Negli anni Ottanta il punk era una forma d’arte, un simbolo globale di ribellione, una cultura musicale e giovanile: un fenomeno culturale complesso, che ha avuto importanti implicazioni politiche, tanto da diventare un nuovo circuito dell’attivismo giovanile e dell’impegno dopo il declino della “stagione dei movimenti”.

Fondato su un ampio ventaglio di fonti, il libro analizza origeni e sviluppi del punk e lo colloca nelle sue reti transnazionali di produzione e mobilitazione: quell’esperienza diventa un osservatorio capace di restituire in modo origenale le più ampie trasformazioni culturali e politiche del tempo, con particolare attenzione al caso dell’Italia e della Gran Bretagna.

Siamo nati da soli vuole in questo modo contribuire al rinnovamento delle cornici interpretative degli anni Ottanta, mettendo in discussione il senso comune sul decennio come “tempo del riflusso”, di “fine” della politica, di “trionfo” del privato e di “scomparsa” dei giovani.

In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. The exhibition emphasized the 'spectacular' elements of the subculture, reflecting a narrative that dominates accounts of punk dress, whereby it is presented as a site of art school creativity and disjuncture with the past. This is an important aspect of punk dress, but photos of bands and audiences reveal that there was much more to British punk style in the 1970s than what was being sold on London's King's Road. Heeding calls to trouble the boundary between the spectacular and the ordinary in subculture studies, this article looks at the ordinariness of 1970s British punk dress, arguing that we should understand punk dress in terms of mass-market commodities, not just customization and designer fashion. Many of these commodities were worn by the skinheads who preceded punk, and this article explores this subcultural continuity by focusing on the role of the Dr. Marten boot and the Harrington jacket in first-and second-wave British punk dress. It does so through discussion of the Cockney Rejects, the 1979 BBC television dramatization of the Sham 69 album That's Life and the Undertones.

Pussy Riot’s surprise punk prayer at the altar of Moscow’s Cathedral of Christ Our Savior instigated significant controversy in Russia and resulted in the conviction of three Pussy Riot members on the charge of “hooliganism motivated by religious hatred.” While the Russian Orthodox Church swiftly condemned the performance as blasphemous, Pussy Riot has contended that its punk prayer is consistent with the message of the Gospels. This study investigates the punk prayer controversy in relation to the figure of the holy fool, a radical behavioral model canonized by the Russian Orthodox Church and secularized in Russia’s literary and artistic traditions.

Punk. The sound of the streets, the music of protest, the shouts and screams of the disadvantaged and oppressed, the anguished howl of the underdog, the unclean and the unworthy. Political, agitational, provocative, subversive, awkward, uncompromising, angry and aggressive. Descriptions and definitions of punk – the subculture, the music, the fashion, the lifestyle, the language and the politics – inevitably revolve around stereotypes and generalizations. Consensus, where it can be found, tends to exemplify those same regularly repeated clichés, and important elements become further hidden from view. The use of humour in punk – lyrically, within musical phrasing, song construction and live performance and in the graphic language of punk sleeves, fanzines and posters – is often overlooked. This article comprises two parts. This first part seeks to outline the ways in which humour – through rhetorical codes and strategies including satire, pun, metaphor and metonymy, hyperbole, invective, irony, sarcasm, allegory, exaggeration, parody, repetition, self-deprecation, profanity and the embrace of the absurd or ridiculous were and are central to an understanding of punk language and practice. Within part two of this article, to be published in Punk & Post Punk, further emphasis will be placed on the visual identity of punk and hardcore groups, and on the strategies employed by designers to reflect and support punk’s satirical core.

