Punk Culture

Nel presentare la voluminosa raccolta -si tratta di un libro di 900 pagine -di materiale inerente a vent'anni (da metà degli anni '60 a metà degli '80) di storia delle controculture nel nostro paese, Ignazio Maria Gallino ha giustamente notato come «dopo questa enorme e profonda esperienza collettiva, niente può essere più considerato uguale a prima». Beat, hippies, situazionisti, indiani metropolitani, "renudisti", punk sono infatti stati protagonisti di una «lunga primavera» a suo modo incisiva sulla società italiana che merita nuove suggestioni e rimeditare su contenuti e metodologie, spesso sovversive, dell'underground Clionet. Per un senso del tempo e dei luoghi Numero 1, anno 2017 Dossier: Beat e punk fra underground e controcultura (Milano, anni '60-'80) 2 Primo Moroni, Il movimento beat e i suoi giornali, in "Gli anni affollati", 1984; ora in Gallino (a cura di), 1965 -1985 Milano alternativa. Frammenti di controcittà, Milano, SugarCo, 1975. 4 «La si potrebbe chiamare, tanto per usare quel loro gergo infarcito di americanismi, "New Barbonia": è una Un villaggio di capelloni sulle rive del Vetabbia, in "Il Corriere della le chimeriche visioni di vita facile, con conseguenze quasi sempre amarissime», Incursione di genitori disperati tra i capelloni di "Nuova Barbonia", in "Il Corriere della Sera", 24 maggio 1967, p. 8; in un altro articolo, il giorno prima dello sgombero in occasione di un primo scontro con la polizia si riportava come fosse frequentato da «capelloni, neoninfette, provos e diseredati del genere», e si paragonava la reazione dei beat milanesi alla perquisizione delle forze dell'ordine a quella «brutale e pericolosa dei mods e dei rockers inglesi», Furibonda battaglia tra polizia e capelloni stanati dal villaggio beat di Nuova Barbonia, in "Corriere della Sera", 11 giugno 1967, p. 8. 5 Citato in Guido Crainz, Il paese mancato: dal miracolo economico agli anni Ottanta p. 195. 6 Guido Pfeiffer, Ho vissuto con capelloni e sbarbine in una tenda di Barbonia City, in "La Notte", 30 maggio 1967, p. 6; secondo l'autore dell'articolo il campeggio beat era frequentato da «questi giovani strani e queste libere, sfrenate ragazzine scappate di casa». Introduzione a Franco Ortolani, 59 Non contate su di noi. Note critiche su: movimento giovanile, violenza politica, ideologia, sessualità, droga e misticismo 60 Bertante, Re Nudo 61

Pussy Riot’s surprise punk prayer at the altar of Moscow’s Cathedral of Christ Our Savior instigated significant controversy in Russia and resulted in the conviction of three Pussy Riot members on the charge of “hooliganism motivated by religious hatred.” While the Russian Orthodox Church swiftly condemned the performance as blasphemous, Pussy Riot has contended that its punk prayer is consistent with the message of the Gospels. This study investigates the punk prayer controversy in relation to the figure of the holy fool, a radical behavioral model canonized by the Russian Orthodox Church and secularized in Russia’s literary and artistic traditions.

Punk. The sound of the streets, the music of protest, the shouts and screams of the disadvantaged and oppressed, the anguished howl of the underdog, the unclean and the unworthy. Political, agitational, provocative, subversive, awkward, uncompromising, angry and aggressive. Descriptions and definitions of punk – the subculture, the music, the fashion, the lifestyle, the language and the politics – inevitably revolve around stereotypes and generalizations. Consensus, where it can be found, tends to exemplify those same regularly repeated clichés, and important elements become further hidden from view. The use of humour in punk – lyrically, within musical phrasing, song construction and live performance and in the graphic language of punk sleeves, fanzines and posters – is often overlooked. This article comprises two parts. This first part seeks to outline the ways in which humour – through rhetorical codes and strategies including satire, pun, metaphor and metonymy, hyperbole, invective, irony, sarcasm, allegory, exaggeration, parody, repetition, self-deprecation, profanity and the embrace of the absurd or ridiculous were and are central to an understanding of punk language and practice. Within part two of this article, to be published in Punk & Post Punk, further emphasis will be placed on the visual identity of punk and hardcore groups, and on the strategies employed by designers to reflect and support punk’s satirical core.

