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Russ Bestley

University of the Arts London, London College of Communication, Faculty Member

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Russ Bestley is Reader in Graphic Design & Subcultures at the London College of Communication. He has written and designed a number of books including Visual Research (Bloomsbury 2004, 2011, 2015, 2022), Up Against the Wall: International Poster Design (RotoVision 2002) and Experimental Layout (RotoVision 2001), and has contributed articles to Punk & Post Punk, Eye, Zed, Emigré, The National Grid, 360º, Street Sounds and Vive Le Rock. His book The Art of Punk was published by Omnibus Press in 2012, and he is Editor of the journal Punk & Post Punk and a member of the Punk Scholars Network.

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Ernesto Doncel-pérez

Hamdan Yuwafi Naim

Alex De Visscher

Claudia Garzon-Castro

Abdualla Bin Ghouth

Dirk Lachenmeier

Bibek Rajbhandari

Tribhuvan University (IOM)

Muhammad Ilmawan

Alexander Hauptmann

Carnegie Mellon University

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Papers by Russ Bestley

South Specific 2020

I’m Not Penny Rimbaud! Who the Hell is Penny Rimbaud?

Alongside academic colleagues in Croatia and the UK, we have co-edited a 148 page, A5 heavily ill... more Alongside academic colleagues in Croatia and the UK, we have co-edited a 148 page, A5 heavily illustrated book documenting an exhibition of Crass artwork and lecture/discussion by Penny Rimbaud at the Rojc Social Centre in Pula, Croatia, in May 2019. The book includes a new essay by Penny Rimbaud, transcript of a public lecture/discussion, a large selection of Crass and related graphics and a history of the Crass symbol by the punk scholar and historian Rich Cross

Punk and New Wave

Omnibus Press eBooks, 2012

This book gives an overview of contemporary rock posters from the 1950s to the present day. The c... more

Kicks in Style: A Punk Design Aesthetic

In parallel to the broad diversity of musical styles that accompanied the early punk explo sion, ... more In parallel to the broad diversity of musical styles that accompanied the early punk explo sion, the graphic design and visual communication strategies tell a similarly wide-ranging story. This chapter explores the complex relationship between the stereotype of "authen tic" do-it-yourself (DIY) punk graphics and the music industry professionals who created many of the visual conventions that came to be closely associated with the subculture. While the groundswell of amateur artists, illustrators, photographers, typographers, and other cultural producers inspired by the subculture to create a new aesthetic should not be underestimated, their story has become almost the default history of punk graphic de sign. The role of design professionals-often with many years of experience within the music industry-has frequently been overlooked, an embarrassing secret kept in the clos et for fear of undermining notions of authenticity and punk's revolutionary rhetoric.

Days of Punk, Blindwell Gallery, Braunton, Devon, 14 July–3 September 2022

Punk & post-punk, Oct 1, 2022

Too Fast to Live Too Young to Die: Punk & Post Punk Graphics 1976-1986

More Than a Pony Show: An interview with Matt Stokes

Punk & post-punk, Oct 1, 2018

Weekend Punk at the Design Museum

Visual Research: An Introduction to Research Methodologies in Graphic Design, 2nd Edition

No Machos or Pop Stars: When the Leeds Art Experiment Went Punk, Gavin Butt (2022)

Punk & post-punk, Oct 1, 2022

Action Time Vision: Punk & Post Punk 7" Record Sleeves #002

Collaboration with London design group Spin and publisher Unit Editions, with contributing essays... more

Grande A, Piccola a

Chapter entitled Grande A, Piccola a (Big A, Little A), in Attitudine Riottosa: Anarcopunk in UK,... more

PUNK! Las Américas Edition

A critical refashioning of punk to suggest it emerges from within the long-term historical experi... more