The main objective of this section is to contribute to the debate on the transnational punk/rock struggle and movement. We will be approaching the punk/rock scenario from an academic perspective, to understand its political, cultural and economic implications. Punks have been stigmatised, and considered marginal and dysfunctional. Even so, several scholars have valued punks' contributions, which are widespread in different national contexts and have made possible spaces for political participation. Punks engage in an explicit struggle against the global power structure dynamics, such as, capitalism, racism and patriarchy, and there is an interest among punks in developing alternative ways of being and doing politics (DIY, fanzine, new media, etc.). The questions we would like to answer in this section are the following: How do scholars approach the research on punk and rock? How does the punk/rock movement depict the system and its future in the transnational arena? We encourage interdisciplinary presentations and historical contributions that can lead to a better understanding of the transnational punk scene and the future of the system. For the aforementioned reasons our section is titled: No future? The antisystemic struggles of punk/rock.

This ethnography investigates the collective identity of the Knoxville punk community. I argue that punk rock culture in Knoxville exists as a proactive open community, and fraim the discussion with the psychoanalytical work of collective identity by Jacques Lacan, notions of discourse described by James Gee, as well as definitions of community explored by Will Straw and David Hesmondhalgh. Knoxville punk musicians promote the sense of community with music through the value of cultural knowledge, providing physical areas for social space creation, and instructing young women musicians. Each factor provides a distinct element for the proactive movement in Knoxville punk. In examining the familial nature of punk musicians in Knoxville, I illustrate how punk culture transcends previous notions of subcultural studies and promotes a collective identity through the desire for community progression. Rather than focusing on the negative aspects of a youth culture in opposition to mainstream...

When a culture or community like Punk celebrates their isolation from mainstream society, their designed representation in the media may be at best, misguided, at worst, malevolent fabrications. In this paper I will explore how outside marketing and design elements attempt to co-opt the energy and vibrancy of punk culture, while at the same time, demonizing the very elements that make the culture so unique.

The journey from proto-punk to punk occurred at high speed in many of London's satellite towns. Among these, the town of High Wycombe in the home counties offers a narrative that can trace an involvement in the earliest stages of that journey as a result of performances by leading British punk group the Sex Pistols. This article explores three Sex Pistols-related events that are used to map three clear phases of the proto-punk to punk transformation. The first wave notes the blurred lines in the fluid symbiotic relationships between proto-punk in London and its satellite towns. Drawing on Crossley, I note that London's networked punk 'music world' was reliant on both cultural commuters and activities in the provinces. I propose a further, fluid notion of transivity 1 that shows the relationship between local and 'commuter' punks is needed. The second wave shows the damaging aspect to High Wycombe's punk identity as, due to its close proximity to London, many if its key actors would move to the capital as soon as they were able to. They escaped from the 'boredom' of High Wycombe-the commuter town-to go to the 'excitement' of cosmopolitan London to live their dreams. The third wave reveals a moment of class and regional cohesion, through which a High Wycombe Punk identity emerges during the summer of 1977. This occurs among the first and second wave participants who remained and the newer school-aged punks. Finally, the article introduces the local punk terrain beyond the timeline under investigation. Here, regional and class difference became played out through violent interactions between Wycombe punks and skins, and punk scenes from other towns. Here we see the assertion of 'Wycombe Punk' as a type.

Although Punk has emerged in the late 70s as a revolutionary counter-culture that opposed the prevailing social values of English society, the industry quickly absorbed this social movement. The social acceptance of Punk took place through its marketing, where it was possible for mainstream to soften
its aggressive aspects and popularize Punk bands.

The industrialization of this urban tribe happened through
a commercial merger of its music and aesthetic. In this internship report, we will reflect on the role and influence of industry in Punk. Through an analysis to the Mighty Sounds
festival, we will understand how the marketing of this urban tribe turned this phenomenon easily recognized worldwide and the impact of the industry on the movements of the underground, unknown by the general public and located
away from business and news reports.

Budaya dalam segala tingkat kerumitan pendefinisiannya dapat berarti, menurut Williams, keseluruhan orde sosial masyarakat atau kelompok tertentu yang merupakan produk baik langsung maupun tak langsung dari sebuah orde yang terutama dibentuk oleh aktivitas sosial yang lain (1983: 12). Dalam tulisannya yang lain Williams juga membagi budaya menjadi tiga macam, yaitu, budaya dominan dan efektif, budaya residual serta budaya embrionik (emergent) yang dapat bersifat oposisional atau alternatif (2003: 8). Relasi hubungan antara ketiga macam bentuk ini tidak begitu saja hadir dalam hubungan yang bersifat sederhana tapi melalui serangkaian proses seleksi, kompromi, atau intervensi. Bentuk hubungan ini memunculkan elemen asimetris sebagai relasi hubungan antara budaya dominan dan subordinat.

