Abstract: The impact, influence, and legacy of the Sex Pistols have inspired a considerable number of works, with those of Jon Savage being perhaps the most paradigmatic. However, these studies are generally centered on Anglo perceptions of the Sex Pistols and of punk more broadly. We believe that it is important to understand the Sex Pistols cultural and economic impact globally, and thus to realize the influence of English or Anglo-Saxon culture in non-English-speaking countries through the lens of popular music. In this article, our main aims are as follows: to understand the current and previous representation of the Sex Pistols in Portugal; to evaluate the group's legacy in Portuguese society and its punk scene, its influence on the formation of bands and their consideration of questions relating to authenticity and market; to define the role of the Sex Pistols in the dissemination of the DIY ethic and concept among punks in Portugal; and to examine the importance of the Sex Pistols in the ever unfinished cons...

Abstract: This article recovers and contextualizes the politics of British punk fanzines produced in the late 1970s and early 1980s. It argues that fanzines – and youth cultures more generally – provide a contested cultural space for young people to express their ideas, opinions and anxieties. Simultaneously, it maintains that punk fanzines offer the historian a portal into a period of significant socio-economic, political and cultural change. As well as presenting alternative cultural narratives to the formulaic accounts of punk and popular music now common in the mainstream media, fanzines allow us a glimpse of the often radical ideas held by a youthful milieu rarely given expression in the political arena.

Abstract: This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics.

Abstract: [1.1] American hardcore punk rock--or simply "hardcore"--is a subgenre of punk that first emerged in the late 1970s as a response to the "punk rock revolution" created by bands such as the Sex Pistols and the Ramones (Blush 2010, 14). Although hardcore began as a regional phenomenon, relegated to the West coast of the U.S., other scenes soon sprang up, most notably in Washington D.C. Bands like Bad Brains, Black Flag, Dead Kennedys, and Minor Threat drew upon the fast tempos and concise song forms of the Ramones and Wire and the dense textures and riff-driven songs of Black Sabbath and Deep Purple in the creation of a new genre. In addition to these musical features, many participants describe hardcore as reflecting intensity, energy, and aggression, particularly in the performance and reception of the music.(1) While hardcore has been the focus of studies in fields such as ethnomusicology, history, and philosophy, its musical features have yet to be examined with any amount of analytical depth.(2) This article is an attempt to fill this gap in knowledge, at least in part, by investigating the structures of guitar riffs.(3)[1.2] My investigation proceeds with the view that a guitar riff is a series of performative actions; I place the focus on the execution of gestures along a fretboard. Such an investigation is not wholly new in analytical studies of popular music. For example, Joti Rockwell (2009), Timothy Koozin (2011), and David Heetderks (2013) have investigated the importance of fretboard topography in their studies of rhythm, form, and pitch. Indeed, Koozin goes so far as to state that "guitar fretboard topography and the rhythmic actions of guitar playing are significant performative elements that have not been fully considered in studies of form, harmony, and rhythm in pop-rock music" ([1]). To address this need, Koozin discusses the role of guitar voicings--the particular harmonic "shapes" a guitarist uses in playing chord progressions and/or riffs--in creating form. Rockwell undertakes a similar task, as he describes picking patterns on the banjo in order to highlight aspects of rhythm and meter. Heetderks's study is most similar to the present article, as he uses my own earlier work on riff schemes (Easley 2011, 62-104) as a point of departure, as well as Harold Bloom's concept of revision, to discuss the role of such gestural patterns in Sonic Youth's readings and misreadings of hardcore. Thus, Koozin, Rockwell, and Heetderks seek to construct a performance-based type of analysis that addresses both sound and human action.(4) This closely parallels the type of analytical engagement described by Andrew Mead (1999) in his study of kinesthetic empathy. As he states, "the sound of the music was an embodiment of the making, and. . .hearing that making in the sound had much to do with my understanding of the music" (2).(5) My reactions to hardcore are similar: while I hear the pitches and rhythms of guitar riffs, I also feel the physical gestures with which they are performed. This reaction guides the present study, as I investigate how these gestures unfold over time as a series of repetitive, lateral motions along a fretboard. That is, this study is informed by an embodied understanding of these musical actions. I focus on how individual motions are introduced, repeated, and altered over the course of a riff.(6) As I shall demonstrate, these performative actions often reflect a structural basis in what I call "riff schemes": organizing patterns of physical repetition and physical change made by a guitarist's fretting hand.(7) In addition to their purely structural features, riff schemes play an important role in shaping hardcore as a genre.(8) When considered alongside other aspects of the music, these schemes serve to foster participants' understanding and descriptions of the music as exhibiting energy, intensity, and aggression, all of which are common tropes in oral histories of the genre. …

