Abstract: This article examines the ways in which political organisations of the far left and far right responded to punk-informed youth culture in Britain during the late 1970s. It examines how both tried to understand punk within their own ideological framework, particularly in relation to the perceived socio-economic and political crises of the late 1970s, before then endeavouring to appropriate—or use—punk for their own ends. Ultimately, however, the article suggests that while punk may indeed be seen as a cultural response to the breakdown of what some have described as the post-war ‘consensus’ in the 1970s, the far left and far right's focus on cultural expression cut across the basic foundations on which they had been built. Consequently, neither left nor right proved able to provide an effective political conduit through which the disaffections expressed by punk could be channelled.

Abstract: How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk.

Abstract: This article considers the relevance of geographical theories about gender roles and how gender is performed, to the situated context of a local DIY ('Do It Yourself) punk scene. It draws on an auto-ethnographic study carried out by the author between September 2008 and May 2009, which explored the themes of the body, gendered performativity and gendered spatialities. The study was based on the author's observations, reflections and conversations with other participants at live music events ('shows') in a particular region of the UK, but also revealed how DIY punk offers an example of an imagined community, crossing temporal, spatial and cultural boundaries with a sense of belonging and collective identity expressed by participants. The study illustrates the complexity of the relationship between punk ideologies and practices and the ways that spaces can simultaneously offer contradictory and negotiable opportunities for empowerment and resistance, acceptance and exclusion. Keywords: Gender, Space, Performativity, Resistance, Auto-ethnography, Punk Introduction '... even a subculture deliberately carved out to oppose mainstream norms and values ends up reinforcing masculinist ideals and male-defined gender expectations' (Mullaney, 2007, p.387) This article considers the relevance of theories about gender roles and how gender is performed to the situated context of a local DIY ('Do It Yourself') punk scene. I reference literature on subcultures and gender and relate it to reflections from my auto-ethnographic research within the local scene studied. The thread running throughout this discussion is the tension between the nebulous political underpinnings of DIY punk, as a sub-culture, and my experiences of DIY punk and hardcore in a particular localised context (I will use 'DIY punk' to include hardcore in discussing my particular case study). Using the themes of the body, gendered performativity and gendered spatialities, this article explores this tension, as well as the often disconnected relationship between espousing progressive ideas (such as anti-racism and anti-homophobia) and acceptance of, or at times support for, reactionary values (particularly sexism). The demographic composition of the scene I was involved in was mainly white, heterosexual, male participants and men held dominant roles as live music event organisers and musicians (the live music events will hereon be referred to as 'shows'). I therefore focus on relationships between the roles played out by men and women, particularly on expressions of masculinity. I begin by introducing the setting for the study followed by an explanation of the methods used in the research. I then explore the potential for DIY punk to be seen as an imagined community, acknowledging the fluidity of the temporal, spatial and cultural boundaries around punk, yet recognising the very real sense of belonging and collective identity expressed by many of the people I talked to. I use examples from my research to illustrate the complexity of the relationship between punk ideologies and practices, relating these examples to theories of gender and space. Finally, I provide examples from the literature of reclamation of punk spaces by women and feminist politics, as well as the potential for punk spaces to be read as queer spaces. This discussion draws from research that took place in a specific geographic and social location and so will not necessarily reflect experiences in all DIY punk spaces or scenes. Still, I hope that the examples provided will illustrate the complexity of the DIY punk music scene, particularly in relation to gender, and how the punk scene offers an opportunity to study the performance of resistance and gender. Consideration of the spatiality of punk shows illustrates the ways in which spaces can simultaneously offer contradictory and negotiable opportunities for empowerment and resistance, acceptance and exclusion. …

Abstract: This article is an attempt to provide a very rough outline of the historical interaction between punk rock and the Muslim world. For the most part, the antinomian youth culture of punk rock was relatively slow to reach Muslims outside of Europe and North America. When it did reach Muslim youth (from Europe to Asia to the Middle East), it tended to initially manifest in secular and antireligious terms. Yet by the 1990s, some examples of punk arose that claimed a Muslim identity, and by the year 2005, a scene called “taqwacore” developed. This new scene embraced both religious and nonreligious Muslim punks and others who did not self-identify as Muslim in any way. It’s been called “punk Islam” and has made a place for itself on the fringes of the punk scene and the Muslim world. Finally, this article briefly addresses some ways in which taqwacore can be seen as a theological development within Islam.

