Preface -- Skinhead history -- Racist and non-racist skins : an analysis of why they, join, stay, and quit -- Gay skinheads: a part of or apart from the skinhead moment -- Female skinheads -- Skinhead music : the beat goes on -- Exploring skinhead identity through an analysis of skinhead websites -- Social networks, and social media -- Conclusion: who is a true skinhead? -- Index

Skinheads go beyond the societal stereotype of hate mongers, bigots, and Neo-Nazis. The community of skins also includes traditional skins (those that adhere to the original philosophy of the British movement in 1969), Skinheads Against Racial prejudice (SHARPS), and gay skins, female skins and Neo-Nazi or Racist/Nationalist skins. Skinhead History, Identity, and Culture covers the history, identity, and culture of the skinhead movement in Europe and America, looking at the total culture of the skins through a cross-sectional analysis of skinheads in various countries. Authors Borgeson and Valeri provide original research data to cast new light into the skinhead community. Some of the data is ethnographic, drawing on face-to-face interviews with skins of all kinds, while other data is compiled from the Internet and social media about various skinhead groups within the United States, Europe, and Australia. The book covers the history of the subculture; explores the unique cultures of female, gay, and Neo-Nazi skins; and explores manifestations of the culture as represented on the Internet and in music. The work discusses how skinheads derive their values and morals and how they fit into the larger social structure.

Moore emphasizes throughout the American identity of skinheadism.

This edited volume concentrates on the period from the 1940s to the present, exploring how popular music forms such as blues, disco, reggae, hip hop, grime, metal and punk evolved and transformed as they traversed time and space. Within this framework, the collection traces how music and subcultures travel through, to and from democracies, autocracies and anocracies. The chosen approach is multidisciplinary and deliberately diverse. Using both archival sources and oral testimony from a wide variety of musicians, promoters, critics and members of the audience, contributors from a range of academic disciplines explore music and subcultural forms in countries across Asia, Europe, Oceania, North America and Africa. They investigate how far the meaning of music and associated subcultures change as they move from one context to another and consider whether they transcend or blur parameters of class, race, gender and sexuality.

This book argues that the political and security threats posed by the domestic radical right in Western countries have been consistently exaggerated since 1945. This has allowed governments to justify censoring and repressing their political opponents, including many who cannot be fairly described as being affiliated with the radical right.

The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.

This book examines the emergence of modern working-class youth culture through the perspective of an urban history of post-war Britain, with a particular focus on the influence of young people and their culture on Britain’s self-image as a country emerging from the constraints of its post-Victorian, imperial past. Each section of the book – Society, City, Pop, and Space – considers in detail the ways in which working-class youth culture corresponded with a fast-changing metropolitan and urban society in the years following the decline of the British Empire. Was teenage culture rooted in the urban experience and the transformation of working-class neighbourhoods? Did youth subcultures emerge simply as a reaction to Britain's changing racial demographic? To what extent did leisure venues and institutions function as laboratories for a developing British pop culture, which ultimately helped Britain re-establish its prominence on the world stage? These questions and more are answered in this book.