Punk

Anarchist Punks Resisting Gentrification: Countercultural Contestations of Space in the New Berlin

by David Drissel

Reinventing Rebellion: Alternative Youth Subcultures In Post-Tiananmen China

by David Drissel

Figuration Punk

by Bodo Mrozek

published in: Netzwerk Körper (Hg.): What Can a Body Do? Figuratuionen des Körpers in den Kulturwissenschaften. Frankfurt a.M. / New York: Campus 2012, S. 191-196.

"Punk ereignete sich auf verschiedenen Ebenen: innerhalb der kapitalistischen Produktionslogiken der Musik- und... more "Punk ereignete sich auf verschiedenen Ebenen: innerhalb der kapitalistischen Produktionslogiken der Musik- und Modeindustrie ebenso wie als subkulturelles Zeichensystem, als Bewegung von Kulturamateur_innen und als künstlerische Avantgarde, die zunehmend in etablierte Kulturräume drängte. Ziel dieses Essays ist es, quer durch die unterschiedlichen Erscheinungsformen von Punk übergreifende körpergeschichtliche Aspekte herauszuarbeiten und historisch zu kontextualisieren: [...] die mit den Stilmitteln der Sexualisierung und Fetischisierung konstituierten normverletzenden Körperkonzepte des Punk [sind] als plakative Manifestationen einer neuen Ästhetik zu lesen, die in bis dato ungekannter Drastik mit sozial affirmativen und zukunftsbejahenden Lebensentwürfen brach. Nach dieser Lesart war Punk im wörtlichen Sinne die Verkörperung einer zeitgeschichtlichen Zäsur: des Strukturbruchs der 70er Jahre."

Turning Rebellion into Money

by Stephen Linstead

Linstead, S. A.  (2010) “Turning Rebellion into Money: The Clash, Creativity and Resistance to Commodification” in Townley, B. and Beech, N. eds. Organizing Creativity  Cambridge: Cambridge University Press ISBN: 9781107403734 pp 125-148.

In this chapter I pursue the dilemma of commodification that creative artistes working in a commercial system... more In this chapter I pursue the dilemma of commodification that creative artistes working in a commercial system experience, explored through critical themes in the work of UK punk band The Clash (Topping 2003 ). The critical themes present in their work are music as cultural resistance/revolutionary form; work, employment and opportunity; domestic fascism; urban dispossession and multiculturalism; and global politics and postcolonialism. The pursuit is ultimately inconclusive,
as we might expect, but illuminates some of the dynamic and
often excruciating tensions involved in commercializing creative
resistance whilst producing perhaps the most musically complex, professionally influential, politically energized, commercially successful and artistically enduring body of work by any of the punk bands.

Popular culture as carnaval

by Stephen Linstead

S. Linstead (2010) “Popular Culture as Carnaval: The Clash, Play and Transgression in the Aesthetic Economy 1976-85” in Townley, B. and Beech, N. eds. Organizing Creativity Cambridge: Cambridge University Press ISBN: 9781107403734 pp 60-80.

In this chapter I explore the question of the appropriateness of the metaphor of carnival when applied to rock music... more In this chapter I explore the question of the appropriateness of the metaphor of carnival when applied to rock music generally, but in particular to the world of The Clash, with its strong visual identity and cartoonish sensibilities displaying eccentricity, mésalliances, ambiguity, profanation, transgression, ambivalent laughter and creative degradation – all classic features of carnival, identifi ed by Mikhail Bahktin . I highlight some of the post-Bakhtinian problems of dealing with a literary representation (carnival) of a lived social relation (which I term carnaval ), and using that representation as a metaphor for a different lived social relation, without direct close engagement with the relevant (transgressive) features of that social relation itself. Whilst the work of The Clash provides useful material for the former analysis, an examination of their social milieu and interpersonal relations provides insight into processes of transgression and what Peter Stallybrass and Allon White (1986 ) call ‘the dialectics of social classifi cation’ . That these social relations have a dark side that is not resisted without cost – a point that is often lost in the application of the carnival metaphor – is underscored by the
conflictual and ultimately destructive dynamics of the band, their
management and organization, despite producing perhaps the most musically complex, professionally influential, politically energized, commercially successful and artistically enduring body of work by any of the punk bands.