Abstract: Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches. Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene. Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity. Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences. Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

Abstract: As punk reformulated topics and modes of resistance in the late 1970s, the impact of wars in Southeast Asia, as well as continuing histories of imperialist aggression elsewhere, served as a way for Los Angeles's racially and sexually diverse punk scene to imagine itself as resistant through (sometimes simultaneous) affiliation with and disassociation from the state, military, and acts of capitalist violence. This article reimagines the context for punk's politics by following racial, residential, and economic patterns, the influx of refugees, and the subsequent reimagination of punk spaces such as Hollywood, the Canterbury Apartments, and Chinatown to trace themes of race, sexuality, and violence.

Abstract: Intro On November 8, 1980, a collective of women—inspired by the Rock Against Sexism movement in the United Kingdom—organized the Rock tegen de Rollen festival (“Rock Against Gender Roles”) The Netherlands city of Utrecht. The lineup consisted of six all-women punk and new wave bands (The Nixe, The Pin-offs, Pink Plastic & Panties,1The Removers, The Softies, and The Broads) playing for a mixed-gender audience. Similar to The Ladyfests two decades later, the main goal was to counteract the gender disparity of musical production (Aragon 77; Leonard, Gender 169). The organizers argued that: popular music is a men’s world as most music managers, industry executives and band members are male. Women are mainly relegated to the roles of singer or eye candy. However, women’s emancipation has also affected popular music as demonstrated by an increasing number of all-women bands playing excellent music. To showcase and support such bands we organized the Rock tegen de Rollen festival. (De Borst 40)

Abstract: Introduction ON AUGUST 11, 1983, OFFICIALS FROM THE STASI DEPARTMENT XX, RESPONSIBLE for "combating political ideological diversion and underground political activity," documented a so-called Vorkommnisuberprufung (incident investigation). According to the file, quoted in detail in Preuss (2005) as well as in Furian and Becker (2000, 113-20), the reason for the arrest of a number of youths labeled "Punks" was a concert in the Erloserkirche in Berlin-Lichtenberg on June 24. The file includes information regarding the objectives of the surveillance operation, noting that "the Minister ordered severity toward Punks to prevent an escalation of this movement." An additional goal was to catch youths committing an "offense for which they could be arrested under the criminal law," based on paragraphs 215, 220, and 249 of the StGB (criminal code). A telling remark was added to this: "Or, if other statutory offenses are applicable, suggestions are welcome." This source raises numerous questions and allows for two important observations. First, the German Democratic Republic (GDR) government was nervous about Punks and even feared the escalation of the movement. Second, the document offers insights into the nature of the conflict between youth and state authority in the GDR. In this conflict the two sides were unequally matched and the state reaction against Punks was backed by considerable political force, even encouraging a new interpretation of the criminal law. It is necessary to explain why the Stasi in general, and the special department for "combating political-ideological diversion and underground political activity" in particular, was so concerned with the surveillance of young people. What was perceived as so dangerous about Punk youth that the minister was worried about a possible "escalation"? What precisely prompted the urgent search for "criminal offenses"? Preuss (2005) has documented the history of Namenlos, a Punk group founded in spring 1983 by the young musician Michael Horschig and his friends Jana Schlosser, Mita Schamal, and Frank Masch. In April and June 1983, Namenlos performed twice as part of church events. Their third--and, for a long time, last--gig took place at the Erloserkirche, where the group came to the attention of the Stasi. During the concert, the group performed a number of original songs that subsequently appeared in the report about the concert. The report in the files notes that "the gig at which both Punk groups 'Planlos' [!] and 'Unerwunscht' appeared started at around 8:15 pm.... They played about 10 songs, containing statements critical of the socialist state and social order as well as neo-fascist thoughts." (1) The observers included in their report notes on songs about the Ministry for State Security (MFS, MFS, SS, SS ...), the meaninglessness of socialist work (Arbeitest Du fur Erich?), the negative influence of the Soviet Republic (Rote Parolen und Sowjetmacht haben Deutschland kaputt gemacht), as well as a sense of anger about the increasing number of right-wing extremists (Nazischweine in Ostberlin). The report concludes: "After completion of the efforts to identify the members of the Punk/rock groups openly attacking the socialist state and social order [and] spreading fascist ideas, criminal charges will be brought against them." (2) The "Namenlos" file is a paradigmatic case that reveals underlying state attitudes and contextualizes the increasingly harsh punishment of various youth groups in East Berlin around 1980. As this article will show, the file also sheds light on the surveillance process and the disbandment of the Punk group Namenlos and reveals a great deal about Stasi strategies to deliberately criminalize youth. Based on official sources regarding the persecution of the Punk movement, this article will show that the GDR deliberately avoided drawing a clear distinction between deviant behavior and crime. This strategy provided the state with different options in dealing with delinquent youth, officially branded as "antisocial" and politically dangerous. …

