Abstract: This article arises from an ongoing research project about the manifestations of punk in Portuguese society from 1977 to date. The approach to studying Portuguese punk occurs along the following axes: analysing punk music from the perspective of cultural representation; identifying punk subcultural practices; addressing the contours of Portuguese punk as social movement, scene or neo-tribe; assessing sociopolitical participation; and identifying urban forms of resistance and the occupation of space. The author underlines the different positions of social actors presently involved in the punk movement in Portugal in terms of their relation to the assumption of punk as a contemporary form of social and political resistance and a structural axis of the recomposition of new contemporary social movements; in addition to tracking the movements and struggles against the risks engendered by fragmentation stemming from the economic crisis and the deterioration of the overall quality of life. Here, the auth...

Abstract: Punk music, ideology, and community have been a piece of United States culture since the early-1970s. Although varied scholarship on Punk exists in a variety of disciplines, the educative aspect of Punk engagement, specifically the Do-It-Yourself (DIY) ethos, has yet to be fully explored by the Education discipline. This study attempts to illucidate the experiences of adults who describe their engagement with Punk as educative. To better know this experience, is to also better understand the ways in which Punk engagement impacts learner self-concept and learning development. Through the phenomenological in-depth interviewing of six adult participants located in Los Angeles, California and Gainesville, Florida, narrative data is interpreted to reveal their education journey that contains mis-educative experiences, educative experiences, and ultimately educative healing experiences. Through the framework set of Public Pedagogy, Social Learning Theory, and Self-Directed Learning Development, this research aims to contribute to scholarship that brings learning contexts in from the margins of education rhetoric and into the center of analysis by better understanding and uncovering the essence of the learning experience outside of school. Additionally, it broadens the understanding of Punk engagement in an attempt to have an an increased nuanced perspective of the independent learning that may be perceived as more educative that any formal attempt within our schooling systems.

Abstract: Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self.

Abstract: This article explores the formation of Krishnacore, a phenomenon born from the amalgamation of American straightedge punk and the Hare Krishna Movement in the 1990s. It argues that whilst shared choices of lifestyle, such as vegetarianism and a distaste for intoxicants and illicit sex, were core tenets towards the conception of the scene, it was bhakti-yoga (the theological and philosophical basis of the Hare Krishna Movement) that cemented such a relationship. Furthermore, it also explores the aesthetic context of punk within a Vedic context, in particular with reference to what is termed as ‘Nada-Brahma’, or the sacralisation of sound.

Abstract: Pussy Riot became world famous after their Punk Prayer in the Cathedral of Christ the Saviour in Moscow. This paper looks at the religious and political statements of some Pussy Riot members against the background of their Russian context and explains why the politically radical left-wing, anarchist and feminist group used the form of a punk prayer to express protest. Elaborating the connection of punk, religion and politics, I argue that punk is a sub-culturally established medium to express leftist, anarchist and feminist political convictions and to offend the religious and political hierarchy, especially when performed in the country’s most prominent cathedral; and also that the religiosity of at least some of the Pussy Riot members is not an obstacle to using a punk performance as their form to express protest; by contrast, punk is an adequate medium for ‘liminoid’ anti-authoritarian forms of religion like that of Pussy Riot member Nadezhda Tolokonnikova. In Russia, a punk prayer is not only a way fo...

Abstract: This article explores the entangled and contradictory processes of territorialisation and deterritorialisation that have shaped the hardcore punk scene in Bandung, Indonesia, while questioning the binary model of globalisation and localisation. The formation of the Bandung scene has certainly involved processes of local adaptation, translation, and territorialisation, but these cannot be disentangled from the global styles, orientations, and networks associated with hardcore punk. Through their active participation in global hardcore, Bandung's punks adopt a standpoint of underground cosmopolitanism that goes beyond a merely mimetic relationship to Western scenes. Their valorisation of local “Do It Yourself” production and performance reflects the value practices of global hardcore punk, and the social relationships that constitute the local scene extend beyond any straightforwardly spatial definition of the “local.” At the same time, this global orientation takes on particular locally-inflected m...

Abstract: 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.

Abstract: What are the things that disclosed the identity of Street Punk fashion? and what kind of communication is represented Street Punk through fashion? If identity becomes ambiguous Punk by rogue elements who identified himself as a Punk , then there differences in identity between Punk Street Punk and other communities through fashion? In this study fashion as communication with a phenomenological approach, researchers introduce fashion as a way of communicating the identity of a sub culture that exists in our midst. Taking of theoretical approaches to communication and culture, in particular the approach of Malcolm Bernard (1995) and friend’s, the author then examines the consequences of communication as identity. The types of identities that observed in everyday life and to a certain statement, may be refuted by ordinary people with common sense, then by researchers in the context of this study, the types of identities that can be observed by the researchers and verified in the experience of the subject scientific.