The evolution of an anarcho-punk narrative, 1978–84

Manchester University Press eBooks, Aug 2, 2018

From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itse... more From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itself against self-indulgent, outmoded rock stars and the pretentions of rock journalism. 1 Pioneering punk zine Sniffin' Glue (July 1976) and those that immediately followed 2 sought an authentic form of expression to relate directly with 'disaffected kids' who comprised the demographic of punk subculture. Against the hierarchical structure inherent in mainstream media, punk zines showed their egalitarian approach by encouraging readers to submit work or start their own fanzines. Readers were urged to be active participants rather than passive consumers. Punk zines-and fanzines more generally-were liberated from many of the marketing constraints associated with commercial magazines and as such they could foster alternative forms of communication and editorial content. This enabled their creators and readers to define their identity, political leanings and culture autonomously rather than in response to consumerist dictates. In particular, fanzines encouraged individuals and groups otherwise excluded from the cultural decision-making process to be actively engaged in the creation of alternative culture. Mark Perry set a precedent, writing in 1976: ' All you kids. Don't be satisfied with what we write. Go out and start your own fanzines … flood the market with punk writing. ' 3 Other fanzines, such as Panache and Sideburns, then helped to embed this sense of autonomous production as a practical ideal. Interestingly, however, while early punk zines engaged with

Punk Sans Frontières

Oxford University Press eBooks, Jul 14, 2021

Punk’s diaspora was not limited to the United Kingdom or the United States, and, even during its ... more Punk’s diaspora was not limited to the United Kingdom or the United States, and, even during its mid-1970s heyday, parallel developments were happening around the globe, and what would become known as “punk” emerged in Australia, France, Switzerland, the Netherlands, and Scandinavia at the same time as the nascent UK punk movement. Furthermore, as punk in the United Kingdom reached its commercial peak and began to decline (at least in terms of its public profile), it was being discovered, reinvented, or adapted in far-flung places beyond the (Western) critical radar. More than forty years on, punk has traversed international boundaries, and the legacies of the original UK and US scenes are now accompanied by a variety of global counterparts. This chapter narrates punk’s evolution as an international phenomenon, whose interaction with wider cultural contexts, languages, and systems of belief challenged notions of a homogeneous “punk” identity.

A Network of Hardcore Researchers: Punk Studies, Punk Scholarship, Punk Pedagogy

transcript Verlag eBooks, Feb 3, 2023

The Punk Reader

Punkzines: British Fanzine Culture from the Punk Scene 1976–1983, Eddie Piller and Steve Rowland (2021)

Punk & Post-Punk

Review of: Punkzines: British Fanzine Culture from the Punk Scene 1976–1983, Eddie Piller and Ste... more

Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)

Punk & Post Punk

Review of: Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)London: P... more

‘You Make Me Sick’: An interview with Puss Johnson and Steve Eagles of Satan’s Cats

Punk & post-punk, Mar 6, 2023

South Specific 2020

I’m Not Penny Rimbaud! Who the Hell is Penny Rimbaud?

Alongside academic colleagues in Croatia and the UK, we have co-edited a 148 page, A5 heavily ill... more Alongside academic colleagues in Croatia and the UK, we have co-edited a 148 page, A5 heavily illustrated book documenting an exhibition of Crass artwork and lecture/discussion by Penny Rimbaud at the Rojc Social Centre in Pula, Croatia, in May 2019. The book includes a new essay by Penny Rimbaud, transcript of a public lecture/discussion, a large selection of Crass and related graphics and a history of the Crass symbol by the punk scholar and historian Rich Cross

Punk and New Wave

Omnibus Press eBooks, 2012

This book gives an overview of contemporary rock posters from the 1950s to the present day. The c... more

Kicks in Style: A Punk Design Aesthetic

In parallel to the broad diversity of musical styles that accompanied the early punk explo sion, ... more In parallel to the broad diversity of musical styles that accompanied the early punk explo sion, the graphic design and visual communication strategies tell a similarly wide-ranging story. This chapter explores the complex relationship between the stereotype of "authen tic" do-it-yourself (DIY) punk graphics and the music industry professionals who created many of the visual conventions that came to be closely associated with the subculture. While the groundswell of amateur artists, illustrators, photographers, typographers, and other cultural producers inspired by the subculture to create a new aesthetic should not be underestimated, their story has become almost the default history of punk graphic de sign. The role of design professionals-often with many years of experience within the music industry-has frequently been overlooked, an embarrassing secret kept in the clos et for fear of undermining notions of authenticity and punk's revolutionary rhetoric.