Abstract: From posters for punk-rock bands and indie filmmakers to fanzines and other independent publications, the art of the punk movement revolutionized design in ways whose influence is still felt today, and reflected the consciousness of a counterculture with a clarity seldom seen since. Drawing on private and public archives of rare material from around the world, this heavily illustrated book presents an unrivaled collection of punk art and ephemera that incorporates every aspect of the movement, from the earliest occurrences of punk symbolism in posters and flyers for underground bands to the explosion of fanzines and Xerox culture, and from rare photographs of musicians such as the Sex Pistols and the Screamers to the artwork of Crass, Jamie Reid, John Holmstrom, and the contemporary street artist Banksy. With more than three hundred images and accompanying essays by Johan Kugelberg, Jon Savage, and William Gibson, this definitive visual narrative illustrates how the DIY ethic of the punk era inspired a movement in graphic arts and design whose influence is still felt among the most significant figures in the fields today."

Abstract: One of the most fascinating musical, social, and political movements of the last century was the initial rise of punk rock in the early to late seventies. Punk rock was characterized by many writer...

Abstract: Acknowledgments Introduction 1 Society, Culture and Music in Britain Before 1963 2 The Beatles 3 London 4 Mods 5 Marketing a Lifestyle 6 Psychedelia 7 Folk Rock 8 The Counterculture 9 Progressive Rock 10 Heavy Metal and Hard Rock 11 Glamrock 12 The Business of Rock Music 13 Punk Conclusion Notes Bibliography Index

Abstract: In debates about migration from Mexico, popular culture, especially music, can be an important political space for expressing feelings and thoughts about nativist discourses. Ann Cvetkovich’s notion of “archives of feelings” is helpful for understanding political texts that address the plight of Mexicans in music. Performances become reflexive spaces that foster agency by allowing for a critique of politics from outside of and within Latino communities. Interviews with participants in the Latino punk scene and an interpretation of the documentary film Beyond the Screams/Mas alla de los gritos show how punk lyrics, musical performances, and representations become interpretive sites when performed in public. The texts and performances discussed here create powerful transnational archives of feelings that contest official stories about the subordination of Mexicans and all Latinos.En los debates sobre la migracion mexicana, la cultura popular, especialmente la musica, puede convertirse en un importante espac...

Abstract: Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches. Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene. Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity. Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences. Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

Abstract: In this brief essay, Alice Bag presents the politics at stake within contemporary histories and writings on punk. For Bag, punk continues to inform countercultural productions and protest movements aimed at societal change such as the ongoing events at Tahrir Square. She argues for a feminist notion of punk that understands social change as a continuum; just as something came before punk which created the social context for it to occur (and provided meaning for punk) so too did something follow. This form of punk challenges dominant conceptions of the scene as white, heteronormative, and/or male-driven. Focusing primarily on the early days of the Masque, a small punk rock venue in central Hollywood, Bag remembers the diverse range of misfits that constituted the early L.A. punk community.