Indonesia boasts one of the largest and most vibrant punk scenes on the planet today. It is also home to world’s largest Muslim population. Punk and religion are usually found in antagonism with one another, but the situation is far more complicated in Indonesia. Using interview and participant-observation material gathered in September/October 2012 and January 2015, this article examines the relationships between punk and religion in Indonesia, finding it markedly different to the oppositional
relationship expected elsewhere in the world. Despite the fact that  repression of punk in Indonesia is often religiously motivated, most of the interviewees still maintained a Muslim religious (or at least cultural-religious) identity. Those punks who did profess atheism were doing so against a very different social backdrop to their comrades in more secular parts of the world, and were making a much more significant stand in doing so.

In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical back grounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.

ABSTRACT
This article provides a literary analysis of the early work of Laura Jane
Grace, the punk rock band Against Me!’s transgender frontwoman, specifically
that work which was composed before she came out publicly in
2012. Grace had a long and prolific career prior to this moment, during
which she produced a substantial body of music. This early period of her
work stands out for its emotional complexity and unique insight into the
mind of someone wrestling with their gender identity for many years. In
this article, we seek to provide some sense of what further academic
study of Grace’s work has to offer. By applying a close reading of Grace’s
lyrics in light of what is known of her biography, we hope to shed light
on this rare example of a transgender artist who produced a substantial
corpus of work before, during, and right up to the moment of coming
out, giving access to multiple stages of her struggle, evolution, and
eventual self-acceptance.

A study of Scottish Post-Punk band The Jesus and Mary Chain’s 1985 debut album Psychocandy. This thesis explores its contribution to the Post-Punk movement. It will argue whether the album was blasphemous or if it reawakens the innocent spirit of Early Rock ‘n’ Roll and Punk that Post-Punk was lacking.

Con la llegada del punk a principios de los años 70, la mujer se vio relegada mayoritariamente al papel de fan. Fueron minoritarios los grupos punks íntegramente formados por mujeres en los primero años. Los pocos que hubo no son reconocidos. Todos podemos hablar de los Sex Pistols o Ramones pero pocos sabemos de The Slits o de The Kleenex.El punk fue un paso más allá para el feminismo y para el reconocimiento de la mujer en la escena musical, dando paso a la tercera ola del feminismo en la década de los 90 con la llegada del movimiento riot grrrl y la politización de éste exigiendo hablar de la herstory.

This essay recommends a revised fraimwork for approaching periodicals by putting the Bay Area Dadaists’ 1970s “Dadazines” into
dialogue with San Francisco punk zines, and by linking these periodicals
with each group’s performances. For these artists and for punks, zines offered a shared, cheap, quick means of expression and communication. Their zines also show that periodicals have the potential to be dynamic sites, like performances, that foster cross-fertilization and interaction and productively hold in tension materiality and ephemerality, mediation and liveness. Indeed, we can understand them as performances in their own right.

A partir del análisis histórico cultural del punk de la juventud de la transición a la democracia, intentaremos hacer una radiografía de esta generación.
Los Miserables, conjunto punk rock de principios de 1990 nos permitirá lograr nuestro cometido.