Abstract: Contents vii Preface viii Acknowledgements xii Introduction xiii Abbreviations xliii Chapter 1: The most sensible way to be? The first two decades of punk in Poland 1 Chapter 2: The Silesian scenes 43 Chapter 3: "Star Wars, or you can have everything" - punk politics of everyday life 75 Chapter 4: "DIY till we die:" the economy and institutions of punk 119 Chapter 5: "Dziewczyny w pogo:" women and ideas about gender in punk 151 Epilogue 185 Appendix 201 Bibliography 205 Index 215

Abstract: The two authors are members of punk rock trio the Eruptors. Both also teach in higher education – one in popular music, and the other in management and marketing. Writing from experience in the Eruptors, we present a case study of the band, and draw on theoretical perspectives from our respective, intersecting fields to explore the Eruptors’ entrepreneurship, collaborations, networks, and creativities in the “DIY” underground punk rock scene. The paper provides cross-disciplinary insights into internal and external cultures of the Eruptors. Proposing this as a teaching case, the authors conclude that students, scholars, and practitioners in music education, popular music studies, and related disciplines and fields involving entrepreneurship could benefit from engaging in reflexive and entrepreneurial practice which explores and incorporates ideas, models, and syntheses discussed in this paper. Keywords: Creativities, innovation, networks, DIY, punk rock.

Abstract: On 21 February 2012, a female Russian punk collective ‘Pussy Riot’ performed a ‘Punk Prayer Against Putin’ on the soleas of Moscow’s Cathedral of Christ the Saviour. The ensuing controversy over the performance, as well as criminal charges brought against three members of the group, made explicit the contentious nature of the place of Pussy Riot’s ‘punk prayer’. The author examines place in its dual identity as an event and as an actor, one affected, the other affecting. As an actor, a place becomes capable of enacting change, and as an event, it takes on the qualities of its occupants. While the rebuilt Christ the Saviour Cathedral was once a women’s convent, a monument to Russian victory over Napoleon, a never-completed Palace of Soviets and a giant outdoor swimming pool, the author examines how this place oscillates between resonance and irrelevance, disenchantment and re-enchantment, deterritorialization and reterritorialization.

Abstract: The two authors are members of punk rock trio the Eruptors. Both also teach in higher education – one in popular music, and the other in management and marketing. Writing from experience in the Eruptors, we present a case study of the band, and draw on theoretical perspectives from our respective, intersecting fields to explore the Eruptors' entrepreneurship, collaborations, networks, and creativities in the “DIY” underground punk rock scene. The paper provides cross-disciplinary insights into internal and external cultures of the Eruptors. Proposing this as a teaching case, the authors conclude that students, scholars, and practitioners in music education, popular music studies, and related disciplines and fields involving entrepreneurship could benefit from engaging in reflexive and entrepreneurial practice which explores and incorporates ideas, models, and syntheses discussed in this paper.

Abstract: Exhibition of Punk graphics, curated by Russ Bestley, including material from the archives of Russ Bestley, Alastair Gordon and Andrew Morgan. Linked to a two day conference and postgraduate symposium organised by the Punk Scholars Network, the exhibition run included several additional events, including a film screening of 'The Day the Country Died' by Roy Wallace, and public talks by Russ Bestley.

