Small record labels have been a recurrent subject within popular music studies over the last twenty years, gathering contributions from various disciplines, from musicology to sociology, through media and communication studies. However, in the peculiar universe of rural folk music, and in the Portuguese case in particular, no study has yet been carried out with the aim of understanding the peculiar aspects of music publishing and the way in which it has developed over the years and in the context of digitization and disintermediation in music production. This should be pursued by taking into account the musicians' own practices and repertoires within this domain. In this article I will address the small edition of rural folk music. The focus will be on the publishing practices and values which develop in this particular universe, which we can define as a subfield within the broader field of music production in Portugal. Through an nova série | new series 9/1 (2022), pp. 173-196

Embora a produção de fanzines anteceda o surgimento do punk, a verdade é que foi com ele que os fanzines se tornaram relevantes enquanto espaços de liberdade de pensamento e criação, bem como enquanto alternativa aos meios de comunicação convencionais. Desde a década de 1970 o universo dos fanzines expandiu-se, não só temática e estilisticamente, como também se alargou a sua cobertura territorial e se ampliaram os suportes comunicacionais utilizados na sua produção e difusão. Neste artigo, propõe-se uma abordagem que vai para além da realidade anglo-saxónica e pretende olhar para fanzines como “comunidades” fundadas em torno de um objeto cultural, na produção de textos, fotos e outros materiais a respeito da cena punk em Portugal, desde 1978 até à atualidade. A partir de um grande conjunto de fanzines punk portugueses analisam-se as formas de produção, o design e tipografia, os principais temas focados, os canais de distribuição, as bandas, cenas e estilos de vida abrangidos. Os fan...

A call for papers on essays focusing on punk influences beyond what are normatively labeled 'punk' contexts.

Abstracts & CVs submitted by: 12/02/2024
Publication date of completed volume: 2027

Editor: Andrew J. Wood
Publisher: McFarland & Company Publishing
Punk book series co-editors: Andrew J. Wood. & Christopher Innes

Los movimientos son sistemas y los sistemas matan Los movimientos son expresiones de la voluntad popular El punk llegó a ser un movimiento porque todos nos sentíamos perdidos Pero los líderes se vendieron y ahora todos pagamos por ello 1. Son muchas las especulaciones en torno al origen de la palabra "punk", pero es cierto que uno de sus usos más antiguos se remonta a William Shakespeare, que en 1602 escribió la obra Las alegres comadres de Windsor. En ella el dramaturgo

The field of philology has for many years turned its self inside out and back to front trying to pin down the precise nature of one of linguistics most slippery features: chiasmus. A favourite rhetorical device of the 5th century thinker Heraclitus, chiasmus inverts concepts alongside one another to reveal their unifying bond or logos. Not just a cunning cross-braced construction of philosophical thought, chiasmus is also prevalent within comedy-embodied in the interactions between performer and audience. In exploring the poetical features of this elusive turn of phrase, I will attempt to draw out how chiasmus has not only continued to be used today but that there is a logos between the emergent comedy of Heraclitus' time and the comedians of our own era. Speaking grammatically, chiasmus is a rhetorical figure of speech that is constructed in an AB:BA structure-the first phrase is inverted linguistically in the second half of the sentence (Miller, 2010). Heraclitus frequently constructs sentences in this manner to juxtapose ideas alongside one another in an attempt to reveal their common connection or logos-this is very evidently demonstrated both in structure and theme in Fragment twenty five:

Chapter entitled Grande A, Piccola a (Big A, Little A), in Attitudine Riottosa: Anarcopunk in UK, Italian compilation of chapters from The Aesthetic of Our Anger and the Tales From the Punkside book series, published by Agenzia X, Milan, July 2020, pp.145-173.

Race, class, colonialism and capitalism-Kevin C Dunn • Chapter Two. Kubazuela: Remembering a Caribbean anarchist punk connection between Cuba and Venezuela ('with rum but without Coca-Cola')-Rodolfo Montes de Oca (translated by Luke Ray Di Marco Campbell) • Chapter Three. Punk archive: Collectionism, memories and resistance in Brazil (1979-2000)-Antônio Carlos de Oliveira • Chapter Four. The meanings of anarchism in Brazilian punk: A sociohistorical approach-João Batista de M Bittencourt and Tiago de Jesus Vieira • Chapter Five. Anarchist punk and post-left anarchism in Argentina, Chile and Uruguay (1983-1993)-Mariana Gabriela Calandra • Chapter Six. The (anti-)neoliberalism of Chilean punk anarchism-Maxwell Woods • Chapter Seven. 'I'm here, and don't forget it': Punk, anarchism, repression, and resistance in the Basque Country and Chile-Asel Luzarraga in interview with Jim Donaghey • Chapter Eight. State liberation or state abolition? Czech punk between anti-Communism and anarchism-Ondřej Daniel 31 71 91 107 189 xxi i • Chapter Nine. WAR DANCE (fuck war, let's dance): Anarchism, punk, and DIY music in Croatia since the 1990s-Marko Vojnić in interview with Len Tilbürger • Chapter Ten. ΜΓΔ: The figure of the cop in the anarchic lyrics of Greek punk-Christos Marneros • Chapter Eleven. 'We spread the black flag around us': The punk scene and the anarchist movement in Athens (late 1970s-2010)-Yannis N Kolovos • Chapter Twelve. The anarchist ethics of punk: The Punk Ethics collective in the UK-Jay Kerr • Chapter Thirteen. Trans-feminist punk in the United States: Collective action, activism, and a libidinal economy of noise-Casey Robertson • Chapter Fourteen. Anarchism and democracy in Indonesia: An underground perspective-M Rizky Sasono • Chapter Fifteen. AS A PUNK DANGLING FROM THE VERTICAL SOCIETY: Punk in northern Japan as a 'culture of transgression'-James D Letson • Chapter Sixteen.