Le cinéma de John Waters est imprévisible. Là où une certaine cinéphilie devrait l’inciter à investir le champ de la culture highbrow, il n’a de cesse de réinventer le lowbrow, là où son goût de la contre-culture devrait l’inciter à rejoindre New York, le cinéaste s’installe dans les salons pour dames de Baltimore, lieu essentiel de son inspiration. Ce décentrement artistique et géographique repose sur un élément paradoxal : l’amour sincère que le cinéaste porte au kitsch, c’est-à-dire à une version supposée « dégénérée » de l’art. Après une définition du concept de kitsch et de sa plus ou moins grande parenté avec la notion de camp, cet article analysera dans un premier temps les multiples objets et stratégies qui donnent forme à cette notion complexe dans le cinéma de John Waters, puis, dans un second temps, il décryptera l’univers familier du cinéaste/auteur/artiste visuel en analysant cet espace intime comme le lieu ultime du kitsch, pour tenter de répondre à la question suivante : John Waters a-t-il fait de sa demeure l’intériorisation de ses films, ou bien a-t-il fait de ses films l’extériorisation de son espace intérieur ?

El punk fue uno de los herederos del rock. Y se construyó en torno a la manifestación masculina y masculinizante de la música. Pero se hizo desde la tensión hacia él, con elementos que facilitaron la subversión discursiva. En cuanto a la identidad sexual, Las Vulpes encontraron tanto en su imagen como en su música, formas de transgresión.

By the mid-70s New York is a dying city, crippled by the burden of massive public debt, the constant rise of crime and a worsening economic recession; violence, drugs but also music, street art and poetry are everywhere. This is the city Travis wants to clean up in Martin Scorsese Taxi Driver (1976), the city Bobby and Helen look for drugs and salvation in The Panic in Needle Park by Jerry Schatzberg (1971) and the same city Reno tries to murder in Abel Ferrara’s dark but hilarious Driller Killer (1979). In this sense, New York is a beautiful death-trap inhabited by a wide range of artists taking over the vast and abandoned industrial lofts located in the Lower East Side, in which the total absence of both physical and artistic boundaries induces an incredible cross-fertilization between the arts. Torn to pieces both socially and economically, fragmented, in agony, the ruins of a once great city howl their despair through the nightmare-paintings of Joe Coleman, the masochist concerts of Alan Vega and his band Suicide, the flamboyant disguises of the New York Dolls and up to the murderous and blood-stained performances of crazy G.G Allin. This self-destructive but hilly creative use of a rundown city gives birth around 1975 to the Punk Scene and then, at the start of the 80s, to the No Wave scene, blending fast music with pop-art, poetry with violence, underground-films with pornography. At the heart of this creative outburst women’s desires, revolt and anger will play a major role in defining the shape of this artistic chaos, and their bodies will become an emotional as well as political battle field. But, while Joan Baez or Jonny Michel had poetically invented the graceful sounds and prayers of feminism in the 60s, the Lower East Side scene will call upon much more destructive forces as writer, musician, photographer and actress Lydia Lunch describes.

The main objective of this section is to contribute to the debate on the transnational punk/rock struggle and movement. We will be approaching the punk/rock scenario from an academic perspective, to understand its political, cultural and economic implications. Punks have been stigmatised, and considered marginal and dysfunctional. Even so, several scholars have valued punks' contributions, which are widespread in different national contexts and have made possible spaces for political participation. Punks engage in an explicit struggle against the global power structure dynamics, such as, capitalism, racism and patriarchy, and there is an interest among punks in developing alternative ways of being and doing politics (DIY, fanzine, new media, etc.). The questions we would like to answer in this section are the following: How do scholars approach the research on punk and rock? How does the punk/rock movement depict the system and its future in the transnational arena? We encourage interdisciplinary presentations and historical contributions that can lead to a better understanding of the transnational punk scene and the future of the system. For the aforementioned reasons our section is titled: No future? The antisystemic struggles of punk/rock.

Mi tezih dohtorá / Nere doktore-tesia / Mi tesis doctoral / My PhD Thesis.

Autor como Juan Porras Blanco del libro digital ‘Negación’ punk en la sociedad vasca. Investigación socioantropológica de un simbolismo liminal. Leioa (Bizkaia, EH): Euskal Herriko Unibertsitateko Argitalpen Zerbitzua / Servicio Editorial de la Universidad del País Vasco, 2005; 474 páginas. Serie Tesis Doctorales.

