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Punk Identities, Punk Utopias: Global Punk and Media seeks to
unpack and illuminate punk as a trajectory of 'timelesness...as a
set of diverse but confluent values and appropriations' that have
both reflected and informed an increasingly complex, indefinable
social, political and economic setting. Whereas the first two
volumes in the series were broadly focused on local punk 'scenes'
in a disparate range of countries and regions around the world,
Punk Identities, Punk Utopias extends that critical enquiry to
reflect broader social, political and technological concerns
impacting punk scenes around the world, from digital technology and
new media to gender, ethnicity, identity and representation. This
new volume therefore draws upon the interdisciplinary areas of
cultural studies, musicology and social sciences to present an
edited text on the notion of identities, ideologies and cultural
discourse surrounding contemporary global punk scenes. It is hoped
that the books in the Global Punk series will add to the academic
discussion of contemporary popular culture, particularly in
relation to punk and the critical understanding of transnational
and cross-cultural dialogue. Punk is a global phenomenon and the
Global Punk series aims to reflect contemporary scenes around the
world since the millennium. Punk and its subsequent variants, from
hardcore to post-punk, have always crossed borders and become
assimilated within countercultural practices with local, national
and regional variations. Produced in collaboration between the Punk
Scholars Network and Intellect Books, the Global Punk book series
focuses on the development of contemporary global punk (c. 2000
onwards), reflecting upon its origins, aesthetics, identity,
legacy, membership and circulation. Critical approaches draw upon
the interdisciplinary areas of (among others) cultural studies, art
and design, sociology, musicology and social sciences in order to
develop a broad and inclusive picture of punk and punk-inspired
subcultural developments around the globe. The series adopts an
essentially analytical perspective, raising questions about the
dissemination of punk scenes and subcultures and their form,
structure and contemporary cultural significance in the daily lives
of an increasing number of people around the world. This book has a
genuine crossover appealed. It will be a key resource for
established academics, postdoctoral researchers and Ph.D. students,
as well as being suitable for adoption as an undergraduate student
textbook. Suitable courses will include those in the fields of
popular music, youth culture, sociology, urban/cultural geography,
political history, heritage studies, media and cultural studies.
This new collection is the second in the Global Punk series.
Following the publication of the first volume the series editors
invited proposals for a second volume, and selected contributions
from a range of interdisciplinary areas, including cultural
studies, musicology, ethnography, art and design, history and the
social sciences. This collection extends the theme into new
territories, with a particular emphasis on contemporary global punk
scenes, post-2000, reflecting upon the notion of origin, music(s),
identity, careers, membership and circulation. This area of
subcultural studies is far less documented than more 'historical'
work related to earlier punk scenes and subcultures of the late
1970s and early 1980s. This new volume covers countries and regions
including New Zealand, Indonesia, Cuba, Ireland, South Africa,
Siberia and the Philippines, alongside thematic discussions
relating to trans-global scenes, the evolution of subcultural
styles, punk demographics and the notion of punk identity across
cultural and geographic boundaries. The book series adopts an
essentially analytical perspective, raising questions over the
dissemination of punk scenes and their form, structure and
contemporary cultural significance in the daily lives of an
increasing number of people around the world. This book has a
genuine crossover market, being designed in such a way that it can
be adopted as an undergraduate student textbook while at the same
time having important currency as a key resource for established
academics, postdoctoral researchers and PhD students. In terms of
the undergraduate market for the book, it is likely that it will be
adopted by convenors of courses on popular music, youth culture and
in discipline areas such as sociology, popular music studies,
urban/cultural geography, political history, heritage studies,
media and cultural studies.
What does a hemispheric Americas look like when done through the
lens of punk music, visuals and literature? That is the core
premise of this book, presented through a collage of analytical,
aesthetic and experiential takes on punk across the continent. This
book challenges the dominant vision of punk - particularly its
white masculine protagonists and deep Anglocentrism - by analysing
punk as a critical lens into the disputed territories of 'America',
a term that hides the heterogeneous struggles, global histories,
hopes and despairs of late twentieth and early twenty-first century
experience. Compiling academic essays and punk paraphernalia
(interviews, zines, poetry and visual segments) into a single
volume, the book seeks to explore punk life through its multiple
registers, through vivid musical dialogues, excessive visual
displays and underground literary expression. The kaleidoscopic
accounts include everything from sustained academic inquiry and
photo portraits to anarchist manifestos and interview excerpts with
notable punk figures. The result is a radically heterogenous
mixture that seeks to reposition punk and las Americas as
intrinsically bound up in each other's history: for better and for
worse. Out of critical pasts, within an urgent present and toward
many different possible futures. This volume critically refashions
punk to suggest it emerges from within the long-term historical
experience of las Americas in all their plurality and is useful as
a mode of critique towards the hegemonic dimensions of America in
its imperial singularity. The book is rooted in a theory of
'radical heterogeneity' and thus represents a collage-like
juxtaposition of punk perspectives from across the entire
hemisphere and via divergent contributions: academic, experiential
and aesthetic. Readership for this collection will include both
academic and general readers. Primary readership will be academic.