Days of Punk, Blindwell Gallery, Braunton, Devon, 14 July–3 September 2022

Punk & post-punk, Oct 1, 2022

Too Fast to Live Too Young to Die: Punk & Post Punk Graphics 1976-1986

More Than a Pony Show: An interview with Matt Stokes

Punk & post-punk, Oct 1, 2018

Weekend Punk at the Design Museum

Visual Research: An Introduction to Research Methodologies in Graphic Design, 2nd Edition

No Machos or Pop Stars: When the Leeds Art Experiment Went Punk, Gavin Butt (2022)

Punk & post-punk, Oct 1, 2022

Action Time Vision: Punk & Post Punk 7" Record Sleeves #002

Collaboration with London design group Spin and publisher Unit Editions, with contributing essays... more

Grande A, Piccola a

Chapter entitled Grande A, Piccola a (Big A, Little A), in Attitudine Riottosa: Anarcopunk in UK,... more

PUNK! Las Américas Edition

A critical refashioning of punk to suggest it emerges from within the long-term historical experi... more

The evolution of an anarcho-punk narrative, 1978–84

Manchester University Press eBooks, Aug 2, 2018

From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itse... more From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itself against self-indulgent, outmoded rock stars and the pretentions of rock journalism. 1 Pioneering punk zine Sniffin' Glue (July 1976) and those that immediately followed 2 sought an authentic form of expression to relate directly with 'disaffected kids' who comprised the demographic of punk subculture. Against the hierarchical structure inherent in mainstream media, punk zines showed their egalitarian approach by encouraging readers to submit work or start their own fanzines. Readers were urged to be active participants rather than passive consumers. Punk zines-and fanzines more generally-were liberated from many of the marketing constraints associated with commercial magazines and as such they could foster alternative forms of communication and editorial content. This enabled their creators and readers to define their identity, political leanings and culture autonomously rather than in response to consumerist dictates. In particular, fanzines encouraged individuals and groups otherwise excluded from the cultural decision-making process to be actively engaged in the creation of alternative culture. Mark Perry set a precedent, writing in 1976: ' All you kids. Don't be satisfied with what we write. Go out and start your own fanzines … flood the market with punk writing. ' 3 Other fanzines, such as Panache and Sideburns, then helped to embed this sense of autonomous production as a practical ideal. Interestingly, however, while early punk zines engaged with

Punk Sans Frontières

Oxford University Press eBooks, Jul 14, 2021

Punk’s diaspora was not limited to the United Kingdom or the United States, and, even during its ... more Punk’s diaspora was not limited to the United Kingdom or the United States, and, even during its mid-1970s heyday, parallel developments were happening around the globe, and what would become known as “punk” emerged in Australia, France, Switzerland, the Netherlands, and Scandinavia at the same time as the nascent UK punk movement. Furthermore, as punk in the United Kingdom reached its commercial peak and began to decline (at least in terms of its public profile), it was being discovered, reinvented, or adapted in far-flung places beyond the (Western) critical radar. More than forty years on, punk has traversed international boundaries, and the legacies of the original UK and US scenes are now accompanied by a variety of global counterparts. This chapter narrates punk’s evolution as an international phenomenon, whose interaction with wider cultural contexts, languages, and systems of belief challenged notions of a homogeneous “punk” identity.

A Network of Hardcore Researchers: Punk Studies, Punk Scholarship, Punk Pedagogy

transcript Verlag eBooks, Feb 3, 2023

The Punk Reader

Punkzines: British Fanzine Culture from the Punk Scene 1976–1983, Eddie Piller and Steve Rowland (2021)

Punk & Post-Punk

Review of: Punkzines: British Fanzine Culture from the Punk Scene 1976–1983, Eddie Piller and Ste... more

Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)

Punk & Post Punk

Review of: Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)London: P... more

‘You Make Me Sick’: An interview with Puss Johnson and Steve Eagles of Satan’s Cats

Punk & post-punk, Mar 6, 2023

Punk London (and Beyond)

Weekend Punk Design Museum, London, June 2016 Design Museum website essay, Punk London (and Beyo... more