Abstract: The Art of Punk highlights the evolution of the punk movement within graphic design and print, and its impact on fashion and popular culture. Famous graphics for legendary bands like the Ramones, Sex Pistols, the Damned, Buzzcocks and the Clash are included, alongside less celebrated examples from South America, behind the old “Iron Curtain” and as far afield as the Himalayas and Kazakhstan, across a timespan from the late 1960s to the current day. Just as importantly, the book assesses the impact punk has made on the modern art world; from Jennifer Egan’s recent Pulitzer Prize-winning literary work to the graphics of Shepard Fairey (behind the Obama ‘Hope’ poster), Turner Prize nominated Dexter Dalwood, Marjane Satrapi (the Oscar-nominated Persepolis) and Banksy. The Art of Punk, was published by Omnibus Press (UK), Voyageur (North America), Hannibal Verlag Gmbh (Germany) and Hugo et Compagnie (France) in 2012. The book was listed by the Independent newspaper in its Top Twenty Music Books of 2012, and as Picture Book of the Week by New Statesman magazine, October 2012. The book was also awarded a Certificate of Excellence in the ISTD 2014 International Typographic Awards.

Abstract: Detroit, as a birthplace for some of the earliest forms of punk rock, had a unique set of political and social conditions that made it ripe for the negotiation of race, sexuality, and gender within punk. One band of four Black brothers named “Death” navigated the space between their parent community and the world of what was perceived as “white” music. By performing a refusal to enact any one sense of “self,” Death performed a transgression, which was key to their own straightforward aesthetic. This transgression ostracized them from white and Black communities alike. Death forces us to reexamine the white-dominated narrative of punk music, which was thoroughly influenced by Black cultural modes from the outset. Early white punk bands MC5 and the Stooges had ready access to Black music and political activity; they performed new masculine identities based on an admiration for Black culture, as well as Black stereotypes. Paradoxically, as young Black men playing an early form of punk music, Death was unable...

Abstract: »Grinding California« provides the first academic analysis of the subculture of skate punk at book-length. It establishes highly critical evaluations of the discourses that influenced early skateboarding and punk cultures. Based on an examination of songs, flyers, magazines, and videos, Konstantin Butz revisits American popular cultures of the 1980s and approaches them from a variety of theoretical and methodological angles. Theoretical recourses to thinkers such as Gilles Deleuze, Félix Guattari, Jean Baudrillard and Hans Ulrich Gumbrecht are topped off with excerpts from interviews with some of the most influential protagonists of the 1980s skate punk scene.

Abstract: Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation David A. Ensminger. Jackson: University Press of Mississippi, 2011. Punk has a core do-it-yourself (DIY) spirit, and the discussion here captures this essence in a book pitched both to the already initiated and to anyone seeking a deeper understanding of vernacular expression at once consciously countercultural and communitarian. The result is significant and, at times, irresistible. Ensminger explicity rejects an overly theoretical or jargonistic approach which possibly could distance the viewer/ reader from punk culture and expression and instead presents ethnographic exploration of punk as folklore. He argues that "the social discourse of punk" represented "some of the finest urban folk art and vernacular street art of my generation" (4-5). He presents the "age of Xerox" or "xerography" as a definable moment that he believes can "be seen as an extension of the creator's desire to see a more diverse, integrated, and participatory American culture" (52). This book's task is to recapture a rapidly disappeared, pre-digital world of community self-expression. It maps out the "punk landscape" and also lays bare connections between the diversity of people and approach in the spatial and communal reclamations of punk. This book presents the fliers "as social texts" foregrounding the DIY approach that defined the movement (9). These were "instant, short-lived, photocopied art forms" (10) that functioned as both snapshots and testaments to the attractions and political core of punk as a culture. "Punk created a performative space that actively, though perhaps through spectacle alone, created a luminal space of inversion, parody, and metamorphosis," he writes (21). Ensminger links the fliers to older traditions spanning nineteenth-century traditions of street art and advertisment, and to artistic influences ranging from Brueghel, Goya, and the WPA to pop art appropriation, Mad magazine, comic books, and rock poster art. He considers the visual style and content of the art, connecting grotesque imagery in punk rock with other reversals and deliberate perversions of the normed world as well as signifiers for punk attitude and belief, including defiant amateurism. He explores the "contested sense of place" (76) produced by graffiti on walls, across cities, and inside clubs like CBGB as a remove from "the flair and funk of hip hop styling" (73). He has read seemingly everything there is to read on punk, from fanzines, memoirs, and histories, to scholarly considerations from a wide array of fields. The many fliers presented in the book are clear and well reproduced, especially considering the source material. This book is repetitive, in part because the thematic structure encourages it, and in part because it was not as tightly edited as might have been optimal. The structure within individual chapters flows but presents an ultimately unclear chronology and organization of bands, scenes, and styles of art and expression. The book is intended to emphasize the folklore of punk rather than its history. But when development of the outlook and style on multiple scales from geographic location to sound is not clearly presented it makes its artistic import and cultural impact unnecessarily less substantial. …