It will appeal to researchers, scholars, educators and students in
the following fields: American studies, Latin American studies,
media and communication, cultural studies, sociology, history,
music, ethnomusicology, anthropology, art, literature. General
readership will be among those interested in the following areas -
anarchism, music, subculture, literature, independent publishing,
photography.
Forty years after its inception, punk has gone global. The founding
scenes in the United Kingdom and United States now have
counterparts all around the world. Most, if not all, cities on the
planet now have some variation of punk existing in their respective
undergrounds, and long-standing scenes can be found in China,
Japan, India, Africa, Southeast Asia and the Middle East. Each
scene, rather than adopting traditional interpretations of the punk
filter, reflects national, regional and local identities. The first
offering in Intellect's new Global Punk series, The Punk Reader:
Research Transmissions from the Local and the Global is the first
edited volume to explore and critically interrogate punk culture in
relation to contemporary, radicalized globalization. Documenting
disparate international punk scenes, including Mexico, China,
Malaysia and Iran, The Punk Reader is a long-overdue addition to
punk studies and a valuable resource for readers seeking to know
more about the global influence of punk beyond the 1970s.
Celebrating a wide range of punk design in vinyl cover art,
posters, flyers, fanzines, and other ephemera, The Art of Punk
highlights the movement primarily within graphic design and print,
while also considering its impact on wider popular culture. Punk
was based on immediacy-an often-inspired amateurism and
underground, close-knit communities that burned brightly but were
not intended to extend beyond the gig, the event, the scene, the
moment. Punk songs by such legendary bands as the Sex Pistols, the
Ramones, the Damned, the New York Dolls, the Germs, and the Clash
tended to be short, fast, and aggressive, and the oft-repeated
credo "If it can't be said in three minutes, it's not worth saying"
was adopted as standard practice, extending in turn to an entire
ethos for the whole subculture. The book is arranged
chronologically, and by genre, and features more than 900 visual
examples both by uncredited artists and internationally renowned
designers and design groups, alongside interviews with, and
commentary by, many of the artists concerned.
What does a hemispheric Americas look like when done through the
lens of punk music, visuals and literature? That is the core
premise of this book, presented through a collage of analytical,
aesthetic and experiential takes on punk across the continent. This
book challenges the dominant vision of punk - particularly its
white masculine protagonists and deep Anglocentrism - by analysing
punk as a critical lens into the disputed territories of 'America',
a term that hides the heterogeneous struggles, global histories,
hopes and despairs of late twentieth and early twenty-first century
experience. Compiling academic essays and punk paraphernalia
(interviews, zines, poetry and visual segments) into a single
volume, the book seeks to explore punk life through its multiple
registers, through vivid musical dialogues, excessive visual
displays and underground literary expression. The kaleidoscopic
accounts include everything from sustained academic inquiry and
photo portraits to anarchist manifestos and interview excerpts with
notable punk figures. The result is a radically heterogenous
mixture that seeks to reposition punk and las Americas as
intrinsically bound up in each other's history: for better and for
worse. Out of critical pasts, within an urgent present and toward
many different possible futures. This volume critically refashions
punk to suggest it emerges from within the long-term historical
experience of las Americas in all their plurality and is useful as
a mode of critique towards the hegemonic dimensions of America in
its imperial singularity. The book is rooted in a theory of
'radical heterogeneity' and thus represents a collage-like
juxtaposition of punk perspectives from across the entire
hemisphere and via divergent contributions: academic, experiential
and aesthetic. Readership for this collection will include both
academic and general readers. Primary readership will be academic.
It will appeal to researchers, scholars, educators and students in
the following fields: American studies, Latin American studies,
media and communication, cultural studies, sociology, history,
music, ethnomusicology, anthropology, art, literature. General
readership will be among those interested in the following areas -
anarchism, music, subculture, literature, independent publishing,
photography.
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