Abstract: This thesis explores the production of DIY punk alternative cultures, communities and identities as activism. Based on an ethnographic study of DIY punk in North East England, it combines and integrates the disciplinary approaches of sociology, cultural studies and geography. Using an interpretivist epistemology, the research focuses on DIY punk participants’ subjective realities and experiences, through participant observation, of punk events and shows, and interviews. Carried out by a researcher who was both embedded in the scene, as a punk participant, and outside it, as an academic PhD student, it enhances methodological and epistemological debates about the ‘insider/outsider’ research stance and subjectivities. This thesis promotes DIY punk as a relevant and rich area for scholarship. It theorises DIY punk participation as cultural production (Moore, 2007), existing within a framework of activism, as participants attempt to bring into being ‘hoped-for futures’ (Chatterton & Pickerill, 2010) using a multitude of tactics. Identifying multi-layered and multi-scalar acts of resistance, the narrowness of the concept of activism in the literature is critiqued. A more inclusive conceptualisation of activism, as more than oppositional, is proposed. A DIY ethic is theorised as anti-capitalist and interconnected with other complexly interwoven ideologies and politics. The everyday challenges that participants face, in negotiating a DIY punk ethic, and the interface between DIY punk culture and ‘mainstream’ society, are examined. Participants narratively construct DIY punk through ongoing negotiations, which affect how participants produce and interact with and in DIY punk spaces. The research contributes to scholarship on punk and community by arguing that DIY punk cultural production is strengthened by notions of community. It has wider relevance by exploring the meaning of community in a unique cultural context. It offers a definition of community that recognises DIY punk communities as imagined (Anderson, 1991) but sensitive to the significance of place.

Abstract: In spring 2012 the Russian feminist art collective Pussy Riot became world famous when five of its members were arrested for their “Punk Prayer for Freedom” in the Cathedral of Christ the Savior in central Moscow. Western media swiftly embraced the group and celebrated it as an icon of youthful female rebellion against Putin’s authoritarian regime. Yet the Western reception largely obscured the “regional accent” of the group’s protest rhetoric. This article seeks to restore this regional accent by foregrounding the rhetorical significance of place in Pussy Riot’s acts of protest.

Abstract: Punk rock is known for its frenetic energy. Its aggressive, anger driven, music is born from the seething cauldron of discontent. Anarchism is the ‘ideology’ that often underpins punk, but anarchism exists beyond punk in its drive to create a new social order fuelled by discontent at the current systems. On first glance, Buddhism, as an ancient practice of mindfulness intended to lead the individual into an awareness of the nature of being through calming activities such as meditation appears incongruous with anarchism and punk. However, a shift away from understanding Buddhism as a religion and an examination of the purposes behind Buddhism, punk and anarchy reveal a synchronicity. This has culminated in the creation of groups such as the Dharma Punx (USA) and the Rebel Dharma (UK). This article will demonstrate that the engagement with punk music, as an art form, is a key part of the acceptance of these syncretic groups as means of improving oneself and society. In other words, Dharma Punk and Rebel Dharma function as means of living out some of the key anarchistic principles that undergird punk.

Abstract: Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.

Abstract: This thesis explores the punk phenomenon in China. In order to examine punk members and practices, an ethnographic research was conducted in large-scale cities, such as Beijing and Shanghai, and small-scale cities, such as Wuhan and Huaihua in China, as well as on the Internet. In particular, the thesis focuses on two prominent themes subculture and resistance as the main directions of analysis. Through discussing findings from the three dimensions of the individual, collective and online, it is argued that the Chinese punk phenomenon exists as a subculture and punk subcultural practices can be regarded as manifesting forms of resistance in China. First, this study presents a detailed individual biography of one punk musician and then further examines those of other participants. It is discovered that subcultural resistance can have a different impact at different stages of a person s life. Second, this study demonstrates forms of collective practices and how they are manifested, and reveals how Chinese punk subculture members collectively produce different forms of subcultural resistance. Finally, this study examines Chinese punk online. It focuses on how online group members produce meanings of their activities and deploy specific techniques to resist online norms and censorship. Overall this thesis contributes to the ongoing discussions in current field of subcultural studies. By providing a study on punk subculture in China, the research engages empirically in the question of power relations in a society from both individual and collective levels, which has rarely been undertaken before.