Abstract: Punk is an extreme manifestation of the rock project, meaning that it depends on an association of raw and authentic expression with blackness, musically represented by particular approaches to the blues, combined with processes of white appropriation, transformation and obfuscation of those blues resources. Punk's powerful affect largely derives from the tension between punk's blues foundations and strategies that obscure its roots. Punk treatments and transformations of the blues include: (1) moving from multi-part, three-chord harmonic schemes to riffs and one- and two-chord vamps; (2) taking a new approach to vocal performance styles; and (3) retaining certain melodic approaches, such as the use of pentatonic scales and monophonic textures. Punk's complex relationship to the blues, including the history of negation and erasure, continues to be a central part of the punk aesthetic.

Abstract: The city of Bandung, Indonesia is home to a significant hardcore punk scene; within this scene, a small community strives to uphold anti-commercial ‘Do It Yourself’ (DIY) principles, organising independent hardcore shows ‘by the kids, for the kids’. Inspired by global DIY hardcore practices, but grounded in the local scene, these shows are organised and experienced as displays of community solidarity and autonomy from the capitalist market. In this paper, I argue that the DIY values of autonomy (kemandirian) and community (komunitas) are expressed and realised through the intersubjective relationships established through the organisation and performance of hardcore music. DIY hardcore performances are collectively organised and participatory events that explicitly challenge the divide between performer and audience. Their values of autonomy and community are symbolised by the circle pit, a form of punk dancing that expresses both social cohesion and playful disorder. In seeking to establish such a synthes...

Abstract: This article examines the explosive reaction to ‘Punk Prayer’ as a religious act. It argues that the power of the performance as iconoclash resulted from the fact that it tapped, resonated with, and disturbed Russia’s Orthodox culture through its appropriation of Orthodox sound, space, and symbols – namely, the image of Mary, the Mother of God. The perceived position of its performers as insiders or outsiders to Orthodoxy, the evaluation of the sincerity of Punk Prayer as prayer, and the paradoxical role that gender played in shaping these perceptions contributed to the tumultuous response.

Abstract: This paper presents two fingers to the HCI establishment. We reject the status quo that defines what language and forms are appropriate "contributions" for this staid "community" of quasi-scientific poseurs. We argue that CHI in particular is a tool that serves to reinforce the political and ideological status quo, favouring sell-out researchers wielding arcane verbiage and p-values, all paid for by corporate and government interests that reward the building of systems that distract, subdue and subjugate. We present our manifesto for Punk HCI, which celebrates principles of anarchy and freedom in exploring the impact of technology on human culture, values, social structures and psychology. We encourage research motivated by passion and dissent over patents.

Abstract: This article contributes to new scholarship in the sociological study of religion, which looks at how people define and communicate religion in secular spheres I show how US Christian Hardcore and Muslim “Taqwacore” (taqwa means “god consciousness” in Arabic) punks draw on the tools of a punk rock culture that is already encoded with its own set of symbols, rituals and styles to: 1) understand themselves as religious/punk and 2) express religion in punk rock environments I find that both cases draw on a punk rock motif of antagonism—oppositional attitudes and violent rituals and symbols—to see themselves as religious/punk and express religion in punk in different ways Christian punks use this motif to condemn other Christians for denouncing punk and create space for Protestant evangelical Christianity in punk Taqwacores use this motif to criticize Islam for its conservatism as well as non-Muslims for stereotyping Muslims as religious fanatics In the process, Taqwacores build a space for alienated brown youth who exist on the margins of mainstream American culture and traditional Islam

Abstract: This book is an ethnographic investigation of punk subculture as well as a treatise on the importance of place: a location with both physical form and cultural meaning. Rather than examining punk as a "sound" or a "style" as many previous works have done, it investigates the places that the subculture occupies and the cultural practices tied to those spaces. Since social groups need spaces of their own to practice their way of life, this work relates punk values and practices to the forms of their built environments. As not all social groups have an equal ability to secure their own spaces, the book also explores the strategies punks use to maintain space and what happens when they fail to do so.

Abstract: Los Angeles has long been racialized — inscribed by hierarchical racial categories supporting an oppressive social order and justified by Eurocentric supremacist ideologies — from the Spanish missions to the zoot suit riots (Omi and Winant, 1994).1 By the early 1950s, the city’s two major racial minority groups were engaged in a culture war over its sanctioned sounds and official values, as their vibrant street styles and upstart dance music scenes became popular among white youths, and hence subversive to the segregationist status quo. This chapter sketches some of the cross-cultural currents and innovative, mestizo (mixed-race) music-making particular to Los Angeles, where original styles such as the 1940s pachuco boogie, the 1960s Chicano and surf rock, and the 1970s Laurel Canyon country rock blossomed, as did transplanted external styles. Rather than survey the city’s music scenes over time, I focus on three homegrown genres — Chicano punk, LA gangsta rap, and Chicano rap — and conclude that, while the black-brown cooperative connections of the war years and the post-war period had waned by the late 1970s, each group’s independent, grass-roots energy and critical, alternative aesthetic persisted into the twenty-first century through hip hop music, dance, and graffiti street art, and through Eastside rockabilly and punk rock scenes.

