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In the late 1980s the rave phenomenon swept the youth culture of the United Kingdom, incorporating the generations' two newest social stimulants: modern electronic dance music and a notorious designer drug known as Ecstasy. Although the movement began in rebellion against mainstream culture, its underground dynamism soon attracted the interest of novelists, screenwriters, and filmmakers who attempted to reflect the phenomenon in their works. Through artistic and commercial popularization, the once obscure subculture was transformed into a pop-culture behemoth with powerful links to the enterta

"This study deals with the effects of film, television and literature on club culture. Chapters reflect club culture's own effect on crime, ethnicity, sexuality and drug use. Each chapter focuses on individual books, films and television shows that reflect the transformation of the club culture into what it is today"--Provided by publisher

Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.

The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the 'tolerated' and 'banned' categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia through many threads, which seemed to be undesirable for those in power. This study outlines a general picture on the characteristics of the folklorist-movement of the 1970s and 1980s, thought to be dissident in nature, then it will show through examples of different life courses and case studies how the search for new paths materialized in folk handicrafts, and what impact this era exerted on the folk artisanship in the period after the political transition.

The article considers the industry estimates of the USSR of the late socialist period contained in the works of foreign economists. Particular attention is paid to the sovietological interpretations of the state of the USSR industrial sector as well as the economic policy of Soviet leadership in generating growth of industrial production, development of the Eastern regions of the country, innovation and modernization of fixed assets. The author concludes that the studies conducted by foreign scientists make it possible to clarify the assessment of the industrial sector of the Soviet Union before Perestroika and to adjust the estimates of economic development of the USSR of the "Brezhnev Era".

Unpublished data from the CPS were used to compare the rates of change in women's employment and female representation in craft occupations during periods of growth and recession in the 1970s and 1980s. Separate rates of change were computed for white and black women. Contrary to the expectations of "reserve army" or "buffer' theories, integration of elite blue-collar occupations continued despite economic downturn and the erosion of state support for affirmative action and nontraditional training. In fact, during the recession of the early 1980s, the pace of integration increased for both white and black women. Nevertheless, there was evidence of segmentation of women by race within skilled blue-collar work.