Abstract: The only reaction against an unbearable society is equally unbearable nonsense.—Kathy Acker, “Realism for the Cause of Future Revolution”1970s punk culture has recently attracted increased scholarl...

Abstract: continued to capture and characterize the times” (196). Janovitz acknowledges that the recording practices utilized on most Rolling Stones’ singles were far more complex and sophisticated than on most blues, R&B, and rock hits of the ’50s and early ’60s. Similarly, the Stones’ carefully crafted image for madness and menace was a contrived manifestation compared to the rugged lifestyles and combative personalities of their black heroes, Bo Diddley, Little Richard, Howlin’ Wolf, and Little Walter. Their 50-year apprenticeship in adapting original American sounds into worldwide pop chart singles may strike some observers as a sly, calculated form of record piracy. Noting that the concerns voiced by Amiri Baraka and others about the Stones’ appropriations of African-American music have been raised many times throughout their performing career, the author declares that the group never presumed to be “authentic” (200–01). The Rolling Stones secured international fame and fortune through emulation and adaptation. They also benefited enormously from their own innate curiosity, drive, musical associations, zeal for performing, and willingness to acknowledge their musical influences. Sweet Summer Sun and Rocks Off are marvelous contributions to the majesty and myth of the Rolling Stones.

Abstract: In this paper we will deal with music related co-creation practices from the perspective of transmedia literacies. We will take as a case example “Evolution of Get Lucky”, a collective experiment by musician PV Nova, that consisted in taking one of the most popular pop songs of 2013, Daft Punk’s Get Lucky, re-interpreting it through the conventions of different musical decades and inviting users to playfully build the pieces of a participatory music video. “Evolution of Get Lucky” is a perfect opportunity to reflect on transmedia literacies, as well as on appropriations of popular culture, the social shaping of music memory and the notion of nostalgia. Our approach to the case study will be informed by our previous work on participatory culture and co-creation practices.

Abstract: Precis: This article, intended as a companion to the recent documentary Us and Them: Korean Indie Rock in a K-Pop World co-produced by Stephen Epstein and Timothy Tangherlini, situates Korean indie and punk rock within a broader context in order to demonstrate how what may seem a byway within Korean culture serves as a useful index of important recent societal transformations. As the nature of not only global media flows and musical circulation but Korean national identity and economic structures all undergo significant change, how should observers understand “Korean” “indie” music and its meanings as of 2015? How have the local punk and indie scenes developed in concert with, and in contrast to, K-pop?