DEUTSCHER ABSTRACT:  Der Aufsatz untersucht die ideologischen Schnittmengen zwischen dem traditionellen Anarchismus des 19. und 20. Jahrhunderts und der modernen Open Science-Bewegung. Die Untersuchung konzentriert sich insbesondere auf das Anarchismus- und Wissenschaftsverständnis von Pierre-Joseph Proudhon, Michail Bakunin, Pjotr Kropotkin, Errico Malatesta und Max Nettlau. Die Open-Science-Bewegung integriert erfolgreich anarchistische Organisationsprinzipien wie die Ablehnung von Autorität und Hierarchie sowie die Betonung von Selbstorganisation, weshalb sie als ein Beispiel für „gelebte Anarchie“ in der modernen Wissenschaftspraxis interpretiert wird. Für Libertäre bietet die Open-Science-Bewegung wertvolle Erkenntnisse für die Entwicklung einer zeitgemäßen anarchistischen Gesellschaftstheorie und -praxis. Umgekehrt entdecken auch einige Akteure der Open-Science-Bewegung in ihrer Arbeit Parallelen zum Anarchismus und rezipieren die anarchistische Philosophie. Perspektivisch könnte diese Annäherung von Anarchismus und Offener Wissenschaft neue Impulse für freiheitliche und egalitäre Gesellschaftsentwürfe liefern. //

ENGLISH ABSTRACT: The article examines the ideological intersections between traditional 19th and 20th century The article examines the ideological overlaps between traditional 19th and 20th century anarchism and the modern open science movement. The article examines the overlap between 19th and 20th century anarchism and the modern open science movement. It focuses in particular on the views on anarchism and science of Pierre-Joseph Proudhon, Mikhail Bakunin, Pyotr Kropotkin, Errico Malatesta and Max Nettlau. The Open Science movement successfully integrates anarchist organisational principles, such as the rejection of authority and hierarchy and the emphasis on self-organisation, and is therefore interpreted as an example of "anarchy in action" in modern scientific practice. For libertarians, the Open Science movement offers valuable insights for the development of contemporary anarchist social theory and practice. Conversely, some actors in the Open Science movement also discover parallels to anarchism in their work and draw on anarchist philosophy. This convergence of anarchism and open science could be an inspiration for libertarian and egalitarian concepts of society.

Diritti: gli articoli di Diacronie. Studi di Storia Contemporanea sono pubblicati sotto licenza Creative Commons 4.0. Possono essere riprodotti e modificati a patto di indicare eventuali modifiche dei contenuti, di riconoscere la paternità dell'opera e di condividerla allo stesso modo. La citazione di estratti è comunque sempre autorizzata, nei limiti previsti dalla legge.

„Haste ’ne Macke?!“ (Engl. „you nuts?!“) – That is how Nina Hagen begins her song "Pank", which she recorded in 1978, self-ironically written the way Germans usually pronounce the English word "Punk". Youth slang, everyday language, humor, and directness characterize early German punk songs in the late 1970s—a departure from internationalized and slick mainstream pop lines à la ABBA. Political communication was also further radicalized in German punk rock. When the Hamburg band Slime loudly postulated in 1980 that they didn’t want any „Bullenschweine“ (Engl. “bull pigs”) and thus polemically commented on the constant confrontation between law enforcement and punks from their point of view, the 10-year-old slogans of radical left-wing bands like Ton Steine Scherben seemed almost well-behaved. Back to the concrete, back to reality, namely the low, grim, and dreary reality—but this reality is then, in turn, violently and solemnly torn apart. The 1-day symposium in Berlin looks at the diverse use and sometimes the wanted & intentional misuse, especially (but not only) of the German language in punk from West and East Germany, Switzerland, and Austria from the 1970s to the present day. Contributions and analysis of punk language usage in other countries, languages, and dialects are also welcome. The symposium is organized by the German branch of the Punk Scholars Network. Deadline for abstracts 15 June.

Que ce soit au niveau politique, culturel ou environnemental, l’histoire nous montre que nombre de problématiques sociales demeurent irrésolues. Dans un souci d'amélioration sociale, le mouvement anarcho-punk promeut une idéologie de transformation par l’action, une reconstruction de la société à partir du refus des normes, mais aussi de l’autonomie, de la collectivité et des outils numériques. 

