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How did gays in the military go from being characterized as dangerous perverts threatening to the state, to victims being persecuted by the state, to potential heroes fighting on behalf of the state? What implications does this shift have for understanding the means by which the liberal state uses law to include the previously excluded? Offering a critical account of the inclusion of gays in the military, I argue that while the lifting of the ban can be seen as an important step in a classic civil rights narrative in which the liberal state gradually accommodates the excluded, pop culture allows us also to see state and minority group interest convergence as well as divergence, revealing the costs of inclusion.

This chapter is a contribution to the intellectual history of the anxiety that full employment in the modern United States depended somehow on military spending. This discourse (conveniently abbreviated as “military Keynesianism”) is vaguely familiar, but its contours and transit still await a full study. The chapter shows the origins of the idea in the left-Keynesian milieu centered around Harvard’s Alvin Hansen in the late 1930s, with a particular focus on the diverse group that cowrote the 1938 stagnationist manifesto An Economic Program for American Democracy. After a discussion of how these young economists participated in the World War II mobilization, the chapter considers how questions of stagnation and military stimulus were marginalized during the years of the high Cold War, only to be revived by younger radicals. At the same time, it demonstrates the existence of a community of discourse that directly links the Old Left of the 1930s and 1940s with the New Left of the 1960s and 1970s, and cuts across the division between left-wing social critique and liberal statecraft.

Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches.

Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene.

Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity.

Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences.

Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

This chapter examines the limitations of the Western world view in Australia and its influence on the built environment. The dominant narrative of colonialism has disregarded alternative ways of being in the world, resulting in a lack of inclusivity for First Nations peoples. To address this issue, there is potential in embracing an alternative world view through design thinking and co-design to develop more culturally and environmentally suitable places through holistic ways of understanding the world to influence future design strategies for knowledge dissemination. This chapter’s contribution is in promoting an alternative perspective that can challenge the dominant world view and create more inclusive and culturally sensitive spaces that reflect the diversity of the community. This is particularly relevant in the current political climate, where there is a growing advocacy for change and a motivation to look to other cultural perspectives, such as those of First Nations peoples. It calls for a paradigm shift in how we think about and synthesise architecture in Australia. This chapter advocates for the acceptance and engagement with First Nations peoples’ world views, particularly in the fields of architecture, design and places that focus on cultural records.

Purpose – The purpose of this work is to explore ways in which parents of children with disabilities actively seek to create a place for themselves and their children within supportive communities of others – despite structural and attitudinal barriers.

Methodology – Semi-structured, interactive interviews were conducted with six mothers and six fathers of older teens and young adults with severe impairments. Interview transcripts were analyzed for themes related to barriers to social participation and strategies used to create and sustain communities of supportive others.

Findings – Results suggest that, while there are indeed many barriers to social participation, these mothers and fathers have successfully utilized a variety of strategies in order to create a sense of community for themselves and their children including: garnering support from family; creating enclaves of “wise” individuals; and active social networking. Findings also suggest that children with disabilities can provide opportunities for parental community involvement in unexpected ways.

Limitations, implications and value – The sample is small and selective and the study used retrospective interviews to examine parental memories. Despite these limitations, the narratives of these parents provide a provocative look at the potential role of personal agency in the community experiences of parents of children with disabilities. The stories told by these parents clearly suggest that it takes concerted effort to construct a village in the face of significant barriers to social participation. Once created, however, that village of supportive others can provide life enhancing support for children with disabilities and their families.

This chapter is about the modern, Western education system as an economic system of production on behalf of the capitalist mode of production (CMP) and globalization towards a single, global social space around market capitalism, liberal democracy and individualism.

The schooling process is above all an economic process, within which educational labour is performed, and through which the education system operates in an integrated fashion with the (external) economic system.

It is mainly through children’s compulsory educational labour that modern schooling plays a part in the production of labour power, supplies productive (paid) employment within the CMP, meets ‘corporate economic imperatives’, supports ‘the expansion of global corporate power’ and facilitates globalization.

What children receive in exchange for their appropriated and consumed labour power within the education system are not payments of the kind enjoyed by adults in the external economy, but instead merely a promise – the promise enshrined in the Western education industry paradigm.

In modern societies, young people, like chattel slaves, are compulsorily prevented from freely exchanging their labour power on the labour market while being compulsorily required to perform educational labour through a process in which their labour power is consumed and reproduced, and only at the end of which as adults they can freely (like freed slaves) enter the labour market to exchange their labour power.

This compulsory dispossession, exploitation and consumption of labour power reflects and reinforces the power distribution between children and adults in modern societies, doing so in a way resembling that between chattel slaves and their owners.

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

The vigilante subgenre represents one of the more problematic trends in American action cinema, as it inherently boasts reactionary sentiments through the promotion of violence as an adequate means of asserting one's masculinity. As will be argued in this chapter, American vigilante films can be categorised into three distinct historical waves: the 1970s, the 2000s and the 2010s. The products of each wave present themes of masculinity relevant to their respective cultural period, specifically, anti-counterculture sentiments, post-9/11 anxieties and a growing cultural awareness of toxic masculinity. The third wave of vigilante films is particularly noteworthy in that it correlates with the prospective emergence of metamodernism, a cultural movement that, in contrast to postmodernism's use of apathy as response to trauma, opts for a cautiously optimistic return to metanarratives. Consequently, third wave vigilante films provide more deconstructive portrayals of vigilante figures through metamodernism's oscillation between irony and optimism. This chapter will outline the history of these three waves of vigilante cinema and provide textual analysis of Blue Ruin (2013) and You Were Never Really Here (2017), two third wave films that demonstrate self-reflexive portrayals of vigilante violence in correlation with metamodern masculinity. The results of these analyses indicate that vigilante films, and perhaps American action cinema in its entirety, are moving towards narratives that seek to challenge the more reactionary sentiments of films from years prior.