Quadrophenia and Mod(ern) Culture PDF
Preview Quadrophenia and Mod(ern) Culture
HPIAASNTLGODRR PYAOV OPEFU S LSTAUURBD CMIEUSULT SIUNICR TEHSE MQouda(derronp)h eCnuilat uarned Edited by Pamela Thurschwell Palgrave Studies in the History of Subcultures and Popular Music Series Editors Keith Gildart University of Wolverhampton, Wolverhampton, UK Anna Gough-Yates University of West London, London, UK Sian Lincoln Liverpool John Moores University, Liverpool, UK Bill Osgerby London Metropolitan University, London, UK Lucy Robinson University of Sussex, Brighton, UK John Street Vancouver, British Columbia Canada Peter Webb University of the West of England Cambridge, UK Matthew Worley University of Reading, UK From 1940s zoot-suiters and hepcats through 1950s rock ‘n’ rollers, beatniks and Teddy boys; 1960s surfers, rude boys, mods, hippies and bikers; 1970s skinheads, soul boys, rastas, glam rockers, funksters and punks; on to the heavy metal, hip-hop, casual, goth, rave and clubber styles of the 1980s, 90s, noughties and beyond, distinctive blends of fashion and music have become a defining feature of the cultural land- scape. The Subcultures Network series is international in scope and designed to explore the social and political implications of subcultural forms. Youth and subcultures will be located in their historical, socio- economic and cultural context; the motivations and meanings applied to the aesthetics, actions and manifestations of youth and subculture will be assessed. The objective is to facilitate a genuinely cross-disciplinary and transnational outlet for a burgeoning area of academic study. More information about this series at http://www.springer.com/series/14579 Pamela Thurschwell Editor Quadrophenia and Mod(ern) Culture Editor Pamela Thurschwell University of Sussex Falmer, UK Palgrave Studies in the History of Subcultures and Popular Music ISBN 978-3-319-64752-4 ISBN 978-3-319-64753-1 (eBook) https://doi.org/10.1007/978-3-319-64753-1 Library of Congress Control Number: 2017949452 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover illustration: QUADROPHENIA: Jimmy and Brighton pier. Photograph by Ethan Russell. Copyright © Ethan Russell. All rights reserved Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland A cknowledgements I have a great many thanks to give, starting with all the participants from the conference, Here by the Sea and Sand: A Symposium on Quadrophenia that took place at the University of Sussex in July, 2014, and spawned this book. Special thanks go out to Franc Roddam, Alan Fletcher, Paolo Hewitt, and James Wood. Thanks go to the aptly named Centre for Modernist Studies at the University of Sussex for funding the origi- nal conference, along with the Centre for Visual Fields and the Centre for Research into Childhood and Youth, also at Sussex. Thanks to the Subcultures Network editors and to all the people on the Subcultures, Popular Music and Social Change Facebook page who have supplied me with information and inspiration. Enormous thanks go to Franc Roddam, Ethan Russell, Robert Rosenberg, and the Who, all of whom have been generous with time, permissions, words, and images. Big thanks, and love, to Jim Endersby who read my article and intro- duction, formatted my book, saved the index, and my life. Also for input and readings along the way, thanks goes to Geoff Gilbert, Keith Gildart, and Matt Worley. Suzanne Canally has seen me through all my Mod moments and supplied me with old copies of Mojo and Uncut when I needed them. My brothers, Adam and Eric Thurschwell, introduced me to the album and took me to see the movie for the first time, and for that I am grateful. Thanks to the mini-Mods in my life, Max and Katya Endersby. Thanks, obviously, to Pete Townshend and the Who, without whom, well, there wouldn’t be a bleeding book, would there? v c ontents 1 Introduction: Dressed Right for a Beach Fight 1 Pamela Thurschwell Part I Quadrophenia in its Histories 2 Brighton Rocked: Mods, Rockers, and Social Change During the Early 1960s 13 Bill Osgerby 3 “Who (the Fuck) Are You?”: Out with the In-Crowd in Quadrophenia 35 Ben Winsworth 4 Discovering the Who’s Mod Past: The American Reception of Quadrophenia 51 Christine Feldman-Barrett 5 Heatwave: Mod, Cultural Studies, and the Counterculture 67 Sam Cooper vii viii CONTENTS Part II The Mobility of Mod: Class, Culture, and Identity 6 Class, Youth, and Dirty Jobs: The Working-Class and Post-War Britain in Pete Townshend’s Quadrophenia 85 Keith Gildart 7 Quad to Run: The Crucible of Identity as Represented in Quadrophenia and Born to Run 119 Suzanne Coker 8 Taking the 5:15: Mods, Social Mobility, and the Brighton Train 131 Tom F. Wright Part III Reading Quadrophenia: Genre, Gender, Sexuality 9 “What are You Gonna Do Tonight?” “Wait for a Phone Call I Suppose”: Girls, Mod Subculture, and Reactions to the Film Quadrophenia 151 Rosalind Watkiss Singleton 10 “Poofs Wear Lacquer, Don’t They, Eh?”: Quadrophenia and the Queerness of Mod Culture 173 Peter Hughes Jachimiak 11 The Drowning Machine: The Sea and the Scooter in Quadrophenia 199 Brian Baker 12 “You Were Under the Impression, that When You Were Walking Forwards, that You’d End up Further Onwards, but Things Ain’t Quite that Simple”: Time Travelling and Quadrophenia’s Segues 217 Pamela Thurschwell CONTENTS ix 13 Interview with Franc Roddam 235 Pamela Thurschwell 14 Interview with Ethan Russell 251 Pamela Thurschwell and Keith Gildart Index 263 e c ditor And ontributors About the Editor Pamela Thurschwell teaches at the University of Sussex. Her books include Literature, Technology and Magical Thinking, 1880–1920 (2001), Sigmund Freud (2000), Literary Secretaries/Secretarial Culture (2005) co-edited with Leah Price, and The Victorian Supernatural (2004) co-edited with Nicola Bown and Carolyn Burdett. She has also published widely on pop music, including articles on Billy Bragg, The Smiths, Bob Dylan, and Elvis Costello. Contributors Brian Baker is a senior lecturer in English and Creative Writing at Lancaster University. He works on science fiction, masculinities, and post-war British and American fiction, having published monographs on Masculinities in Fiction and Film 1945–2000 (2006), Iain Sinclair (2007), Contemporary Masculinities in Fiction, Film and Television (2015), and also The Reader’s Guide to Essential Criticism in Science Fiction (2014). Suzanne Coker lives and works near Birmingham, Alabama. While she has published a small amount of poetry, this is her first prose publication. xi
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