SINOPSIS

El movimiento punk surgió a finales de los setenta en una sociedad confundida, desencantada y sumida en un nuevo orden mundial donde parecía que las nuevas generaciones de jóvenes poco o nada tenían que decir. Cuando este movimiento llegó a Euskal Herria sufrió, sin embargo, una peculiar adaptación que hizo que su discurso permeara en todos los ámbitos y su influencia se extendiera hasta el día de hoy. La situación política convulsa, una lengua milenaria y un espíritu tribal hicieron escribir al punk una de las páginas más curiosas y entrañables de la historia reciente del País Vasco.

SYNOPSIS

The punk movement emerged in the late seventies in a confused, disillusioned and mired society in a new world order where it seemed that the new generations of young people had little or nothing to say. When this movement arrived to Euskal Herria/Basque Country suffered, however, a peculiar adaptation which made its speech permeate all areas and its influence extended until today. The turbulent political situation, a millenary language and a tribal spirit made the punk movement write one of the most curious and beloved pages of the recent history of the Basque Country.
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En relación con esta tesis doctoral, también soy autor -como Huan Porrah- del libro Negación punk en Euskal Herria. Tafalla (Nafarroa): Txalaparta argitaletxea, 2006; 408 páginas. Libro con copyright que aún está en venta:
http://huanporrah.edublogs.org/2006/11/17/libro-negacion-punk-en-euskal-herria/

La période comprise entre les années 80 et 90 pourrait être bien remémorée comme un moment de transition sociale. Des tensions politiques internationales, la chute du mur de Berlin, les dictatures en Amérique de Sud, la famine africaine, Tchernobyl, l'arrivée du 21 ème siècle… Toute une série d'événements sociaux qui ont bouleversé le cours de l'histoire. Solides bien que complexes, ces changements ont eu une portée politique qui a été atteinte, entre autres, à travers la musique.

Punkulture Numéro, La scène Queer dans les années 80 - 90, p. 24 à 27, MassProd, Rennes, FR, 2019.

Research on punk culture often falls prey to two main dilemmas. First, using a Marxist economic lens, the underlying implication is fieldwork reveals already known conceptions of class and culture. Second, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Given punk is forty years old, researchers are calling for a reexamination of this combination. This ethnography examines punk culture in an inner city non-profit arts establishment. It probes how rituals and cultural narratives pervade and maintain the scene. Concepts such as carnival, jamming as an organizing process in the pit – and as an aesthetic moment – emerged through the research process. Finally, this ethnography engages questions about personal and communal narrative identity, and what it means to be an older fan in the punk rock scene.

This article investigates the relationship between biography and authenticity within the aesthetics of grunge musician Kurt Cobain, using the 2002 Riverhead Press volume of his journals as a primary source. Focusing on Cobain's fascination with the human form and with bodily fluids, I argue that his idea of the ‘sick body’ functioned as a central metaphor that shaped his approach to various media (prose, lyrics, drawing and singing) such that there was a homology between these different forms. I draw on excerpts from the Journals to show the meanings that he associated with the ‘sick body’, including the ways in which it indexed his own biography of physical pain and social marginalisation. Using the Nirvana song ‘Hairspray Queen’ as a case study, I then show the interactions between musical and linguistic signs of the sick body and how these interactions reveal Cobain's ideas on music's meaning. Ultimately, I argue that in song lyrics and performance, Cobain prized scat...