Bestley Binns The evolution of an anarcho punk narrative, 1978-84

by Rebecca Binns and Russ Bestley

Ripped, Torn and Cut: Pop, Politics and Punk Fanzines from 1976, 2018

From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itse... more From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itself against self-indulgent, outmoded rock stars and the pretentions of rock journalism. 1 Pioneering punk zine Sniffin' Glue (July 1976) and those that immediately followed 2 sought an authentic form of expression to relate directly with 'disaffected kids' who comprised the demographic of punk subculture. Against the hierarchical structure inherent in mainstream media, punk zines showed their egalitarian approach by encouraging readers to submit work or start their own fanzines. Readers were urged to be active participants rather than passive consumers. Punk zines-and fanzines more generally-were liberated from many of the marketing constraints associated with commercial magazines and as such they could foster alternative forms of communication and editorial content. This enabled their creators and readers to define their identity, political leanings and culture autonomously rather than in response to consumerist dictates. In particular, fanzines encouraged individuals and groups otherwise excluded from the cultural decision-making process to be actively engaged in the creation of alternative culture. Mark Perry set a precedent, writing in 1976: ' All you kids. Don't be satisfied with what we write. Go out and start your own fanzines … flood the market with punk writing. ' 3 Other fanzines, such as Panache and Sideburns, then helped to embed this sense of autonomous production as a practical ideal. Interestingly, however, while early punk zines engaged with

Attitudine Riottosa. Anarcopunk in UK

by Giulio D'Errico, Mike Dines, Russ Bestley, and Alastair Gordon

Agenzia X, 2020

Una collezione di saggi, ricordi, storie e documenti sul punk anarchico in Gran Bretagna negli an... more Una collezione di saggi, ricordi, storie e documenti sul punk anarchico in Gran Bretagna negli anni del Tatcherismo, selezionati e tradotti da Giulio D'Errico per il pubblico Italiano.
Con scritti di: Russ Bestley, Greg Bull, Justine Butler, Rich Cross, Mike Dines, The Free Association, Alastair ‘Gords’ Gordon, Matt Grimes, Alistair Livingstone, Chris Low, Willie Rissy, Francis Stewart e Peter Webb, precedentemente pubblicati in Gran Bretagna in:

* Tales from the punkside, edited by Mike Dines & Greg Bull (Itchy monkey press, 2014)

* Not Just bits of paper, edited by Greg Bull & Mickey Penguin (Perdam Babylonis Nomen Publications/Situation Press, 2015)

* Some of us scream, some of us shout, edited by Greg Bull & Mike Dines (Itchy monkey press, 2016)

* The Aesthetic of our anger, edited by Mike Dines & Matthew Worley (Autonomedia, 2014)

Una mappa dell'anarcopunk britannico che si estende oltre Londra, mostrando la varietà delle espressioni locali di una controcultura che, forse per prima, riuscì a raggiungere città e villaggi dell'intero territorio britannico; che si estende oltre la musica, dando spazio a esperienze personali, ad altre forme d'arte e ai molteplici modi di fare politica; che si estende oltre i Crass, che con il loro ruolo di padri fondatori della scena, rischiano di oscurarne le differenze interne.

"Londra, ma anche Belfast e Bristol, i centri industriali del Nord e la brughiera del sud'ovest. I dodici capitoli di questo volume, ciascuno scritto da chi ha vissuto la scena in prima persona, presentano per la prima volta tematiche spesso ignorate come il ruolo del punk nell'abbattimento delle divisioni confessionali nell'Irlanda del Nord, l'importanza delle zine nella formazione intellettuale dei giovani punk, le manifestazioni di Stop The City nella Londra del 1983, l'incontro/scontro con i minatori in sciopero, l'apporto del femminismo, dell'animalismo e i vicoli ciechi da cui non tutti sono riusciti a salvarsi.

Art Attacks: Punk Methods and Design Education

Book Chapter in Punk Pedagogies in Practice: Music, Culture and Learning Abstract The punk subcu... more Book Chapter in Punk Pedagogies in Practice: Music, Culture and Learning

Abstract
The punk subculture has been variously studied as a distinct historical moment, a counter-cultural shift, a subset of popular music and fashion, a set of aesthetic conventions, even a self-contained model of activism and philosophy, though some researchers – myself included – have recommended caution to avoid stereotyping such a diverse group of participants as somehow united in opinions or actions (Bestley 2015, Bestley and Ryde 2016). This chapter explores a range of punk conventions in theory and practice: do-it-yourself, a rejection of authority, rhetorical strategies including parody, pastiche and détournement, and their potential value within graphic design education. The evolution of punk is contextualized in relation to contemporaneous social, historical and cultural shifts, in particular postmodernist theories of deconstruction and the ‘death of the author’. Changes within the graphic design profession in the 1970s and 1980s, largely driven by technological advances including desktop publishing and digital tools for design and reproduction, broadly coincided with the first wave of punk. The Further and Higher Education Act 1992 led to the academicization of some previously craft-based and vocational courses as art colleges were incorporated into the new universities, and debates surrounding the theories, principles and ethics of design practice took hold. How might punk offer a model for critical reflection on the conventions of visual communication, and suggest practical strategies for graphic design educators, students and professionals?

