethos of the programme enabling viewers outside of London to hear new acts and songs being published, extended the networks of punk. This, Crossley suggests, brought the notion of ‘local punk worlds’ to cities across the UK (p. 162).
Towards the end of the book, Crossley starts to tie his thoughts, analysis and notions together, starting with reflection on earlier chapters and moving through qualitative analysis of how networks, collective action and music worlds created throughout this era align with the development of punk. Crossley states: Network properties and structure are important because, as I argued in the earlier chapters of the book, they facilitate the collective action which in turn, facilitates the emergence of a music world. They facilitate the organisation of events, the formation of bands, the emergence of distinctive conventions, the mobilisation of resources and the collective identification of ‘places’ for world building and hanging around. (pp. 209–210)
Overall, Crossley has provided the readers of Networks of Sound, Style and Subversion with a detailed account, through an approach of critical mass, social networks, music worlds utilizing sociological techniques to analyse his thoughts and concepts. This book should be sound reading for people interested in the areas of music, communication, and social sciences seeking to understand how the construction of social networks within particular arenas of society are or have been formed. The author is able to draw upon a series of evidence throughout the book to assist his arguments and I believe this publication would be of use to students at all degree levels with the opportunity to understand and construct this type of conceptual and theoretical understanding.