Abstract: Any study of punk rock in Russia will in some way come into contact with the massive influence of Egor Letov, his band Grazhdanskaia Oborona, and their extensive output during the late 1980s. Academia has thus far been reluctant to study the band because of its leader's involvement with dubious right-wing movements and his many tasteless and provocative media stunts during the 1990s. By taking its point of departure in Letov's songs from four stages of his band's development, this article seeks to shed light on Grazhdanskaia Oborona's contribution to the development of punk in Soviet and post-Soviet Russia. When it comes to Letov's extremist views in the latter half of his career it attempts to venture beyond reductionist notions of fascism, into the complex landscape of the paradoxical and often confusing mixture of extreme ideologies that sprang out of the Soviet collapse. It will argue that Letov's work – his songs – come over as a lot less contradictory and ideologically extreme than their author's political stunts would suggest. Their aesthetics and ideology are first and foremost punk.

Abstract: In the 2008 zine The First 7-inch was Better, Nia King (who also self-published the zines Angry Black-White Girl and Borderlands) comes forward to declare her status as an ex-punk after years of watching punk activist communities fail to live up to their alleged anti-racist, anti-sexist, and pro-queer ideals. Having grown up in the punk scene, as a queer woman of color, King now refuses to leave parts of herself at the door in order to be part of a musical scene that she once truly enjoyed, and attempts to gives hope to others mired in what she sees as a culture where women, queers, and people of color will always have to fight for the visibility, validation, and punk “authenticity” their white, male counterparts often take for granted.

Abstract: Puerto Rico. While punk cultures have always relied on media self production for sustaining a space thatis explicitly against capitalist modes of production, the use of digital technologies such as Myspace haveenabled the creation of meaningful networks of cultural production, seemingly resulting in media“counter-power.” However, punks’ use of digital technologies foregrounds an inherent tension ofresisting within capitalism, as networks of information and exchange emerge, obey, and are sustained bya logic of globalized capital and its implications. I contend that this inherent tension must be theorized inorder to build upon a useful ontology of resistance in capitalism. Keywords: Network society, punk, Myspace, DIY culture, social networks, new media, digitalproduction, counter-power Submission date: 2012-01-30 Acceptance date: 2012-02-15

Abstract: Harid Hasnadi, NPM 210111060700, Extension Fikom Unpad majoring in Communication Management. Does Research with tittle “Bandung’s Punk Community In Commemorating Life Style” . As main counsellor of Atwar Bajari, Drs., M.S.i and associate counsellor Teddy K Wirakusumah, Drs., M.I.kom. \ Reasoning of this research is behavior of communications interpersonal consisted of behavior of verbal and non verbal from Punk community having various uniquely and difference from public in general. In this research there is various constructions experience from member of community Punk about the behavior . Intention of this research is to know how construction experience is to to know how experience from member of Punk community about behavior of communications in communications context verbal, non verbal and presentations of style communicates.Method applied in this research is phenomenology study. Instrumement applied in this research is in-depth interview technique to subject and does partisipative observation in various place of communicaties Punk Gathers in Bandung . Result gotten indicates that personality has uniquely and difference from public in general. Besides article which is shows identity and attribute related to Punk community in Bandung. In behavior of communications non verbal , Punk community has various means to show their identity and languages non verbal also has certain understanding for they. While presentations of style communication as a whole equal to public in general despite of some different in terms and way of submission. Kata Kunci : Komunitas ,Gaya Hidup