When the Party Comes Down: The CPGB and Youth Culture, 1976-1991

by Evan Smith

Twentieth Century Communism: A Journal of International History, 4, 2012 (in press)

This is Not For You: The Rise and Fall of Music Milieux in Seattle and the Pacific Northwest, 1950s -1990s

by Rylan Kafara

MA Thesis.

When Nirvana found sudden commercial success with the song “Smells Like Teen Spirit” in 1991, the music industry’s... more When Nirvana found sudden commercial success with the song “Smells Like Teen Spirit” in 1991, the music industry’s attention became focused on Seattle for the first time. The city, however, had a rich musical tradition going back decades.  This thesis examines the rise and fall of music communities in Seattle and the Pacific Northwest from the 1950s to the 1990s: the jazz mileu in Seattle in the 1950s, the Pacific Northwest garage rock network of the 1960s, and the alternative music community of the 1980s and early 1990s. It looks at the factors involved in the development of these three distinct scenes: timing, innovation, and marketability, showing the opportunities and limitations of regional music milieux. In doing so, it reveals a trend of musicians of each scene departing Seattle for more major industry centres like Los Angeles. What separated the milieu Nirvana participated in from earlier regional communities was the fact musicians stopped leaving Seattle. This thesis shows why it was finally more beneficial for them to stay.

Guiding White pre-service and in-service teachers toward Critical Pedagogy:

by Brad Porfilio

Co-Authored with Curry Malott (In Press) Journal of Educational Foundations

Guiding White pre-service and in-service teachers toward Critical Pedagogy:
Utilizing Counter-cultures in... more Guiding White pre-service and in-service teachers toward Critical Pedagogy:
Utilizing Counter-cultures in Teacher Education

Brad J. Porfilio
Lewis University

Curry S. Malott
D’Youville College

This essay documents a few key examples of the critical pedagogy and curriculum that we employ to challenge pre-service and in-service teachers to consider the concrete and theoretical contexts of taking on a social-activist-teacher persona. Our vision of social justice is rooted firmly in the critical tradition, as it is anchored in excavating unjust social and economic formations that imperil the vast majority of the world’s population, while concomitantly empowering the economic elite. Not only do we believe that teacher educators must take the lead in helping their students recognize the social, political, and economic forces creating injustice in schools and in the wider society, but they must help current and future teachers develop emancipatory visions of how to develop instructional designs, collaborate with educators, and engage in activist initiatives, which have the potential to eliminate social inequalities and build institutional structures based on democracy, equity, and fairness (McLaren, 2005).  Like many teacher educators, we have worked in institutions where almost 95% of the teacher education students have self-identified as “White.” Because of the difficulties of working with this nearly ubiquitous at-risk group (at risk for acting as oppressors), we focus our attention in this essay on the challenges White in-service and pre-service teachers pose to practicing critical pedagogy.

Sem futuro: the graphic language of São Paulo city punk

by Priscila Farias

Presented at the Design History Society Annual Conference 2011: 'Design Activism and Social Change', Barcelona (Spain)

The focus of this paper is the graphic language of
São Paulo city punk rock scene, as it evolved prior
to... more The focus of this paper is the graphic language of
São Paulo city punk rock scene, as it evolved prior
to the popularization of personal computers, in
the late 1970s and early 1980s. The rise of the
punk movement in São Paulo coincides with the
ending of Brazilian military dictatorship in the mid
1980s. Brazilian punk verbal and visual messages
reflect an activist stance against the social and
political situation of that period.
Unlike other international trends in graphic
design, the graphic language of punk printed
matter evolved apart from academia, and its
history cannot be based on assumptions of
master- or school-related influences that
characterize most design history narratives. The
context in which this graphic language evolved
also differs from that of other vernacular
expressions, once international mail exchanges
played a central role in punk culture.
In this paper, the graphic language of São Paulo
city early punk era, from the late 1970s to 1985, is
described, aiming to a better understanding of the
visual expression of Brazilian youth during the
military regime, and its contribution to a
worldwide, shared visual language of punk.