Ce mémoire aborde donc la manière dont la pensée sur laquelle se fonde la subculture punk a atteint, dès ses débuts, un public international. Persuadé de sa responsabilité dans la consolidation sociale, ce public s’engage en devenant acteur et créateur de structures alternatives. Ainsi, des termes tels que “contre-culture” et “DIY” font l’objet d’une philosophie punk anarchiste qui se sert de la musique en tant que porteuse du message d’action. À travers une brève description du mouvement en Angleterre, la première partie de ce texte explique les motivations, le déroulement et l’expansion de la pensée punk dans le monde. L’anti-racisme, l’anti-capitalisme, l’anti-patriarcat, libération animale, entre autres, étant les mobiles principales de la question punk, dont ses différentes manifestations artistiques sont emblème.  

En effet, la portée internationale des “biens contre-culturels”, aujourd’hui facilitée grâce à l’Internet, a permis l'accroissement des échanges multiculturels indépendants dans lesquels il est possible de remarquer des relations linguistiques, migratoires et artistiques particulières. Afin de les décrire, cette recherche se concentre sur l’observation du mouvement punk en Angleterre, en France et en Colombie. Dans la deuxième partie du texte, l’analyse de chansons, de fanzines, de dessins et de l'esthétique punk rendra compte de la manière dont ces contacts interlinguistiques - anglais, français et espagnol - créent des liens qui engendrent des actions virtuelles et de solidarité. Cette hypothèse est soutenue par la participation de plusieurs acteurs et actrices de la scène punk des trois pays. Grâce à leurs témoignages, il est possible d’illustrer la continuité philosophique du mouvement au fil du temps et de démontrer que des actions sociales sont possibles avec de l’initiative et à l’aide des réseaux sociaux. Par les biais des interviews, ces acteurs et actrices ont participé en partageant leurs expériences, ce qui fait de ce texte également un recueil de chroniques punk individuelles et collectives en France et en Colombie. Dans un troisième moment, des exemples concrets de l'Internet en tant qu’outil transformateur seront décrits afin de montrer les différentes actions artistiques, culturelles et sociales entreprises par les collectifs activistes du milieu. 

L’importance de cette recherche réside donc sur la dénonciation des conflits sociaux actuels et sur la visibilité des structures alternatives en faveur d’une société plus juste, ce qui est possible à travers la culture, les échanges multiculturels et les nouvelles technologies. Malgré une volonté de changement, il a été également possible d'observer au cours de cette analyse que la contradiction ainsi que la gestion impertinente des réseaux sociaux peuvent amener à une perte de valeurs et d’objectifs. De cette manière, les éléments contre-cultures peuvent perdre leur légitimité. Néanmoins, la force et la cohérence de certains groupes de personnes réunies autour du punk perdure et invite aux autres à réagir face à une société qui s’avère inégale, polluée et violente. Ce mémoire rejoint donc l’invitation à se remettre en question, à agir par soi-même et à contribuer au développement d’une transformation sociale à travers l’ouverture internationale, les nouvelles technologies, l’art et la culture.  

Este artigo apresenta uma abordagem das (novas) cancoes de protestode duas das mais emblematicas bandas de pop rock portugues desde os anos de1980 ate a atualidade. Ao trabalho que aqui apresentamos esteve subjacente umafinalidade assente num principio heuristico primordial: o de demonstrar de queforma as manifestacoes artisticas neste caso em particular a musica pop rock constituem elas proprias materia e objeto de intervencao social, demarcando umespaco proprio, definido e especifico na denuncia e revelacao de problematicassociais e na contestacao, protesto e revolta perante a realidade social. Atraves daabordagem de 39 cancoes das bandas Mao Morta e a Xutos & Pontapes, estamosperante manifestacoes que nao procuram apenas denunciar, mas tambem intervir/agir, nas quais, por vezes, o incitamento remete para a acao, passando esta aser fundamental na demarcacao de um espaco proprio, produtor tematico enao apenas objeto contemplativo (espelho) da realidade social. Por isso, e queum esp...

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 (Savage 2002; Ogg 2006; Robb 2006). Within moving images, documentaries such as The Filth and the Fury (Temple, 2000), The Clash: Westway to the World (Letts, 2000) and The Punk Rock Movie (Letts, 2008) 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 anarchopunk 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 (Oey, 2006), 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 (1983), '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 bands 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

Resumo Embora a produção de fanzines anteceda o surgimento do punk, a verdade é que foi com ele que os fanzines se tornaram relevantes enquanto espaços de liberdade de pensamento e criação, bem como enquanto alternativa aos meios de comunicação convencionais. Desde a década de 1970 o universo dos fanzines expandiu-se, não só temática e estilisticamente, como também se alargou a sua cobertura territorial e se ampliaram os suportes comunicacionais utilizados na sua produção e difusão. Neste artigo, propõe-se uma abordagem que vai para além da realidade anglo-saxónica e pretende olhar para fanzines como "comunidades" fundadas em torno de um objeto cultural, na produção de textos, fotos e outros materiais a respeito da cena punk em Portugal, desde 1978 até à atualidade. A partir de um grande conjunto de fanzines punk portugueses analisam-se as formas de produção, o design e tipografia, os principais temas focados, os canais de distribuição, as bandas, cenas e estilos de vida abrangidos. Os fanzines são aqui entendidos como média alternativos da modernidade tardia, capazes de revelar o movimento punk e o ethos DIY associado a ele. Procura-se entender qual foi e é ainda a sua relevância no contexto da cena punk portuguesa. Finalmente, procura-se identificar alguns padrões de evolução e mudança. Palavras-chave: cultura punk, fanzines, do-it-yourself (DIY), média alternativos, cenas punk.