Abstract: Drawing on fieldwork with young Evangelical and Pentecostal Christians involved in the secular punk rock subculture, this article examines strategies for building respectful relationships between religious and irreligious young people in youth music subcultures. Although punk rock developed as a secular and often anti-religious youth subculture, and although a thriving Evangelical subculture has developed with its own popular music scenes at odds with secular values, a significant number of young Christians have become active participants in punk. Arguing for the importance of musical and subcultural identities among contemporary youth, this article analyses examples of creative inclusivity and respectful relationships across religious boundaries, as well as examples of conflicts over spiritual values. Outlining strategies for building religious inclusivity and resolving religious conflict in youth subcultures, it is shown that where young people’s creative capacities and individual autonomy are respected...

Abstract: During her time as Prime Minister of the United Kingdom (1979-1990) Margaret Thatcher oversaw a great deal of political and social change, some of which proved controversial to her left-wing opponents. Her ascent to power coincided with the establishment of punk, whose music influenced a sizeable proportion of the country’s cultural and social underground, leading to great influence on popular musical producers and the growth of a recognised subculture. Thatcher’s electoral success and the widespread identification with punk were both predicated upon the rhetoric of ‘crisis’ which permeated popular discourse in the mid- to late-1970s. As such, punk came to be viewed as a cultural form with which to not only oppose this rhetoric and mainstream society in general, but also with which to restate ideas of rock ‘authenticity’ as a means to protest political situations. With reference to specific performers and protest movements, this thesis demonstrates how these performers and popular movements stated their opposition to cultural and societal norms, as well as assessing the ‘political’ success of their actions. Consequently it also questions the historical narratives which have been written on this period – particularly that of the Rock Against Racism movement and its involvement of British Asians. It also uses contemporary source material to offer fresh analyses of Live Aid and the Labour Party-supporting Red Wedge group, as well as challenging the performances and presentation of musicians who made direct challenges to Thatcherite policy in their songwriting.

Abstract: ‘Punk to me means, it’s a way of life’, says Dolly, a 22-year-old Jakarta punk, to a Canadian film-maker. ‘It’s like a place where I can get freedom and happiness and love’ (Crawford, 2006). One would think that by now, after more than 20 years, the novelty would have worn off. Nonetheless, the no-longer-unusual sight of South-east Asian youths clad in studded black leather jackets, combat boots, and sporting multicoloured mohawks amid palm trees, ramshackle huts, and tropical urban sprawl has recently inspired a photograph book (Resborn and Resborn, 2013), a photo essay in The New Yorker (Dukovic, 2013), and a variety of other efforts at documentation. But Indonesia’s punks, members of a scene over two decades old, are quite uninterested in being cultural curiosities for the Global North. To borrow a phrase from Filipino anthropologist Fernando Nakpil Zialcita (2005), their aim is to be ‘authentic though not exotic’ as they apply the lessons of punk music and culture to their everyday lives in the often-harsh environs of a developing nation. Their dress signals allegiance to a scenic community composed of friends and comrades that in turn connects them to a flourishing planet-wide network of like-minded individuals, all celebrating a music and philosophy whose survival into the twenty-first century struck many in the West as improbable. But it seems that all those reports of the death of punk have been greatly exaggerated. On the contrary, in Indonesia punk is flourishing.

Abstract: Like many radically minded academics, I was hypnotized by the frenzy of pro–Pussy Riot sentiment that inundated social media for several months last year. Of course, as news cycles fade and more im...

Abstract: Russia is far from the natural habitat of punk. Since its emergence in Soviet Russia of the late 1970s (Steinholt, 2005, pp. 69–70), punk has defied de facto any structuralist explanation of the movement as the manifestation of resistance to capitalism’s attempt to repress and contain desires into forms useful to capitalists (Thompson, 2004). At the same time, readings of British punk as the culmination of twentieth-century radical aesthetic movements such as avant-garde Dadaism, futurism, surrealism, or expressionism (Marcus, 1989) have little resonance in state-socialist societies, where 1968 was associated not with student radicalism but with the crushing of the Prague Spring. Arguments that punk was the product of rock music turning against its own commercialization (Savage, 1991, p. xv) or the disengagement of radical counter-culture from its increasingly industrially incorporated soundtrack (Moore, 2010, pp. 5–8) also fall short of the mark. Punk in late Soviet Russia shared the underground with other forms of rock music rather than being pitted against the popular music industry (Pilkington, 1994, p. 229). Indeed, given that in 1976–1977 rock music was still struggling to establish itself, there was little need for punk’s musical revolt against its, as yet unestablished, canons (Gololobov and Steinholt, 2014, p. 22). Yet punk has proven to be more than a momentary, mimetic phenomenon in Russia. After its emergence in Leningrad and then Moscow, it extended into the Russian hinterland and developed a distinctive sound associated primarily with the Siberian punk wave and, in particular, the music of Egor Letov and the band Grazhdanskaia Oborona (Steinholt, 2012).

Abstract: Polytechnic University of Pomona and is currently pursuing a Bachelor of Arts in History and Philosophy. Academically, he is particularly interested in nineteenth and twentieth-century American social history. He is a native of Fresno, California and enjoys evening bike rides and spending time with his cats, Jim and Honey. CONTRIBUTOR BIO