What makes Christian punk “Christian”? And what makes it “punk”? Drawing on his previously published work on punk and religion, and engaging his own experiences as a musician and theologian, Iafrate’s chapter offers a theological engagement with and critique of Christian punk that interrogates the adequacy of both terms as they are typically used to describe this genre. Neither “Christianity” nor “punk rock” is monolithic, and each contains very different and even opposing ideas and practices. As a liberation theologian, Iafrate interprets both Christianity and punk relative to their ability to generate liberating communities, movements, and ways of life which are congruent with their original liberationist impulses. On these grounds, Iafrate questions the extent to which self-identified Christian punk is Christian and/or punk. Despite its laudable intention to find church outside of church walls, Christian punk’s predominantly Evangelical focus on converting the “unwashed” from the perspective of the normative “already converted” individual Christian tends to reproduce the assumption of a settled, conservative Christian identity. Iafrate finds certain expressions of secular punk, namely the political “do-it-yourself” DIY punk perhaps best exemplified in the 1990s punk scene of Washington D.C., more punk, more Christian, and more theologically satisfying. Rather than proselytizing an already settled Christian message, the liberating impulse of punk tends to go beyond a style of music toward an entire way of life lived through liberationist praxis, a continual process of conversion grasping toward “integral liberation” from “all servitudes,” including political, ethical, and religious liberations. Iafrate argues that these expressions of punk contain elements of a liberationist “gospel” and arguably could be considered more deeply “Christian.” Such a view seems counterintuitive when evaluating a genre with a propensity towards irreverence and blasphemy, yet Iafrate asserts that Christian communities have not adequately grappled with the fact that their adherents worship a divine person who was executed, in part, for the crime of religious and political blasphemy. In particular, the religious liberations provoked by punk and by liberationist Christianity may in fact rely on blasphemy as a theologically relevant category. Likewise, Christian punk, if it is to be true to both Christianity and punk, must include a wider understanding of conversion and liberation, one that may even include blasphemy as a possible “sacrament” of religious and ethical liberation.

The paper is about the economy of the production, organization and circulation of punk labels and distros in Southeast Asia.  This includes the activities involved in the organization of labels and distros, the exchange of resources (records, flyers, zines, merch, artworks), information, and the politics behind the economy of it’s circulation.

Resources in this paper includes key people form Southeast Asia including Emman (Emmanuel Jasmin) of Delusion of Terror (Philippines), Jep Peligro of Konspirazine  and Pojax Kult Elite (Philippines), Noel Punxia of Mutilated Noise (Philippines), Joe Kidd of Ricecooker (Malaysia), Bam Sickos of Sickos Records (Indonesia/Philippines), Shaiful of Prohibited Projects (Singapore) and England Hidalgo of overxout infoshop and Tolerance Tapes (Philippines).

The journey from proto-punk to punk occurred at high speed in many of London's satellite towns. Among these, the town of High Wycombe in the home counties offers a narrative that can trace an involvement in the earliest stages of that journey as a result of performances by leading British punk group the Sex Pistols. This article explores three Sex Pistols-related events that are used to map three clear phases of the proto-punk to punk transformation. The first wave notes the blurred lines in the fluid symbiotic relationships between proto-punk in London and its satellite towns. Drawing on Crossley, I note that London's networked punk 'music world' was reliant on both cultural commuters and activities in the provinces. I propose a further, fluid notion of transivity 1 that shows the relationship between local and 'commuter' punks is needed. The second wave shows the damaging aspect to High Wycombe's punk identity as, due to its close proximity to London, many if its key actors would move to the capital as soon as they were able to. They escaped from the 'boredom' of High Wycombe-the commuter town-to go to the 'excitement' of cosmopolitan London to live their dreams. The third wave reveals a moment of class and regional cohesion, through which a High Wycombe Punk identity emerges during the summer of 1977. This occurs among the first and second wave participants who remained and the newer school-aged punks. Finally, the article introduces the local punk terrain beyond the timeline under investigation. Here, regional and class difference became played out through violent interactions between Wycombe punks and skins, and punk scenes from other towns. Here we see the assertion of 'Wycombe Punk' as a type.

The PhD dissertation Cyberpunk and New Media Art: Digital Art and Performance aims to examine the literary and visual legacy of the Cyberpunk movement and to explore its ideas, concepts and methodologies in the context of New Media artistic practices. The goal of this work is to comment on a multidisciplinary level on the influence of Cyberpunk theory and aesthetics. Furthermore, it seeks to identify its practice in the construction of the creative mechanisms of contemporary digital art and media performance.
The Cyberpunk phenomenon is approached through the definition of its socio- historical, philosophical and aesthetic context as a science fiction genre. Likewise, New Media Art is defined through the characteristics of its language, its precursors, its pioneers and the state of the digital art currents. By focusing on the terminology and the creative expression of Cyberpunk and Media Art, this thesis sets off to examine the artistic results that emerge from their union. Special emphasis is given to the fields of virtual technologies, technology and mythology and the body as a technologically enhanced interface.

When you visualize the term “punk,” what do you see? Many contemporary viewers have an inclination to associate “punk” with a specific visual image, composed of a selection of iconic dress artifacts, such as the Mohawk hairstyle, leather jacket or metal-studded belt. And yet, many punks actively eschew such narrow definitions, arguing that there is really no “right” way of dressing in the punk style. Ironically, despite the popular media’s constant efforts to caricaturize the subculture and thereby reduce it to mere costumery, punk style is really about embracing individualism and freedom of self-expression.