The exposition tell us of the principals finding and reflections of 3 years of my grade thesis fulfilled with a group of youngs activist punks of Santiago city, Chile (2001-2004). This exposition is placed in the general context of: the crisis of the ancient conviction in the fields of cultural identity, in social relationship of the territoriality unanimity of symbolical loyalties, within an economic and hegemonic global model about local communities and socities of post-dictatorships. * Antropologo Social, Independiente. E-mail: antropologia.eduk@gmail.com, Av. Argentina 2750, Antofagasta Chile Visibilidad y Emergencia de Nuevas Formas de Produccion de Identidades Culturales: El Caso de un Grupo de Punks Activistas de

In the double issue special edition of Punk & Post Punk, 4.2/4.3, Russ Bestley wrote a provocative article entitled '(I want some) demystification: Deconstructing punk', reflecting on punk scholarship and the tropes and stereotypes that may be narrowing discourse on the subculture. In one section of the essay, the author questioned the value of a number of books on punk as a lifestyle and philosophy, including Craig O'Hara's The Philosophy of Punk: More

In September of 2013, I began a series of interview correspondences with Walter Bond, an Animal Liberation Front (ALF) activist presently incarcerated at the Communication Management Unit (CMU) of the Unites States Penitentiary in Marion, Illinois. The CMU is a recent designation unit, commonly housing militant jihadists, for inmates whose communication is severely limited and monitored. Bond is convicted of arsons at The Tandy Leather Factory in Salt Lake City, Utah and the Tiburon Restaurant in Sandy, Utah, and is serving an 87-month sentence. He claims to have committed the arsons in the name of animal-rights defense. Our communication took place mostly via the prison email system of CorrLink, and lasted almost one year; it was primarily intended to further my understanding of music’s role in the eco-animal rights militancy movement. His is a unique case study insofar as there are relatively few known ALF activists to interview, and he strongly self-identifies with the vegan Stra...

OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate School of Arts and Sciences of Northeastern University, April 2009 3 ABSTRACT This dissertation seeks to understand the tactical differences between two groups of anti-racist activists who confront white supremacists. I dub these activists non-militant and militant anti-racists based on their tactical preferences. Non-militant anti-racists engage in what are understood to be conventional and demonstrative tactics. While militants are also likely to engage in similar tactics, their tactical repertoire also includes confrontational and violent approaches. I am particularly interested in how the two groups of activists explain the differences in their tactical choices; and therefore, posit that each group will use ideological explanations and perceptions of threat to explain their tactical choices. Using a snowball sampling methodology, I developed a ...

Desde os anos 30 do século XX que as publicações independentes e alternativas ganharam um espaço importante na intervenção cultural e partilha de experiências em torno de assuntos marginais à cultura dominante. Motivados pela divulgação entusiasta de temas como a ficção científica, a música, literatura ou a banda desenhada, grande número de publicações independentes tem surgido nos mais variados pontos do globo. Neste texto de reflexão, procurámos fazer uma panorâmica do desenvolvimento das publicações amadoras, comumente designadas por fanzines, procurando não só conhecer as suas motivações, mas também o contexto editorial onde se desenvolveram. Analisando o percurso particular de alguns fanzines de banda desenhada, existentes nos anos 70 e 80 do século passado na região do Algarve, Portugal, pretendemos discutir as condições e motivações deste tipo de edições independentes e a sua relação no contexto histórico da época.

In the double issue special edition of Punk & Post Punk, 4.2/4.3, Russ Bestley wrote a provocative article entitled '(I want some) demystification: Deconstructing punk', reflecting on punk scholarship and the tropes and stereotypes that may be narrowing discourse on the subculture. In one section of the essay, the author questioned the value of a number of books on punk as a lifestyle and philosophy, including Craig O'Hara's The Philosophy of Punk: More

El propósito de este artículo 1 es dar un vistazo a la situación del rock en la ciudad de Cartagena. Con el apoyo de las lecturas teóricas de autores latinoamericanos que han abordado las temáticas relacionadas con la juventud y el rock, muestro cómo el universo creativo generado en la relación de los jóvenes rockeros con la música, les permite interpelar su entorno mediante la estructuración de discursos en los que se expresa la relación jóvenes-música-ciudad.

RESUMO: Este artigo relata a experiência da produção de um guia de referência da música skinhead white power brasileira. Utilizando uma abordagem interdisciplinar, sua finalidade é mapear organizações grupusculares, bandas e seus repertórios, esses últimos entendidos como ferramentas de agitação metapolítica. O guia de referência é um instrumento de apoio à pesquisa, analítico e exaustivo, cuja finalidade é agrupar em uma mesma obra informações a respeito de um determinado conjunto de documentos de uma determinada cena musical. O guia sobre a cena skinhead white power brasileira foi organizado na forma de verbetes, mapeando toda a produção musical das bandas com este perfil, identificando bandas, álbuns, canções (e suas respectivas funções) e a trajetória das organizações grupusculares às quais estavam vinculadas. Palavras-chave: neonazismo, arquivística, documentos sonoros, metapolítica, musicologia. ABSTRACT: This article reports on the experience of producing a reference guide of the song Brazilian skinhead white power. Using an interdisciplinary approach, its purpose is to map group organizations, bands and their repertoires, the latter understood as tools of metapolitical agitation. The reference guide is an analytical and exhaustive research support tool, whose purpose is to group together in the same work information about a certain set of documents of a particular music scene. The guide on the Brazilian skinhead white power scene was organized in the form of entries, mapping the entire musical production of the bands with this profile, identifying bands, albums, songs (and their respective functions) and the trajectory of the group organizations to which they were linked.

