![]() In this article, we use qualitative mixed methods to explore the significance of the watch for United States straight edgers who own or express interest in the watch. The first and second incarnations of the watch, as well as knockoffs, indicate aesthetic trends in the fashion cycle, evolutions as well as stagnations in subcultural individual and community expression, and the complexities of a mass market item that has multiple cultural meanings within the same time period. The limited-edition watch became highly collectable on the second-hand market and was re-released by Swatch in 2018 with design changes, including larger size and more colour options. Swatch first released the watch in 1987 with a black band and white face featuring a large black ‘X’, a prominent symbol in the straight edge scene visible on clothing, in tattoos and drawn on hands. The ‘X-rated Swatch Watch’ is extremely popular within straight edge, a clean-living punk offshoot in which participants abstain from alcohol, tobacco and illicit drugs. This research explores lifestyle consumerism and inquires into a subcultural community’s use of a mainstream fashion object to express alternative values. This was exemplified by seven themes: social justice and social conscience, violence and reconciliation, remembrance, migration and sanctuary, COVID-19 and lockdowns, personal well-being and nature and environment.Ĭontribution: Situated within the science of cathedral studies, this article identifies the range of innovative events and installations hosted by Anglican Cathedrals in England and the Isle of Man and assesses the significance of these events and installations through Edward Bailey’s lens of implicit religion, discussing first the softening of boundaries between the sacred and the secular and then the generation of meaning and purpose through the core themes raised by these events and installations. Second, the notion of implicit religion draws attention to the themes and activities that generate meaning and purpose. This was exemplified by eight categories of events: scientific exhibitions, festivals, musical events, art exhibitions, theatre, markets, community events and installations. First, the notion of implicit religion softens the boundaries between the sacred and the secular. Two insights from the theory of implicit religion emerged as of particular significance. ![]() The conceptual framework draws on Edward Bailey’s theory of implicit religion to classify and to explore these events and installations. The empirical framework draws on cathedral websites to chronicle the wide and diverse range of events and installations hosted by Anglican cathedrals in England and the Isle of Man between 20. The present study contextualised these innovations both empirically and conceptually. High profile (and controversial) events and installations, like the Helter-Skelter in Norwich and the Crazy Golf Bridges in Rochester, have drawn attention to innovation and public engagement within Anglican cathedrals. ![]() ![]() Provocatively exploring the notion of salvation, redemption, forgiveness and faith through a Straight Edge lens, it suggests that while the study of religion as an abstraction is doomed to a simplistic repetition of dominant paradigms, being willing to examine religion as a lived experience reveals the utility of a broader and more nuanced approach. Engaging with questions of identity construction through concepts such as authenticity, community, symbolism and music, this book furthers the debate on what we mean by the concepts of 'religion' and 'secular'. Utilising a focused and detailed study of Straight Edge punk (a subset of punk in which adherents abstain from drugs, alcohol and casual sex) Punk Rock is My Religion argues that traditional modes of religious behaviours and affiliations are being rejected in favour of key ideals located within a variety of spaces and experiences, including popular culture. As religion has retreated from its position and role of being the glue that holds society together, something must take its place. ![]()
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