Intro; Acknowledgements; Contents; List of Figures; Chapter 1 Introduction; References; Chapter 2 Peter Cook: Missing Links; The Establishment Club; Punk Disconnections; Derek and Clive; Filth; The Double Act; Revolver (1978); Towards Altcom; References; Chapter 3 The 'Alternative'; A Quest; Space (and Time); An Alternative to: Oxbridge; An Alternative to: The 'Northern' Working Men's Club Circuit; A Generational Alternative: 'No Country for Old Men'; A Counter-Ideological Alternative, and the Question of Class; Anti-art?; Vs. the Popular?; References; Chapter 4 Attitudes Towards the Past
Rotten RichardsHonesty as an Ideal; Honesty in Performance; Fictions/Personae; References; Chapter 10 Boundaries of the (Un)Said; Irony; 'Honest Vulgarity'; Lifting the Veil: Shifting Zones of Inarticulacy; A Feminist Question; Politics; Feeling; Digressions and Gaps; Masturbation; From Green Carnations to Overarching Rainbows: Julian Clary; References; Chapter 11 Conclusion; Responsibility and Authorship; Convergences and Divergences; Looking Back; References; Index
The KinksThe Impossibility of Nostalgia; Nostalgia Notwithstanding This; Parody; An Alternative Past; References; Chapter 5 Styling the Amateur; References; Chapter 6 The Role of the Audience; Tilting the Balance; The 'Alternative' Audience; References; Chapter 7 Modes of Dis-/Engagement; Hostility; Alienation; Public Image Limited; An Album Journey: Magazine (1979), Secondhand Daylight; Abjection; The Meta-Comic; References; Chapter 8 Power Play; Reading the Gaze; Spatial Dynamics; Dividing and/or Unifying Audiences; References; Chapter 9 'Style Without Affectation': Honesty and Performance
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This book examines the interconnections between punk and alternative comedy (altcom). It explores how punk's tendency towards humour and parody influenced the trajectory taken by altcom in the UK, and the punk strategies introduced when altcom sought self-definition against dominant established trends. The Punk Turn in Comedy considers the early promise of punk-comedy convergence in Peter Cook and Dudley Moore's 'Derek and Clive', and discusses punk and altcom's attitudes towards dominant traditions. The chapters demonstrate how punk and altcom sought a direct approach for critique, one that rejected innuendo, while embracing the 'amateur' in style and experimenting with audience-performer interaction. Giappone argues that altcom tended to be more consistently politicised than punk, with a renewed emphasis on responsibility. The book is a timely exploration of the 'punk turn' in comedy history, and will speak to scholars of both comedy and punk studies.