The paper is part of the ‘Back Home’ research project carried out by a group of PhD students from the Polytechnic University of Milan within the framework of the Paquebot Laboratory. The goal of the present research is to reveal historical premises and sociocultural circumstances that provided the basis necessary for the development of the British post-war housing.
As one of the major sociocultural and architectural phenomena in the modern history of Great Britain, the new residential development has been taking shape under the impact of new realities of the post-war life. A descriptive research method has been applied in order to determine the most significant among these realities, such as the exigency of rebuilding and reforming the country immediately after the World War II, economic upheaval of the next two decades, introduction of new governmental policies, multiple cultural tendencies – form the Swinging Sixties to the Electric Eighties – and an intense critical debate of the period.
The study aims to answer the following research questions: what are the preconditions of the British post-war housing phenomenon, and what has determined the emergence of a new generation of architects ready to exploit new approaches to modernism and avant-garde in Great Britain in the 1950s-1980s. Special attention is paid to revealing innovative tendencies of art, fashion, music and cinema, which have transformed the country into the world’s cultural trendsetter for several decades and become a cardinal requirement for the residential development in post-war Great Britain.

The book is a comparative study of popular music cultures in 1980s Torino, Tampere, Manchester and Düsseldorf and their relation to the industrial city as imaginary, as heritage and as everyday reality.

Popular music genres, such as hardcore punk, house, industrial, post-punk and heavy metal, share a common origin in 1980s decaying industrial cities. All these genres have been canonized and understood as “scores” for grey, gloomy, decaying urban industrial environments or for their evocation, but is there an organic relationship between de-industrialization and this kind of music production?

Life-size, beautifully sewn, fully dressed, wearing heavy make-up and fancy hairstyles, Greer Lankton’s dolls are all at once glamorous and grotesque, and their highly ambiguous personalities echo the works of Hans Bellmer, the ravaged faces of Egon Schiele, the Dada dolls of Emmy Hennings during her Cabaret Voltaire period and even the outrageous look of rock musicians Alice Cooper and Kiss in the mid-‘70s. Building magnificent and baroque rooms for her dolls to haunt with her own hands, Greer Lankton reinvents the concept of the children’s playgroundturned-insane-asylum, and gives a new dimension to the traditionally maternal womb by distorting three elements considered archetypal female attributes: dolls, seen as typical role-play objects for little girls; rooms, usually understood as emblematic of female territory (while men are free to roam outside these boundaries), and food, an element whose refusal by Greer Lankton would eventually cause her own death in 1996 at the early age of 38. Furthermore, in creating her monstrous Dolls and putting them in equally monstrous homes, Greer Lankton is challenging two forms of domination, as Rubin Suleiman shows in her essay Subversive Intent: Gender, Politics and the Avant-Garde: first, men’s domination of the avant-garde, and more disturbingly, the dominant feminist approach of the ‘60s based on the humanist values put forward by Judy Chicago’s most famous piece The Dinner Party.

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Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.

Queercore is a queer and punk transmedia movement that was instigated in 1980s Toronto via the pages of the underground fanzine ("zine") J.D.s. Authored by G.B. Jones and Bruce LaBruce, J.D.s. declared "civil war" on the punk and gay and lesbian mainstreams, consolidating a subculture of likeminded filmmakers, zinesters, musicans and performers situated in pointed opposition to the homophobia of mainline punk and the lifeless sexual politics and exclusionary tendencies of dominant gay and lesbian society. More than thirty years later, queercore and its troublemaking productions remain under the radar, but still culturally and politically resonant.

This book brings renewed attention to queercore, exploring the homology between queer theory/practice and punk theory/practice at the heart of queercore mediamaking. Through analysis of key queercore texts, this book also elucidates the tropes central to queercore’s subcultural distinction: unashamed sexual representation, confrontational politics and "shocking" embodiments, including those related to size, ability and gender variance. An exploration of a specific transmedia subculture grounded in archival research, ethnographic interviews, theoretical argumentation and close analysis, ultimately, Queercore proffers a provocative, and tangible, new answer to the long-debated question, "What does it mean to be queer?"

