"The role of pop culture is interesting here, because it’s both more and less modernist than the capital-intensive world of city-planning and architecture. Hippies, even the smartest of them, basically hated modernism and saw anything in concrete as an appalling monstrosity; but then they partly grew out of Mods, who were called ‘Modernists’ for a reason. Pop goes retro before architecture, in the late ’60s, but its anti-modernism was very different. Postmodernists like to drag Pop into their arguments, but it doesn’t wash for me; the difference between architects like Robert Stern or Leon Krier repudiating everything that happened after 1914 is a very different matter to, say, a producer in the ’80s sampling (and distorting, and making new) something made in the ’60s. Pop kept the momentum of modernism up until comparatively recently – something like Grime was obviously Modernist, an insurgent, futuristic force, and rave, pirate radio and so on strike me as implicated in everyday life and urban space in a modernist, if not always optimistic, way"
-- Owen Hatherley, with some sharp thoughts about modernism versus postmodernism, both in his main beat (architecture) and in culture generally
oh and look Owen's got a new book out next month (incredible work-rate he maintains -- New Ruins was out not even 2 years ago!), viz:
A New Kind of Bleak: Journeys through Urban Britain (forthcoming on Verso)
[i didn't even notice there was a 2011 sequel to "Pow"]