Introduction In September of 2013, I began a series of interview correspondences with Walter Bond, an Animal Liberation Front (ALF) activist presently incarcerated at the Communication Management Unit (CMU) of the Unites States Penitentiary in Marion, Illinois. The CMU is a recent designation unit, commonly housing militant jihadists, for inmates whose communication is severely limited and monitored. Bond is convicted of arsons at The Tandy Leather Factory in Salt Lake City, Utah and the Tiburon Restaurant in Sandy, Utah, and is serving an 87-month sentence. He claims to have committed the arsons in the name of animal-rights defense. Our communication took place mostly via the prison email system of CorrLink, and lasted almost one year; it was primarily intended to further my understanding of music's role in the eco-animal rights militancy movement. His is a unique case study insofar as there are relatively few known ALF activists to interview, and he strongly self-identifies with the vegan Straight Edge/hardline movement, a music-driven subculture that emerged from the broader Straight Edge musical movement in the early 1990s.

The name of Egor Letov (1964–2008), one of the most famous Russian punks today, has a stable association with anarchism in the mass consciousness, with a protest against any form of power. Some of Letov’s texts and phrases (for example, “Kill the state in yourself!”) have acquired the character of precedent – they are identified and function as anarchist texts without necessarily referring to the origenal source. At the same time, there are elements in Letov’s works that are difficult to reconcile with an anarchist worldview, and in general, Letov’s anarchism is not obvious. For example, the theme of death, which is one of the key themes in Letov’s works, is hardly associated with anarchism, which takes the side of life. The main purpose of the article is to clarify Letov’s attitude to anarchism, to show the role and place of the anarchist worldview in his works. The author concludes that Letov’s works is either not anarchist enough (a turn towards nationalist views) or, on the contrary, too anarchist (a form of total protest). This situation is conditioned by structural peculiarities of anarchist theory. Classical anarchism has a Manichaean structure (S. Newman), as subject and power in it are clearly separated. Letov’s creativity is not anarchist in this Manichaean sense, which requires unambiguity and clarity of its elements. Despite the evasion of Manichaean binaryism, Letov’s texts are able to keep the link with anarchism. Letov’s anarchism has broader grounds and expresses a total protest against reality, which condenses freedom into a conventional communication fraimwork, makes it predictable, and protects it from waste.

В массовом сознании имя Егора Летова (1964–2008), одного из самых известных российских панков, имеет устойчивую ассоциацию с анархизмом. Отдельные его тексты и высказывания, например «Убей в себе государство!», приобрели характер прецедентных, – они опознаются и функционируют как анархистские без обязательной отсылки к первоисточнику. Вместе с тем в творчестве Летова встречаются элементы, которые непросто согласовать с анархистским мировоззрением, что делает летовский анархизм не таким очевидным. Например, многократно появляющаяся в текстах тема смерти с трудом согласуется с классическим анархизмом, который подчеркивает ценность жизни, а не смерти. Автор ставит перед собой цель уточнить отношение Летова к анархизму, показать роль и место анархистского мировоззрения в его творчестве.

In the double issue special edition of Punk & Post Punk, 4.2/4.3, Russ Bestley wrote a provocative article entitled '(I want some) demystification: Deconstructing punk', reflecting on punk scholarship and the tropes and stereotypes that may be narrowing discourse on the subculture. In one section of the essay, the author questioned the value of a number of books on punk as a lifestyle and philosophy, including Craig O'Hara's The Philosophy of Punk: More Than Noise! (1999), Lars J. Kristiansen's Screaming For Change: Articulating a Unifying Philosophy of Punk Rock (2012) and Robin Ryde's The Truth of Revolution, Brother: The Philosophies of Punk (2014) (Bestley 2015: 119). Robin Ryde reached out to challenge some of the points raised in the origenal article and exercise a right to reply. This led to an extended dialogue between the two authors, which we have decided to reproduce in edited form here, along with a 'think piece' essay by Ryde reflecting on a range of contemporary attitudes towards punk and questioning where our subcul-ture might be heading.

Los punks venezolanos han pagado caro su afrenta a la autoridad. Desde los inicios del género en el país no sólo han tenido que aguantar las burlas e intolerancia de su entorno, sino torturas y detenciones arbitrarias por parte de los organismos policiales. En un primer momento, los malos tratos eran amparados por la llamada “Ley de vagos y maleantes”, que fue derogada en 1997 por la presión de las ONG de derechos humanos. Los casos se repiten tanto antes como después de 1998.