PSN Entertainment Booklet

Punk Scholars Network – Entertainment! Post Punk, New Wave and Authenticity Symposium London Coll... more Punk Scholars Network – Entertainment! Post Punk, New Wave and Authenticity Symposium
London College of Communication, 8th to 19th May 2014
Exhibition of Post Punk and New Wave graphics, including material from the archives of Russ Bestley and Gary Loveridge. Two day Symposium supported by the Graphic Subcultures Research Hub along with the Punk Scholars Network and Manchester Metropolitan University. Limited edition catalogue published, including essays by Russ Bestley and Alex Ogg. Speakers included Rob O’Connor, Bill Smith, Marco Palumbo-Rodrigues, Malcolm Garrett, Richard Boon, Alex Ogg, Sean Forbes, Nicky Tesco, June Miles-Kingston, Nicky Forbes, Pauline Murray and Paul Harvey.

Punk in the Provinces Newspaper

Punk in the Provinces: It Was Easy, It Was Cheap, Go and Do It! The Exchange, North Shields, Aug... more Punk in the Provinces: It Was Easy, It Was Cheap, Go and Do It!
The Exchange, North Shields, August 2017
An exhibition of punk art, design, graphics and clothing exploring twin themes: the influence of punk as it swept through the regions, and the do-it-yourself ethos of the early punk pioneers. Part of the Whitley Bay Film Festival programme, including a live performance by Penetration and Jilted John, and a screening of cult classic film The Great Rock ‘n’ Roll Swindle. Accompanying catalogue publication, Punk in the Provinces, features contributions from Paul Harvey, Pauline Murray and Gaye Black, among others, and a range of archive graphic material. The exhibition also included Pauline Murray’s original hand-made and dyed clothing from throughout her career with seminal punk group Penetration, alongside press cuttings and photographs of live performances dating back to 1977, and an exhibition of Punk Art, curated by Gaye Black, former bass player for the Adverts.

Where Have All the Bootboys Gone? Skinhead Style and Graphic Subcultures

by Russ Bestley, Ana Raposo, and Shaun R Cole

Exhibition publication accompanying Where Have All the Bootboys Gone? Skinhead Style and Graphic ... more Exhibition publication accompanying Where Have All the Bootboys Gone? Skinhead Style and Graphic Subcultures at the London College of Communication, 23rd October to 2nd November 2013
Exhibition of Skinhead graphics, including print material and photographs from the archives of Toby Mott, Gavin Watson and Toast. Limited edition Riso catalogue published, including essays by Garry Bushell, Tom Vague, Matt Worley, Shaun Cole, Russ Bestley and Ana Raposo.

PSN Oxford Booklet

No Sir, I Won’t: Anarcho Punk Graphics Oxford Brookes’ University, 28th June 2013 Exhibition of A... more No Sir, I Won’t: Anarcho Punk Graphics
Oxford Brookes’ University, 28th June 2013
Exhibition of Anarcho Punk graphics, to coincide with the Punk Scholars Network Symposium
No Sir, I Won’t: Reconsidering the Legacy of Crass and Anarcho-punk, organised by the Oxford Brookes’ Popular Music Research Unit (PMRU) and PSN. Limited edition Riso catalogue published, including essay by Russ Bestley.

Hitsville UK Catalogue

Hitsville UK: Punk in the Faraway Towns London, Southampton, Blackpool, Leeds, December 2006 to S... more Hitsville UK: Punk in the Faraway Towns
London, Southampton, Blackpool, Leeds, December 2006 to September 2009
Exhibition of punk graphics, including print material and interactive work. Some of this material is collected online at www.hitsvilleuk.com, together with downloads of related publications and an interactive timeline of UK punk single sleeves.