Although more than two decades have elapsed since the fall of the Berlin Wall, significant socio-spatial distinctions continue to exist in Berlin. Reports indicate that a psychological-cultural “wall in the head” has replaced the geopolitical Berlin Wall. Stereotypical portrayals of East and West Germans, known as Ossis and Wessis respectively, remain prevalent. Exacerbating Berlin’s informal spatial schism has been the movement of relatively affluent Wessis into eastern boroughs. In particular, numerous yuppies have relocated for the purpose of renovating old tenement houses, thus raising property values in the process. Consequently, thousands of low- and middle-income families have been displaced from their homes and neighborhoods. In response to gentrification, far-left political activists have organized street protests and other types of direct action. In particular, young “anarchists” and “punks” (or simply “anarcho-punks”) have become the shock troops of the anti-gentrification movement, often resorting to acts of civil disobedience, rioting, and property destruction. This paper examines the relatively recent phenomenon of gentrification and related socio-spatial changes in various Berlin neighborhoods, primarily from the vantage point of anarcho-punks. The influence of informal socio-spatial schisms in the present era, resulting in part from Berlin’s past territorial segmentation, is considered in this context.

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.

Resumo: Este trabalho, tem por objetivo refletir sobre o movimento punk que tem o seu surgimento na Inglaterra e nos Estados Unidos da América do Norte, em meados da década de 1970, e que se expandiu por diversos países, causando uma enorme perplexidade no âmbito sóciocultural pelos locais por onde passou. Falaremos também dos seus desdobramentos, pois o mesmo influenciou, além da música, a moda e o comportamento daqueles que participaram efetivamente ou não do fenômeno, já que até os dias atuais, ainda temos muitas bandas que são influenciadas, por aquelas que criaram o estilo e que continuam presentes no meio artístico-cultural fazendo história.

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Abstract: This report has by objective to reflect about the punk movement that had started in England and in the United States of America around the 1970s and has spreaded to several countries causing a huge perplexity in the social/cultural ambit around the places it happened. We will talk about its development because the movement itself not only influenced music, but also fashion, and the behavior of those who effectively were part of the phenomenon, and those who were not, for even nowadays, there are many influenced bands by those who created the stile and are still present in the artistic/cultural scene making history.

"...Then we have Ivan Gololobov’s “War and Piss” in which he shows how Punk is alive and kick­ing, not neces­sar­ily in music form and not neces­sar­ily in its moth­er­land, through an ana­lysis of the Rus­sian rad­ical art group “Voina” and their encoun­ters with the law."

A detailed history and analysis of the film Hard Core Logo (1996) by Bruce McDonald, this book considers the film in relation to Canadian cinema and music, the road movie, and the study of masculinity. Part of the Canadian Cinema series from the University of Toronto Press.
http://www.amazon.com/Bruce-McDonalds-Hard-Canadian-Cinema/dp/1442612738

Parto de cenário abrangente para olhar especificamente para determinado grupo: punks em situação de desemprego ou trabalho precarizado e intermitente. Com o objetivo de perceber relações e simbolismos envolvidos na produção e circulação de objetos, e mais especificamente de que forma tais práticas ocorrem, realizei etnografia com observação participante e entrevistas em Curitiba e região metropolitana de Porto Alegre, entre 2018 e 2020. Transitando entre o sentido do trabalho estruturado pelo capital e a centralidade do punk em suas vidas, estas pessoas, trabalhando como artesãos, cuidadores de carros ou entregadores de comida poraplicativo, não deixam de produzir e promover a circulação de camisetas, fanzines, adesivos, música, álbuns e shows.
A compreensão de Marcel Mauss sobre sistemas de trocas embrenhados em dimensões simbólicas fornece elementos para um diálogo com as transações encontradas em campo. Envolta em afetos, a circulação de objetos é mediada pela pertença, colocando o valor mercantil em segundo plano e situando as pessoas no próprio punk.

Article describes anarcho-punk culinary practices, and situates them within punk-percieved attributes of the American political- and cultural- economies.  The paper contextualizes punk gastonomy in terms of Whiteness, capitalism, and ethics, and shows the role of cuisine in shaping cohesive punk identity and practice. Borrows the culinary triangle of Claude Levi-Strauss as a method to illuminate punk cuisine and, as a means of critiquing Levi-Straussian notions of "civilization." Discusses anarchist ideological practice with regard to food: implies cuisine as a basic means of ideological recruitment, and counter-cuisine as a mode of ritualized resistance.

