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4 The Cartel (1978-1988) was an association of independent record shops in the UK, which would distribute independent records, self-released music and fanzines. 5 For a discussion concerning the relationship between music-making, consumption and technology, see Paul Theberge, Any Sound You Can Imagine: Making Music/Consuming Technology (Middletown: Wesleyan University Press, 1997). 6 Simon Reynolds, Bring the Noise (London: Faber and Faber, 2007), p. 14. 7 Susan Stewart, On Longing – Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham/London: Duke UP, 2007 [1993]). 8 Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994 [1958]). 9 Ortrud Bollnow, Human space (London: Hypen Press, 2011 [1963]). 10 An excellent example of this restrained, barren sound, underpinned by a drum-machine, can be found in Young Marble Giant’s Colossal Youth (Rough Trade, 1980). 11 Giles Smith, Lost in music – A pop odyssey (London: Picador, 1995), p. 168. 12 Martin Roach, The Right to Imagination and Madness – An Essential Collection of Candid Interviews with Top UK Alternative Songwriters (London: Independent Music Press, 1994), p. 209. 13 Gaston Bachelard, La Terre et les Rêveries du Repos (Paris: José Corti, 1948), p. 126. 14 Barry Lazell, Indie Hits 1980-1989 – The Complete U.K. Independent Charts (Singles & Albums) (London: Cherry Red Books, 1997). 15 Duglas T. Stewart, C86 (Click Records, 1990), liner notes. 16 The June Brides, ‘This Town’ from This Town EP (InTape, 1986). 17 Harold Bloom, The Anxiety of Influence – a Theory of Poetry (New York, Oxford: Oxford UP, 1997 [1973]). 18 For a list of sources for Morrissey’s lyrics, see the well-researched webpage . 19 Judy Attfield, Wild Things – The Material Culture of Everyday Life (Oxford, New York: Berg, 2000), p. 153. 20 J.D. Beauvallet, ‘John Peel, le Parrain,’ Les Inrockuptibles, December-January 1988, pp. 42-45. 21 Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge, MA: Harvard University Press, 1996), p. 196. 22 Franz Kafka, Lettres à Milena (Paris: Gallimard, 1988), p. 267. 23 Lavinia Greenlaw, The Importance of Music to Girls – A Memoir (London: Faber And Faber, 2007), p. 163. 60
24 Franz Kafka, ‘Les huits cahiers in-octavo’ in Préparatifs de Noce à la Campagne (Paris: Gallimard, 1957), p. 69. 25 The Smiths, ‘Nowhere fast’ from Meat is murder (Rough Trade, 1985). 26 Stuart Borthwick and Ron Moy, Popular music genres, an introduction (Edinburgh: Edinburgh University Press, 2004). 27 Matt Haynes, Are You Scared To Get Happy? (Bristol: self-published, 1987). 28 For a list of micro-independent record labels of the period, see Robert Strachan, Do-It-Yourself: Industry, Ideology, Aesthetics and Micro Independent Record Labels in the UK (Liverpool: unpublished PhD. thesis, 2003). 29 The Field Mice, ‘Safer’ from Snowball (Sarah, 1989). 30 Bob Stanley, CD86 (Cherry Red, 2006), liner notes. 31 Stephen Duncombe, ‘Sabotage, slack and the zinester search for non-alienated labour’ in David Bell and Joanne Hollows (eds.), Ordinary Lifestyles – Popular Media, Consumption and Taste (Maidenhead and New York: Open University Press, 2005), p. 223. 32 David Cavanagh, The Creation Records Story – My Magpie Eyes are Hungry for the Prize (London: Virgin books, 2001), pp. 190-191. 33 Cited in Bollnow, p. 159. 61
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ACKNOWLEDGMENTS The Luminary would
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FOREWORD THE STORY OF THE BED Dr. M
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CREATIVE PIECE FORMATION OF A DIFFE
Page 10 and 11: “You’re not fucking me,” Laur
Page 12 and 13: I spooned Lauren while rubbing her
Page 14 and 15: CRITICAL ‘NEVER SLEEP AGAIN’ -
Page 16 and 17: ecomes a symbol. These range from u
Page 18 and 19: alarm clock. She has to synchronize
Page 20 and 21: Although they all deal with the sam
Page 22 and 23: the Nightmare series that Freddy-fe
Page 24 and 25: 4 Dir. by Sean S. Cunningham, Param
Page 26 and 27: CRITICAL ‘THEN DRAW THE CURTAINES
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Page 30 and 31: The lack of a critical consensus co
Page 32 and 33: Whereas we might, at the moment, te
Page 34 and 35: Having heard this, the King address
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Page 38 and 39: CRITICAL BETWEEN THE SHEETS: ‘LAM
Page 40 and 41: Sophie Calle has built a unique car
Page 42 and 43: of the situation over to Calle. Sim
Page 44 and 45: documents. In abandoning this stric
Page 46 and 47: language systems), thereby mimickin
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Page 50 and 51: homosexual and that I’m going to
Page 52 and 53: CRITICAL SCENES FROM A BEDROOM: SIT
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Page 58 and 59: phantasm of space. The bed is (both
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Page 72 and 73: 25 Samuel Sewall, The Diary of Samu
Page 74 and 75: CRITICAL JOUISSANCE: JOURNEYS BEYON
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Page 78 and 79: can be released. As contradictory a
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Page 82 and 83: INTERVIEW / REVIEW PROFESSOR TERRY
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Page 86 and 87: proudly presented to me as the bigg
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