Radical Green Populism: Environmental Values in DIY/Punk Communities

by E. Colin Ruggero

“De Pelos”. Exteriorización de ideas y escenificación de la identidad a través del cabello en cuatro culturas juveniles

by Sebastián Vargas Álvarez

Este artículo se pregunta por las relaciones entre el cuerpo (específicamente el cabello) y las culturas juveniles. A... more Este artículo se pregunta por las relaciones entre el cuerpo (específicamente el cabello) y las culturas juveniles. A lo largo del texto, se explica cómo el pelo funciona como un mecanismo de expresión de ideas, así como una forma de manifestación de las identidades juveniles, muchas veces subalternas o disidentes. El estudio se centra en cuatro culturas juveniles que habitan las calles de Bogotá: rastas, metaleros, punks y skinheads.

Are the Kids United? The Communist Party of Great Britain, Rock Against Racism and the Politics of Youth Culture

by Evan Smith

Journal for the Study of Radicalism, 5/2, Fall 2010,  pp. 85-117

"Fuck the Border"? Music, Gender and Globalisation

by Samuel Dwinell

2006/2012 Update - 'Print the Truth, Not the Legend: Sex Pistols, Lesser Free Trade Hall, Manchester, 4 June 1976’

by Sean Albiez

in Inglis, I. (ed.) Performance and Popular Music: History, Place and Time. Abingdon: Ashgate Publishing

This is an update, with new research, of the book chapter originally published in 2006. This is an update, with new research, of the book chapter originally published in 2006.

2004 - 'Punk after 'Punk' in the UK: 1978-1984' (unpublished)

by Sean Albiez

Unpublished book chapter from an American academic collection on punk & hardcore that unfortunately never materialised

2003 - 'Know History! John Lydon, cultural capital and the prog/punk dialectic'

by Sean Albiez

in Popular Music. Vol 22. No 3. November 2003. Cambridge: Cambridge Uni Press

Narrative as an Organizing Process: Identity and Story in a New Nonprofit

by Andrew Herrmann

Herrmann, A. F. (2011). Narrative as an organizing process: Identity and story in a new nonprofit. Qualitative Research in Organizations and Management, 6I, 246-264.

Purpose - The purpose of this article is to explore narratives in a new nonprofit arts center. It includes the macro-,... more Purpose - The purpose of this article is to explore narratives in a new nonprofit arts center. It includes the macro-, meso-, and personal narratives that keep the center organized in the midst of the chaotic everyday activities. It advocates the explanatory force of narrative as an alternative to organizational life cycle theory for understanding organizational startups.

Design/methodology/approach - This narrative ethnography involved participant observation, full participation, and narrative interviews over a three-year period. Using grounded theory, narratives were examined to discover how they engendered and maintained order.

Findings - This paper contributes to the understanding narratives as a constitutional organizing and sensemaking process, including the narratives of "Do It Yourself," and economic production, family and home, and personal narratives that constitute community, community boundaries, and identity, adding to our knowledge of organizing.

Research limitations/implications - The research examined only one local nonprofit arts center, therefore the findings are specific to this site and the same types of narratives may not necessarily be found in other nonprofits.

Originality/value - This paper examines a nonprofit during start-up. It validates support for the examination of organizations through narrative ethnography and narrative interviewing. It purports that narratives constitute social identity, rather than being the evidence of social identity.

Never Trust a Hippie: The Representation of 'Extreme' Politics in Punk Music Graphics and the Influences of Protest and Propaganda Traditions

by Ana Raposo

Published in the conference proceeding of the Design History Society Annual Conference 2011: Design Activism and Social Change

This paper explores the representation of political and ideological issues in music graphics in the United Kingdom... more This paper explores the representation of political and ideological issues in music graphics in the United Kingdom from 1978 onwards. The analysis focuses on the music packaging of punk and postpunk bands engaged in the political ‘extreme’ – particularly the anarcho‐punk movement and the neo‐fascist scene.