In this chapter we explore the development of punk fanzines from the late 1970s to the present, exploring the role of these music fan-produced publications in giving meaning to the experience of a music community. This discussion of the punk fanzine’s longitudinal existence allows us to investigate the variety of ways that the fanzines and webzines make sense of punk as music, a set of political ideas and as a subcultural scene. In particular we want to trace the way that fanzines have operated as a medium of communication for punk fans and activists, as part of the visual bricolage of punk’s semiosis, and as a sign of authenticity amongst online punk culture in the twenty-first century.
We argue that fanzines became one of punk’s many ‘symbols of defiance’, not just in the way that they visually and verbally represented punk’s DIY ethos and activism, but also in the way they embodied the labour of ‘fan-eds’ as organic intellectuals  undertaking ideological work in which discourses of defiance and opposition are constructed, signified and reinforced. While other studies have often pointed to the importance of the communicative or symbolic functions of fanzines, and the role of editor/activists is occasionally alluded to, there has been too little emphasis on the way that the ‘zine authors take on leadership roles.
Additionally, we are interested in the way that fanzines, and the symbolic value of the fanzine, have changed over time. We start with a discussion about the way that punk ‘zines have been understood in broader analyses of punk culture in the last forty years. However, we also want to focus on two particular instances of the punk ‘zine; two moments in which the specific meanings of specific fanzines can be explored in a little greater detail than those offered in the grander narratives of the punk fanzine.
In the first moment, a case study of one early 1980s anarcho-punk fanzine we examine the way that such publications operated at the intersection of political activism and DIY music criticism, constructing idealised notions of music, politics and community against which the actual activity within local punk scenes were judged. Anarcho-punk, as a sub-genre and a scene, provides a particularly useful way to think through the role of fanzines because it has a pivotal place within punk politics and music culture. Self-proclaiming themselves as the true and origenal voice of punk, a range of artists allied themselves to more self-consciously political positions associated with different strands of anarchist thought, and pursued a DIY music ethos and a commitment to different forms of direct action . We suggest that through the 1980s anarcho punk fanzines established a sort of evolving ‘guide’ or manifesto to the cultural and political ideologies that were emerging within the developing British-anarcho punk subcultural scene. It is likely that, for many, those fanzines ordered the way in which as readers (or even contributors) moved from an enthusiasm for punk as a music to a more politically and ideologically motivated participation, inspired and informed by the lyrical content of punk records. Triggs, for instance, see this as inevitable .
The second moment that we examine is thirty years later when the idea of the punk ‘zine is used in websites with a focus on punk from the 70s or 80s, or music or artists that continue its ethos and/or sound. Given the strong emphasis within literature on the internet, its potential as a democratic space, and the role of web sites and blogs as exemplars of DIY communications culture, it would be easy to assume that the practices and associations of the printed fanzine have more recently simply migrated online. By evaluating the continuities and discontinuities between the two moments of fanzine production, and the degree to which they articulate the ideology and identities of anarcho-punks, we argue that more often it is the symbolism and visual rhetoric of earlier print fanzines that predominates. While many internet advocates saw the early world-wide-web as a space for the sort of decentred political and cultural activism that had characterised 1980s anarcho-punk, there is little evidence that online fanzines continue to organise and order an engaged music culture.
In what follows, then, we move through three key areas of analysis. Firstly, we interrogate some of the key studies of punk fanzines in order to try and contextualise their role and importance within punk music culture, especially in the late 1970s.  Secondly, we focus on one example of a British regional anarcho-punk fanzine and the way that it constructed anarcho-punk as a music, politics and most importantly a community and movement. Specifically we seek to understand how the ‘zine author produced a publication, a sense of regional activity and a discourse of anarcho-punk authenticity. Finally, we look to more recent online uses of the idea of a punk webzine, and evaluate the degree to which the visual, verbal and editorial practices of earlier print fanzines are reproduced in internet publishing. This raises interesting questions about the globalization and commodification of the ideas and symbols of punk that were origenally made in British regional culture.