Abstract: This paper will argue that the post-punk new wave movement represents a stepping stone between the cock-rock masculinism (Brittan, 1989) of 1970s’ rock, the aggression and military imagery of punk (Hebdidge, 1978; Savage, 1991) and a more feminised (Cohan, 1993) angst-ridden set of masculinities at work in the music of the early 1980s. This ranges from the indie guitar rock outlined by Bannister (2006), Orange Juice, providing a good example, through middle ground artists such as The Smiths to mainstream acts drawing on the Motown tradition of songs about heartbreak such as ABC. Admittedly, visual representations of gender fluidity (Whiteley, 1997) were at work in the early 1970s’ glam movement (David Bowie, Marc Bolan and Roxy Music provide authentic examples) but the post punk movement saw the emergence and representation of a fragile set of masculinities. Set within the context of literature on men and masculinities (Whitehead, 2002; Hearn, 2004) and masculinities and popular music (Frith and McRobbie, 1990; Whiteley, 1997; Bannister, 2006), the paper will examine the relationship between these developments and the emergence of 1980s’ “new man” discourses (Nixon, 1997). The paper will examine three texts from the summer of 1978 (both audio and visual), a moment identified by the author as a key transitional point from punk through new wave to indie pop. These are Jilted John (1978) by Jilted John, Love You More (1978) by the Buzzcocks and Down in the Tube Station at Midnight (1978) by the Jam. Musically and lyrically these texts reference early 1960s’ Beatle-based pop music (Macdonald, 1994; Inglis, 1997). The boy-loses-girl angst of Jilted John (1978) with its ‘girly’ backing vocals (performed by men) is redolent of the early Beatle girl-group cover versions such as Devil in Her Heart (1963) and Boys (1963) [Bannister, 2000; Warwick, 2000] and its camp-but-not-gay vocals emphasise a return to the gender fluidity at work in much 1960’s pop music (Whiteley, 1997; King, 2013). Buzzcocks’ singer and composer Pete Shelley’s ‘out’ gay-ness is expressed in a matter-of-fact way, contained as it is within the context of the classic pop group line-up. Love You More (1978) represents a return to the two minute pop angst and fragility of The Beatles or Smokey Robinson. Paul Weller’s Down in the Tube Station at Midnight (1978) with its McCartney-esque narrative structure and content marks the start of Weller’s Beatle-rifling period (All Mod Cons [1979]; Sound Affects [1980]) as well as signalling a transition from the masculinist (Brittan, 1989) anthemic aggression of songs like In the City (1977) to a more personalised and crafted approach associated with the more feminised (Cohan, 1993) singer-songwriter genre (King, 2013). Weller’s juxtaposition of the song’s main male character with men who “smelt of pubs and Wormwood Scrubs and too many right wing meetings” provides an interesting starting point for analysis. The paper will also argue that Nick Lowe’s So it Goes (1976) is a major candidate for the source of 1970’s new wave and that the early work of the Stiff label, as well as being an obvious starting point for what was to become ‘80s’ indie pop, marks a significant development in the transition from masculinist (Brittan, 1989) rock and militaristic punk (Hebdidge, 1978; Heylin, 2008) to a return to more fragile versions of masculinities at work in popular music (Whiteley, 1997; King, 2013). This is in spite of its beginning in the highly masculinised pub-rock scene of the mid ‘70s. In addition to Lowe’s single, which launched the label, the boxed set of the first ten Stiff singles includes the All Aboard with the Roogalator EP [with a sleeve which mimics With the Beatles 1963)] and a single by ‘60s psychedelic stalwarts the Pink Fairies, while the early works of Elvis Costello and Ian Dury represent a return to a more feminised (Cohan, 1993) singer-songwriter approach (King, 2013) wrapped up in visual representations which provide a challenge to the traditional masculine rock star persona (Frith and McRobbie, 1990).

Abstract: This article analyzes early performances by the Sex Pistols in the North of England, in particular a performance at the White Horse Inn, Whitby, on 11 September 1976, and another at the Penthouse Club, Scarborough, on 24 August 1977—both of which the author attended. The article uses an approach based on Vallack's methodology for valid, first-person research and the schema proposed by Auslander to analyze the performances in terms of the performer, the performance, the audience, and the context. I also relate my analysis to literature on punk culture, and performance, in an attempt to understand the essence of early UK punk rock.

Abstract: The presence of the punk community in Pekanbaru, have a perception of punk ideology itself and is influenced by the concept of self to form the character of members of the punk community. Those who joined the punk community will certainly have a perception of punk itself and influenced by the concept of self is formed. The formation of self-concept is due to the interaction of behavior and communication, both verbal and nonverbal. self-concept formed by the interaction and communication that affects a person behave and communicate. This study aims to determine the self-image, self-esteem and the factors that influence the formation of self-concept punk community in the city of Pekanbaru. This study uses qualitative research methods to conduct phenomenological approach. Subjects in this study amounted to 13 people. Data collection techniques are grouped through participant observation, in-depth interviews, and documentation. This study uses a model of interactive data analysis Miles and Hubermen, by using a technique that checks the validity of the data through the extension of participation and triangulation. The results of this study indicate that the self-image that they feel are positive, because they are not harmful and do not disturb others. Self-esteem is high enough punk community members look of self-satisfaction they feel as punkers, they are happy with what they choose. Until the factors that influence on the punk community members family, friends and environment. Conclusion positive self-image visible although they viewed negatively from the appearance and use of symbols inherent in themselves. Esteem of members of the punk community is quite high, although many are abusive, berate, insult but it is felt not affect them. Factors affecting ie, family, friends, and environments that make up the character of the members of the punk community. Kata Kunci : Self Concept, Self Image, Self Esteem, Punk Community