This article considers the impact of time-based signal processors on the shape of alternative rock recordings. The concept of musical shape is considered here as both textural and gestural. In this instance, texture pertains to the interactions between the component parts of a multitrack recording and gesture relates to applications of processing by the recordist. Drawing on examples by the Jesus and Mary Chain, Siouxsie and the Banshees, Mazzy Star and My Bloody Valentine, the impact of time-based signal processors on the shape of the recordings is elucidated. Scholars, including many of those involved in the Art of Record Production forum, 1 have established the recording studio/workplace, sound recording and production technology, recordists, as well as techniques/process as being the contextual cornerstones of record production study. However, the foregrounding of these factors in music analysis is less common, and to that end my method has focused less on social aspects and reception – that is, how audiences, critics and cultural commentators respond to recordings – and more on the impact of these oft-overlooked factors on the music itself. In popular musicology and music analysis, work focusing on technological and/or processual matters is still in its infancy, due in part to what Stephen Cottrell (2010) has noted as the relatively recent development of phonomusicological

El artículo destaca el papel de las prácticas DIY realizadas en una escena hard-core-punk circunscrita espacialmente a un pueblo -La Roca del Vallés- en la construcción y renovación de una identidad local y en la diferenciación respecto a escenas musicales cercanas, especialmente la barcelonesa. Pretendo explicar cómo unas prácticas de producción y consumo culturales, realizadas desde el exterior de las corrientes hegemónicas de producción y distribución cultural, son centrales en las concepciones de las personas involucradas sobre sí mismas y sobre los lugares y vecindarios donde viven.
Palabras claves: escena musical local, hardcore-punk, do-it-yourself, identidad local

This paper discusses the role of DIY practices in a hardcore-punk scene spatially circumscribed to a town—La Roca del Valles—in the building process of a local identity. It also provides detailed information about the way in which this musical scene differs from other musical scenes, such as the Barcelona’s hardcore-punk scene. The paper places special emphasis on the way how cultural production and consumption which originated outside the cultural mainstream become a central element in individual’s self-perception and in the perception about the places and neighbourhoods where they live.
Keywords: local music scene, hardcore-punk, do-it-yourself, local identity

“Não há apóstrofe em zine. Zine não é abreviação para magazine. Uma revista é um produto, uma mercadoria comercial. Um zine é um trabalho de amor, produzido sem lucro. (…) Informação é a razão pela qual um zine existe; qualquer coisa além disso está de fora.” Larry Bob,zineiro.

When the Sex Pistols “encouraged the young to become producers of culture rather than consumers” during the explosion of the punk music and art movement of the 1970’s, they were speaking to those who wished to find ways to resist capitalism, “the man,” and dominant cultural hegemony (Ensminger 5). In 2012, openly queer video game developer Anna Anthropy implored members of the gaming community to do the same, to “take back an art form” and become developers, designers, and producers (Anthropy). This dissertation utilizes an examination of two subcultural movements: the Gothic literary movement (and subsequent goth culture) and the queercore punk movement which splintered off of the more heteronormative punk movement. The examination will help establish connections and parallels to the contemporary indie gaming community and its queer subsect, occupied by members and creators like Anthropy. Utilizing punk subcultural theory, queer Gothic literary conventions, queer theory, and theoretical approaches to progressive cultural production, I seek to identify both an indie gaming community that leans more towards the heteronormative as well as a queer punk independent gaming movement that mimics and mirrors the queercore punk movement in its resistance to heteronormativity and capitalism. Punk ideologies and lifestyles demand resistance in myriad ways, and I’m suggesting that indie games made by individuals at little to no cost for both the producer and the consumer, featuring queer narratives and resistant game design, are the most punk of them all.

Pussy Riot emerged in 2011 as an anonymous Russian political activist art collective that impersonated a punk rock band in their staging of protests against the autocratic regime of Vladimir Putin. In 2012, three of its members were tried and imprisoned for nearly two years, which garnered the attention and outrage of the United States and Western Euro pean countries. The illegal punk performance actions of Pussy Riot, disseminated in edit ed videos through the Internet, depended on late capitalism's global network, which turns DIY underproduction into viral capitalistic overproduction (to use Shane Greene's terms of analysis). These are the same technological routes and apparatuses of disinfor mation through which Russia attempted to sow social discord to the advantage of Donald Trump in the 2016 election. This essay traces the reconfiguration of punk in the course of the actions and trial of Pussy Riot, from the generic punk music stance of jamming the system with loud noise and mischievous fakery, to an understanding of punk as an ac tivism that works through the court system and champions transparency. In the face the lawless autocracies of Putin and Trump, where shocking disregard for institutions has be come an overproduced political norm, punk rebellion ironically may take the form of a methodical and rigorous investment in the rule of law. Pussy Riot's post-trial punk does not envision anarchy, but rather a functioning legal system and government institutions that that protect human rights.