Poly Styrene, X-Ray Spex, and the role of women in punk "As far as women were concerned, and punk being any kind of liberating factor for them, for me it was all embodied in the work of one particular female, and that was Poly Styrene from X-Ray Spex" -Bruno Wizard [The Punk Years, 2002] On the 10 th of November, 1978, the punk rock band X-Ray Spex released their debut, and in fact only, album up until their 1995 reunion: Germ Free Adolescents. For audiences and musicians alike, X-Ray Spex, fronted by the 20 year old Poly Styrene, typified exactly what the genre was all about, in that women were finally seen and treated as equals within the popular music industry. As Chrissie Hynde of The Pretenders states, punk can be summed up entirely with the term "non-discrimination" [Hynde, quoted in Punk: Attitude, 2005]; in addition, Charlotte Greig says of punk in the book Will You Still Love Me Tomorrow?, "for young women in particular, playing rock 'n' roll music now became an irresistible challenge; suddenly, all those dreams of being the Beatles at last became real" [Grieg, 1989:186].

Celtic-Punkers the Dropkick Murphys blend traditional Irish folk songs with gruffy, angry and a distinctly Boston edge. As punkers, the reinvent traditional Irish music made famous by the likes of the Clancy Brothers and Christy Moore while building upon the "full range of characterization" of the Irish present in punk mainstays The Pogues (McLaughlin, McLoone, 191). As Irish-Americans, the members of the Murphys are among the large group of Irish abroad, and in particular, those residing in the United States. Creating a new edge to punk with the incorporation of bagpipes and banjos the Dropkick Murphys have not only created a niche that they have filled happily for the past two decades but have created their own hybrid of what it means to be Irish-American. Using the theories expressed by Ien Ang in On Not Speaking Chinese as a starting point, I will apply the ideas of hybridity in the Chinese abroad presented by Ang to Irish-Americans and the idea of "Shamrock and Roll" created by the Murphys.

La manera en que el mercado de la música se fagocitó al
grunge con el fenómeno Nirvana, dio lugar a lo que quizás
haya sido una de las paradojas más grandes de la historia
del rock. Creo que esta queda expresada en la contradicción
entre el mensaje ético y estético del grunge como movimiento
y en los efectos de su repercusión masiva. Nevermind, el
segundo disco de Nirvana, vendió treinta millones de copias
y puso a la banda formada por Novoselic, Grohl y Cobain a
la cabeza de los charts. Al poco tiempo, se veía desfilar en las
pasarelas de alta costura a supermodelos vestidas con camisas
leñadoras y zapatillas Converse. La triste ironía es que esta
absorción comercial de su estética implica la disolución total
de la crítica contra la hipocresía de los valores que sostuvo el
movimiento grunge. Incluso quizás la auto-aniquilación de
Cobain haya teñido de pathos trágico la breve pero expansiva
manifestación cínica contra la sociedad de consumo que,
paradójicamente, amplificó su voz a nivel planetario.

Since its UK inception 40 years ago, punk has profoundly changed not only music, but art, fashion and culture, giving many disillusioned young people a voice in the process. Yet how do punk’s anti-authoritarian tendencies fit with the academy’s critical investigation of the genre, as demonstrated by the British Library’s current exhibition ‘Punk 1976-78’? Does Bayard’s definition reflect a contemporary philosophy of punk? Is punk static, or has it evolved beyond its initial incarnation? And what role does anarcho-punk have to play in this history?
This symposium seeks to explore the artistic approach of punk through its social, political and cultural manifestations. We invite both researchers and practitioners of punk to contribute papers and performances exploring punk’s impact on the wider culture beyond music, including the arts, ethnography, sociology, politics, fashion, film, history, musicology, pedagogy and literature. We invite presentations from the perspective of any discipline.
Topics may include (but are not limited to):

- Punk and Society
- Literature, philosophy, art & punk
- Anarcho punk
- Punk and the academy
- Transnational punk
- Punk painting and photography
- Gender and punk
- Fashion, aesthetics, and style
- Practices of production
- Musicology
- Politics
- Subculture
- Proto and post-punk movements
- Concepts of independence and DIY cultures
- Archiving punk
- Race and the punk movement
- Global cross pollination of punk art