Exhibitions took place at the following venues:-
• Post Punk Performance Conference, University of Leeds, September 2009
• Rebellion Punk Festival, Winter Gardens, Blackpool August 2007
• British Film Institute, London, June 2007
• Millais Gallery, Southampton April to May 2007
• Research Gallery, London College of Communication, October to December 2006

Punk in Norwich Fanzine

Matthew Worley: Young Offenders: Punk in Norwich, 1976-84 Design of DIY fanzine-style Riso public... more

How Much Longer? Punk Styles, Punk Aesthetics, Punk Conventions

by Russ Bestley and Mike Dines

Gregory Bull & Mike Dines (eds.): And All Around Was Darkness Chapter entitled How Much Longer? P... more

Hitsville UK Punk Chronology Geography Matrix

Hitsville UK Typology Panels

Global Punk in the 21st-Century cfp

by Mike Dines, Russ Bestley, Alastair Gordon, and Paula Guerra

Following the groundbreaking publication of The Punk Reader: Transmissions from the Local to the ... more Following the groundbreaking publication of The Punk Reader: Transmissions from the Local to the Global (now in its second edition through Intellect Books and the Punk Scholars Network) the series editors would like to invite proposals for a second volume in the book series Global Punk, to be published in early 2020. The publication will be part of an exciting collaboration between Intellect Press and the Punk Scholars Network, a partnership that has seen the development of a Punk Scholars Network imprint.

Please download the complete call for chapters below.

Punk Pedagogies Symposium Call for Papers

by Mike Dines, Russ Bestley, Alastair Gordon, and Pete Dale

We will be hosting a 1-2 day symposium at Mansions of the Future in Lincoln (UK) on the 4th and 5... more We will be hosting a 1-2 day symposium at Mansions of the Future in Lincoln (UK) on the 4th and 5th of July 2019* on the subject of punk pedagogies as part of the Punk Scholars’ Network’s series of themed symposiums.

Since 1997 saw the publication of “Never Mind the Tagmemics, Where’s the Sex Pistols” (CCC 48.1 pp 9 -29) there has been an increasing interest in the way in which the ethics, attitudes and people of punk rock can inform, shape, critique and revolutionise teaching pedagogies. In part this is due to the rising number of punkademics and punk teachers, but it is so much more than that. It is also because of the value for education in approaches that centre on philosophies such as Do-It-Yourself, creativity and resistance; a framework of enquiry and a toolkit that potentially helps take cynicism to critique. In short, punk can offer pedagogical tools for interrogating the world around us. However it is a two way street, and punk can learn much from newly emerging pedagogical ideas and approaches within secondary, further and higher education. This 1-2 day symposium aims to provide a space to explore, in a supportive environment, those interactions and lessons. It seeks to ask questions such as what can be gained from using punk tools and approaches as a pedagogical approach within ‘the classroom’? What can experiences and innovations in ‘the classroom’ offer to the continuing development and learning of punks and the subculture of punk rock?

Punk Scholars Network Website Launch!

by Mike Dines, Russ Bestley, Temmuz Süreyya Gürbüz, and Alastair Gordon

IT’S OUR BIRTHDAY!!! And we want you to share in our celebrations. The waiting is over at last an... more IT’S OUR BIRTHDAY!!! And we want you to share in our celebrations. The waiting is over at last and we can now finally reveal the exciting news we alerted you to last week. The Punk Scholars Network is celebrating 8 years of punk scholarship by launching our brand new Punk Scholars Network website https://www.punkscholarsnetwork.com/

Please go visit the fantastic new website, where you can view all the interesting and insightful work the Punk Scholars Network has been involved in since its inception in 2012, including publications and events as well as our new blog that features announcements about new punk research and other creative work. You can even buy affordable PSN merch direct from the website to help support the not-for-profit Punk Scholars Network.

If you would like to share your punk related news and developments with us, or an insightful and interesting perspective on punk you would like to contribute to our blog, you can do so through the contact page on our new website https://www.punkscholarsnetwork.com/contact

Since its humble beginnings in 2012, the Punk Scholars Network has expanded its global membership and activities through conferences, symposiums, publications, talks and exhibitions, whilst seeking to maintain its original aim as an international forum for scholarly debate. The Punk Scholars Network has also held a long-standing commitment towards the nurturing of research, not only in terms of post-doctoral output, but also through pedagogical and academic support for postgraduate and undergraduate research students whilst encouraging and supporting non-academics to pursue and develop their interests in punk scholarship.

You can connect with us via our website and follow and like us on social media:

Follow us on Twitter: https://twitter.com/PunkScholars

Like us on Facebook: https://www.facebook.com/punkscholars/