Although for some historians punk represented a cultural rupture, it nonetheless (consciously or not) appropriated and reinterpreted graphic techniques, strategies and conventions from previous counter‐cultural and protest movements (particularly, though not exclusively, from the sixties) – as well as political movements. This paper aims to explore how such graphics influenced the visual language of politically engaged punk and post‐punk bands. It also addresses connections to art/political movements, such as Dadaism, Constructivism and the Situationist International.

The punk designers were sometimes trained but were more often practitioners of a do‐it‐yourself approach. By identifying which images they chose to ‘cut and paste’, it is hoped to demonstrate how ‘authenticity’ was constructed, and why certain aesthetic looks took hold while others did not.

We Mean It, Maaan!: The Representation of 'Extreme' Politics in Punk Music Graphics

by Ana Raposo

Published in the conference proceedings of The Endless End: The 9th International European Academy of Design Conference 2011

This paper offers an insight into how political and ideological issues were represented in music graphics in the... more This paper offers an insight into how political and ideological issues were represented in music graphics in the United Kingdom from 1978 to 1994. The analysis focuses on the music packaging concerning punk and post-punk bands engaged in the political 'extreme' – particularly the anarcho-punk movement and the neo-fascist punk and skinhead scenes, through two of its most representative labels, Crass Records and Rock-o-Rama Records. It aims to present an overview of the way persuasion and messages are articulated within systems of propaganda. It also seeks to deconstruct the propaganda graphic systems of extreme ideologies, and identify aesthetic and formal differences and similarities between contrasting political stances.

As a medium, rock music has been used to express dissent against, and support for, the establishment. However it was not until punk that it became the focus for groups of resistance. Previous subcultures appropriated music made by musicians’ external to the subculture, with politics distinct from their own. Punk rock was – and is – made by punks for punks with punk issues expressed in song lyrics. Music depicts the subculture and the subculture depicts the music. Music, the subculture and its politics are one and cannot be divided. Thus, if previous to punk, musicians and bands had engaged in political issues, the means of production with which they acted were limited. A virtual frontier was visible between actions, music and subculture. This analysis focuses on the followers of the punk tradition who were never co-opted by the mainstream, radically developing the proto-political concept that early punk (the Sex Pistols, etc.) suggested, and in so doing narrowing the gap between rhetoric and practice.

Visual media can offer a way of expressing a strong, direct, intelligible message, and therefore it is no surprise that politically engaged bands use music packaging as a propaganda medium (and music and graphics become powerful weapons to attempt to catalyze change). In this context, graphics have the function of informing and persuading, and iconic visual allegories become a representation of loyalty and allegiance. The music graphics reveal and divulge the political agenda. This paper addresses how content and stylistic devices – such as illustration and photography – are used for specific purposes, such as recruiting new supporters and strengthening the scenes, presenting a critique of contemporary realities or portraying utopian environments. It focuses particularly on music graphics as a propaganda tool and how political communication is achieved through visuals in a subcultural context.

This paper is part of a doctoral research project being developed at University of the Arts London. The doctoral research presents two main novel contributions to knowledge and to the research community. The first is the development of a methodology oriented towards the analysis of the dissemination of ideological and political content through graphic design objects in a subcultural context. The second is the analysis and interpretation of ‘extreme’ political music packaging produced by artists from the United Kingdom from 1978 to 2008, covering an under-researched field and time span.

‘“The Hollywood formula has been infected”: the post-punk female meets the woman’s film: Breaking Glass (Brian Gibson, UK, 1980)’ [Book chapter]

by Claire Monk

In British Women’s Cinema, eds Melanie Bell & Melanie Williams (London & New York: Routledge), 2009, pp.138-152. ISBN: 978-0-415-46696-7 HB/978-0-415-46697-4 PB.