Abstract: The notion of youth as a distinctive, age-centred stage in life with its own identity grounded in fashion, music and other cultural commodities first took shape during the mid-1950s with the advent of rock ’n’ roll (Shumway 1992). Although style-based youth cultural groups had existed before the 1950s (see Fowler 2008), this was the first time that a dedicated youth market had existed to produce goods and services specifically aimed at catering for the tastes of young people (Chambers 1985). This new youth market responded to the fact that during the post-warperiod young people had significant spending power. Across North America and Western Europe unprecedented levels of employment among young people between the ages of 16 and 25 gave this group an economic freedom unheard of among previous generations of youth (Bennett 2000). This ‘youthquake’, as Leech (1973) has termed it, propelled a succession of spectacular youth cultural styles across the western world for the next 3 decades (see Hebdige 1979). These included mod and the hippie counter-culture beat music, psychedelia and the counter-culture in the 1960s; glam and punk in the 1970s; and New Romantic, goth, metal and rap in the 1980s. Although temporally and stylistically distinct, what connected each of these youth cultures was their significance as platforms for collective manifestations of youth taste, ideology and lifestyle. While some of the aforementioned youth cultures, notably the counter-culture and punk, were more overtly political than others (Bennett 2001), each embedded a particular aesthetic sensibility through which the young people involved could attempt to define themselves as distinct from other social groups.

Abstract: In popular music histories of punk, much has been documented on punk music and the formation of a punk canon. Much of this is focused upon the discussion of its generic development, its politically disruptive nature as a music genre, and the construction of its history, however exclusive that might be. Within moving images, documentaries such as The Filth and the Fury, The Clash: Westway to the World and The Punk Rock Movie have all contributed to the canonization of particular bands, performers and artistes within the popular conception of punk history. While the canonical narratives of punk tended to concentrate on popular punk bands such as the Sex Pistols, The Clash and The Damned, for example, we can understand these bands as having their ideological messages commodified through their affiliation with major record labels. Outside of these major labels and their punk artistes existed a DIY punk scene known as ‘anarcho-punk’, which was associated with an overt sense of political commitment and authenticity. At the centre of this particular scene was the band Crass, who articulated an anarchic and pacifistic DIY ethic as a touchstone for an alternative way of living, and used punk music as a vehicle for furthering the anarcho-punk movement’s ideologies. Investigating the ways in which Dutch film-maker Alexander Oey mediates the story of Crass in his film There Is No Authority But Yourself, this article examines how Oey’s documentary seeks to evaluate and deconstruct established canonical approaches in order to illuminate a wider set of practices at work in the mediation of punk historiography. In doing so Oey’s documentary rewrites the narrative of punk history in a way that takes account of the significance of punk’s underbelly. Within this article I will show that, although the Crass documentary may on the surface appear to be generic and non-challenging, with regard to a narrative interspersed with archive material, it considers the reconstruction of the past in its grafting of Crass onto the punk narrative timeline. It also considers how current activities of the band members continue to be influenced by their early political principles and the political directives of the anarcho-punk movement. Alexander Oey’s documentary takes its title from the final lines of the Crass album Yes Sir, I Will, ‘You must learn to live with your own conscience, your own morality, your own decision, your own self. You alone can do it. There is no authority but yourself’, and thus reflected the band’s dogmatic belief in one’s personal responsibilities to enable change. In his previous work Alexander Oey is renowned for documenting stories that challenge some of society’s accepted values and has engendered controversy with his previous films Euro-Islam According To Tariq Ramadan, My Life as a Terrorist: The Story of Hans-Joachim Klein and Negotiating With Al-Qaeda?.

Abstract: This essay focuses on the political efficacy of popular music to critique dominant ideologies concerning nationhood and personal identity. During Margaret Thatcher’s tenure as prime minister of Britain, punk rock and post-punk music flourished as a mode of expression to challenge the ways in which Thatcher’s conservative agenda affected British social life. This study examines the theoretical possibility that punk rock can serve as a mode of critique and addresses how punk rock music in Northern Ireland attempted to disrupt the Thatcherite position on the conflict in Northern Ireland (also known as The Troubles).