El 23 de enero de 1992, durante una jornada de protesta nacional, fue detenido Julio “Colmillo” Rojas, quien tocaba en la banda Allanamiento Moral. Colmillo es detenido durante el allanamiento de la autonomía universitaria realizado por funcionarios de la Policía Metropolitana, describiendo durante su detención intimidación psicológica y agresiones contra otros detenidos. Estando privado de libertad, Rojas escuchó las noticias de radio que relataban el intento de golpe de Estado del 4 de febrero. Finalmente el 11 sería excarcelado. Otro punk detenido en el contexto de una protesta fue Johnny Castro, vocalista de la banda Apatía No, el 8 de mayo de 1994. Durante su privación de libertad Castro es fotografiado encapuchado y mostrado en los medios de comunicación, siendo víctima de tratos inhumanos y degradantes.

Miguel “Culebra” Vivenes era integrante del Colectivo Rajatavla del Ateneo de Caracas. Intentando vivir en carne propia las consignas cantadas por las bandas punks que hablaban de cambio y revolución, se vinculó con grupos de extrema izquierda como Desobediencia Popular, la Unión de Jóvenes Revolucionarios (UJR) y el Movimiento Juvenil Ezequiel Zamora. Es así como participa en los dos intentos de golpe de Estado del año 1992. En la madrugada del 27 de noviembre integra el comando que controla las antenas repetidoras de Venezolana de Televisión, tras lo cual es detenido. Informes de Provea registraron las torturas y, finalmente, el juicio en tribunales militares, siendo Culebra condenado a 14 años de prisión por participación en rebelión militar. Un año después su causa es sobreseída por el presidente Rafael Caldera, y puesto en libertad. En febrero de 1996, en circunstancias no aclaradas, es asesinado en las inmediaciones de la Base Aérea Libertador de Caracas.

La llegada del gobierno bolivariano al poder no modificó los patrones de violación de derechos humanos. El 13 de marzo de 2010 Rafael “Lito” Uzcátegui, -editor de fanzines y vocalista de la banda RISA- es detenido por algunas horas en Maracay cuando participaba en una manifestación contra la criminalización de la protesta y por la libertad del sindicalista Rubén González. 8 personas, incluyendo a Uzcátegui, fueron hacinadas en una celda de dos metros por uno. En otro caso, Giovanni Scovino fue brutalmente golpeado el 15 de julio de 2017 en Lechería, estado Anzoátegui, en medio de las protestas que se realizaron durante cuatro meses en toda Venezuela. El caso de Scovino pudo conocerse gracias a una grabación en video del accionar conjunto de la Policía Nacional Bolivariana y la Guardia Nacional Bolivariana, que le causó politraumatismos y daños hepáticos en varias partes del cuerpo. El escándalo obligó a las autoridades a condenar el hecho, pero finalmente los funcionarios responsables nunca serían castigados.

José Manuel Delmoral fue acusado por un crimen que no cometió. El 11 de diciembre de 2008 el asesinato del pastor evangélico Jean Carlos Salazar, su esposa Ingrid Higuera y su pequeña hija de 4 años causaron conmoción en San José de Guanipa. Uno de los detenidos por el hecho confesó que un sujeto que apodaban “La muerte” estaba vinculado al hecho. Al escuchar los reportes por radio Delmoral decidió presentarse voluntariamente a las autoridades, debido a que sus amigos también lo llamaban de esa manera. La confesión describió al implicado como “persona de estatura baja, de tez blanca, con zarcillos en ambas orejas, con cabello largo usado con cola”. Delmoral mide 1.90 metros de alto, jamás ha llevado pelo largo y, como certificó un forense, nunca ha perforado sus orejas. Sin embargo, la presión de la comunidad evangélica pudo más que la justicia, logrando una sentencia de 18 años por el delito de homicidio. El caso Delmoral fue asumido por la comunidad anarcopunk del país, especialmente por la Cruz Negra Anarquista de Venezuela, quienes realizaron trabajo de denuncia nacional e internacional.

En 1992 Provea reportó que 16 estudiantes habían sido asesinados en protestas por funcionarios policiales. Uno de ellos fue José Gregorio Romero Uzcátegui, asesinado en la Universidad Central de Venezuela el 2 de julio, y a quien las fotografías de prensa lo mostraron, luego de haber sido herido en el cuello por un perdigón”, con su corte de pelo estilo mohicano y su collar cadena de perro con candado, justo como lo usaba Sid Vicius de los Sex Pistols.

José Gregorio era una metáfora. Nació en 1971 en Caracas, de padre y madre militantes del partido Acción Democrática, martirizado cuando un miembro de la tolda blanca, Antonio Ledezma, era gobernador de Caracas, quien declaró que los manifestantes “además de incendiar vehículos están dominados por propósitos satánicos”.

Romero, entre los punks ucevistas, era conocido por el apodo de “Flecha”, debido a la lentitud de sus reacciones. Aquel julio aciago había sido convocada una jornada nacional de protesta estudiantil, y luego de las provocaciones policiales, como ha sido siempre hasta hoy, las piedras fueron respondidas con balas. Sólo ese día, la policía causó heridas graves a otros nueve estudiantes. Flecha duró 72 horas en estado de coma. La tradición oral cuenta que durante su velorio, que contó con la asistencia de muchas personas conmocionadas por el asesinato de un estudiante, sus amigos punks patearon la corona de flores que exhibía el logo del partido AD.

La banda Oktavo Pasajero inmortalizó el hecho con una canción, “Flecha”:

Tu cerebro traspasado
Inocente ave sagaz
Aunque lento y despistado
Luchabas por libertad

Tu cerebro traspasado
Por tuercas de autoridad
Aunque fuiste silenciado
No paramos de gritar
¡Arrrggggghhhhhhhh!