Abstract
Punk Rock and Islam; no two things could ever be so radically different, and yet, similar. A juxtaposition exists between these two lifestyles that invites interesting comparison and contrast of values, dress, media misrepresentation and self-expression. In this paper I intend to show that Punk Rock and Islam seem very different, but like any movement or lifestyle, have a structure and life all their own which represent who follows each ideology as such a large part of their identities. I will address the similarities of value and belief systems, a dress code, the opinions drawn by outsiders due to media influence, and the ways in which believers in Islam or Punks can come in all different shapes and sizes from all over the world. My case study comes from the documentary Taqwacore: The Birth of Punk Islam which is about the author of The Taqwacores, a novel about the dichotomy of identifying as a Punk and as a Muslim. It doubles as a loosely based autobiography of the author and the film shows his journey to accepting Allah and how he has influenced an entire community with his literary and musical efforts with the band The Kominas. Studies like this are necessary to understand the Islam and Muslim culture exists all over the world and in many different ways. Muslims are a diverse group of people with their own beliefs and messages that have been misunderstood in a variety of ways. Punks and Muslims are both part of communities with values and ideas about how society should be and how they fit into that society. By exposing these parallels I hope to shed light on both communities and how they coincide.

This book is about how and in opposition to what punk is defined and lived out by punks in Sweden and Indonesia. Arguing against the previous research’s presumption that subcultural meaning constitutes a single set of meaning, this study points to two patterned sets of meanings, each construct-ed out of several different definitions of the mainstream as well as the sub-cultural authentic. Consequently, a central research question concerns how to theoretically account for similarly structured and structuring heterogeneities across and between the Indonesian and Swedish cases. Drawing from exten-sive ethnographic fieldwork and interviews in which a variety of interpreta-tions of punk have been explored, six different definitions of the mainstream are outlined. Each of these refers in turn to a particular script through which subcultural styles and identities are performed and authenticated as set apart. These different definitions are then combined into two patterned sets of meaning through a consistency in terms of how the binary subcultur-al/mainstream is worked and extended: A convex pattern, involves a bounda-ry work to what is defined as external to punk, bending outwards. A concave points instead bends inwards, a boundary work against mainstream internal to punk. By showing how these patterns are interrelated spatially and sym-bolically, it is argued that subcultural meaning as well as the authentic have to be approached from within the subcultural. The mainstream is thus re-leased from having an inherent meaning as “the outside,” “the dominant,” or “the commercial,” and more so, so is the subcultural and the subcultural authentic. Consequently, the same object can be performed differently, drawing upon different binaries, or through working the same binaries dif-ferently, to extend the subcultural through the use of analogies and meta-phors. The total similarity between how punk is performed in Sweden and Indonesia, as well as the consistent differences between the two patterns, point to a relative autonomy of the subcultural. Different definitions of the subcultural authentic and the mainstream are therefore not a matter of commitment, or degrees of authenticity, but rather different means to communi-cate, interpret, and act upon the subcultural.


Keywords: subculture, punk, mainstream, authentication, style, identity, cultural sociology, ethnography, convex, concave, patterns of meaning,

Order a copy from:
Erik Hannerz, Lund University, Department of Sociology, Box 114
SE-221 00 Lund, Sweden. 
[email protected]

'Are we punks?-yes, we drink!': The politics of drinking in a youth subculture

Abstract

This article investigates the role of excessive drinking in a subcultural scene of Russian punk. Based on an extensive long-term field research, our work demonstrates that the loss of identity and withdrawal from the projects of social identification , usually associated with excessive consumption of alcohol, might not explain all the functions of excessive drinking. The article suggests that in certain situations drinking disgrace, alcoholic exploits and 'heroic incompetency' surrounding consumption of alcohol cause the opposite effect through which individuals do not dissolve their identity but rather construct alternative agency recognized and enacted within a subcultural collective. On the basis of the observations of drinking practices in three geographically defined Russian punk scenes and reflections on these practices produced by the members of the scenes we conclude that excessive drinking can be seen as a specific response through which members of the subcultural groups construct alternative agencies and reclaim their political subjectivity.