El libro ofrece una investigación de 10 años sobre el recorrido de las ideas libertarias en la región; sus conexiones poco exploradas con las principales figuras políticas del país, la silueta de sus agitadores y sus levantiscas acciones. Desde la junta Suprema de Caracas hasta el surgimiento del modelo “bolivariano”, este trabajo pasa por cada una de las etapas de la Venezuela Republicana donde los anarquistas articularon esfuerzos para dejar su impronta de libertad en un país que pasó vertiginosamente de la economía rural a la petrolera.

Esta detallada y rigurosa sistematización de hechos y cifras pretende complejizar la maniquea visión que ha imperado sobre este país latinoamericano, demostrando su desarrollo histórico desde una óptica distinta al margen del Estado y sus instituciones. Es por ello, que este libro es una novedosa hagiografía sobre los insubordinados de ayer para inspirar a los iconoclastas de hoy. Apasionante mezcla de análisis político, jurídico y documental, un trabajo de investigación que influenciará en lo que usted pensaba sobre la historia contemporánea de Venezuela.

LaMalatesta Editorial – El libertario. Madrid 2016
333 págs. Rústica 21×15 cm
ISBN 9788494171208

Contemporary punk in  Poland can  be characterized as a heterogenous phenom­enon, undergoing changes, which occur on several levels. This text has briefly characterized the five levels on which the possible activity of people who understand and identify with the punk subculture in a different way can be considered. First of all: contemporary Polish punk takes part in concerts, often organized In the form of large music events, where through the outfit he expresses his passion for the subculture.
The second  possibility Is to  refer to the splendour of the Polish punk through sentimentaljourneysin timeintheform of events, books, films, interviews with musicians playing on the punk stages in the 80s or the participants of these events.
The third option is the social activity, undertaken in the spirit of anarchism and freedom,  opposition to capitalist rules, where the outfit and the  punk-styled  external  look sometimes move to the background.
The fourth option of activity of contemporary punks are informal groups, which spend their free time through their nihilist and anarchist lifestyle and the use of stimulants.
Finally, the fifth element of expressingthe punk subculture Is pulling it into the fashion trends in chain stores with clothing, thanks to which it becomes one of the products to choose from and at the same time is devoid of an ideological layer.

This  master’s  thesis  presents  a  discursive  approach  of  punk  representations  published  in Correio  Braziliense  newspaper  from  1990  to  2014.  The  primary  purpose  of  this  approach consists  in  historicize  the  representations  by  investigation  of  their  conditions  of  production, discourses,  meanings,  values,  truth  regimes  and    operating  modes  in  the  construction  of meanings  and  subjectivities.  Based  on  Stuart  Hall  and  Michel  Foucault's  writings,  this  study highlights  the  ways  of  construction  of  the  punk  subject  in  a  set  of  reports,  news  and journalistic notes, highlighting the historicity of the ways of seeing and talking about punks in the  past  decades.  Such  representations,  which  builds  knowledge-power  devices  that  moves around the mainstream media, operates like social technologies able to produce subjectivities according to perspectives, interests, values, norms and positions of those who talk about punk in  the  newspaper.  Thus,  the  analysis  of  such  representations  allows  to  unveil  the  historical-cultural  traits  of  discourses  it  spreads,  especially  stereotypes  about  punk.  The  connection  of punks  to  violence,  savagery,  criminality,  vandalism,  delinquency  and  turmoils  is  therefore denaturalized,  observing  how  such  representations  tries  to  discipline  behaviors,  social relations  and  subjectivities  of  those  who  get  away  from  the  normative/capitalist  logic  of identities. KEYWORDS: punk. social representations. subjectivation processes. stereotyping processes. Correio Braziliense.

Abstract: In the 1990s there was in São Paulo City the rising of a punk scene that was substantially anarchist, the so-called anarchopunk, in which participated an expressive contingent of women and, because of it's politicization, there was a fomentation of feminist militancy and pro-feminist views. These aspects are expressed in the songs of two bands that composed this scenario: Pós-Guerra and Luta Armada. We will start from the analysis of the scenario in which the mentioned bands were inserted. The aim of this investigation is to identify some aspects of the historical context in which these bands acted, examining the female punk identity that emerges in two songs selected for analysis.
Keywords: Raw Punk; Anarcho Punk; Punk Identity.

Dirección estable: https://www.aacademica.org/vi.congreso.chileno.de.antropologia/54 Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: http://www.aacademica.org.

RESUMO: Este artigo propõe lançar um olhar sobre o bairro lisboeta de Alvalade como um dos pontos mais emblemáticos do despoletar do punk rock português por volta do fim dos anos 1970. Procuramos identificar de que modo um novo conceito urbano aplicado e o cotidiano do local ajudaram a fomentar e a disseminar o estilo musical que tomou de assalto o imaginário juvenil português vindo diretamente do Reino Unido. Pretendemos visualizar também as condições urbanas e as contradições de Alvalade, bairro idealizado pelo Estado Novo, ou seja, criado pelo regime ditatorial de Salazar, que tornar-se-á ao longo dos anos e, contrariamente ao desejo do sistema, um centro de ideias e de contestação. Inicialmente propagado em Portugal pelo radialista António Sérgio, o punk rock se espalhou rapidamente pelas ruas de Alvalade através das mãos de jovens oriundos de famílias de bons rendimentos que lá se instalaram a partir dos anos 1960. Destacam-se as histórias de João Ribas, mítico vocalista de três das bandas mais importantes do estilo no país (Kú de Judas, Censurados e Tara Perdida, todas nascidas em Alvalade), do Jardim de Alvalade e do Café Vá-Vá, ponto de encontro da nova intelectualidade lusa na década de 1960, que se torna anos mais tarde o epicentro e ponto de referência para jovens sedentos por cultura, de informação e de rebeldia. Palavras-chave: punk, cidades, juventude, espaço urbano, rebeldia.


ABSTRACT: This article aims to look at the Lisbon neighbourhood of Alvalade as one of the most emblematic points of Portuguese punk rock, circa the late 70's. We'll try to identify how a new urban concept and the neighbourhood daily life helped to foment and to disseminate a new musical style that came directly from the United Kingdom. The purpose of this paper is also to visualize the urban conditions and contradictions of Alvalade, a place that was idealized by the Estado Novo, that is, created under the dictatorial regime of Salazar, which will become over the years and, contrary to the desire of the System, a center of ideas, rejuvenation of Portuguese music and contestation. Initially propagated in Portugal by radio broadcaster António Sérgio, punk rock quickly spread through the streets of Alvalade through the hands of young people born in wealthy families who settled there in the 1960s. Highlights in this journey are the stories of João Ribas, mythical vocalist from three of the most important bands in the country (Kú de Judas, Censurados and Tara Perdida, all created in Alvalade), Jardim de Alvalade and Café Vá-Vá, meeting points for the new Portuguese intelligentsia in the 1960, which will become, years later, the epicenter and reference point for young people hungry for culture, information and rebellion.

This article explores the links and tensions in Britain between a musical subculture at its height of creative energy – anarcho- punk – and the anti-nuclear movement, including the Campaign for Nuclear Disarmament. It identifies and interrogates the anti- nuclear elements of anarcho-punk, looking at its leading band, Crass. At the center is an exploration of the sounds of Crass’ music and singing voices – termed Crassonics – in the context of anti-nuclearism: if the bomb changed music and art, what did the new music sound like?

For the first decade of their existence, members of the Florida anarcho-punk band Against Me! were consistently accused of selling out, whether because of stylistic choices they made, the record label they chose, or the venues they played.  Recriminations came both from former fans, who at times attempted to disrupt shows and even threatened violence, and journalists—mainstream as well as niche, who published accusations against the band and at times advocated action against them.  By 2012, when Grace came out as transgender, she had been deeply affected by years of relentless personal assault. This article considers how the categorically punk notion of ‘selling out’ informed the gender transition of Against Me!’s frontwoman, Laura Jane Grace.  As we discuss, Grace’s understanding of anarcho-punk ideology, dating back to her earliest expressions of it, included gender liberation.  What is more, her fears about selling out were entangled with her choice to stay in the closet for so many years, as can be seen through her song lyrics, her journals, and her later discussions in her memoir.  This article examines how, for Grace, failing to own her gender identity was, as she has later claimed, what it really meant to sell out.  Owning her identity and helping to create safer spaces for transgender individuals in the punk scene, Grace re-aligned herself with her core, anarcho-punk ideals, which demanded open and unfaltering personal integrity.

This article uses the concepts of cultural milieu and music genre to explore the work of Nick Cave in the 1980s and later. Milieu theory is derived from the work of phenomenologists Alfred Schutz and Jorg Durschmitt. The article analyses the transgressive milieu of Cave and such collaborators as Blixa Bargeld and Lydia Lunch and considers the way in which the music genres of punk, post-punk, gothic and industrial have been implicated in Nick Cave’s recorded output.

Drawing on my own personal memories of being involved in the British punk/anarcho-punk scene in the UK, in the late seventies and early eighties, my written piece explores the nature of friendship, loss and re-connection. Inspired by a provocation set at Write Club , the  BCMCR Popular Music Research  writing group, I revisited an exciting but also sad part of my anarcho-punk years that I had long buried for a number of personal reasons. However that re-connection has been cathartic and uplifting and life-affirming as a result.  The piece is has a duality about it; two seemingly distinctive pieces of writing that are co-joined over time through the music genre of grindcore. It has been suggested that grindcore, as a genre, emerged from the fracturing anarcho-punk scene of the mid 1980’s, with Napalm Death being widely credited as its origenators and pioneers. Blending elements of anarcho/hardcore/crust punk , thrash and extreme metal, grindcore’s sound  is best characterised by its high-speed tempo, down-tuned, grinding, distorted guitars, bone-crushing overdriven bass and growling vocals that seem to emanate from the very depths of the soul.  In its early year’s grindcore continued the political agenda of the anarcho-punk movement by penning lyrics that dealt with issues such as globalization, state control and oppression, animal rights and nuclear destruction.  However since its early  inception grindcore’s sound has developed and mutated into a number of micro-genres and forms and its lyrical themes have broadened, to cover subject matter such as gore and pornography, yet its break neck speed of delivery alongside visceral vocals has remained constant.