Mike Dines
Originally from a working-class, market-trading, punk rock background, Mike joined the West Sussex Institute of Higher Education in the early 1990s, gaining a first class Honours degree in Music and Related Arts. Although a performer through-out his degree (he is a classical pianist), he decided that the road of musicology and analysis was for him; and so embarked on a Masters degree under the careful guidance of Professor David Osmond-Smith and Professor Julian Johnson at The University of Sussex. There, Mike looked at two fundamental areas of research; ‘Analytical Theory’, looking at the work of writers such as Heinrich Schenker and Rudolph Reti, and ‘Aesthetics and Ideology’, looking at the role of aesthetics (and music in particular) within the Western Philosophical Tradition.
Study at this level allowed Mike the freedom to combine his two passions: Kantian aesthetics and punk rock, and his MA thesis looked at the role of subversion (and, in particular, the music/ideals of the anarcho-punk band ‘Crass’) and the complex relationship between Kant’s notion of the sublime and the musical extremity of punk-rock. Leaving the University of Sussex, Mike taught A-Level music in a local college for a few years (where he gained his teaching certificate), and then received funding from the Economic and Social Research Council to complete a PhD under Professor Sheila Whiteley, at the University of Salford.
Following on from his research at Sussex, Mike continued to look at the anarcho-punk scene of the 1980s, this time raising questions concerning the role/position of the musical object within the ‘scene’, focusing on the way in which this later manifestation of punk subsequently appropriated (and re-contextualised) the political/subversive characteristics of anarchism from punk’s first-wave in the late-1970s. As such, Mike gained his PhD with the completion of a thesis titled ‘The Emergence of the Anarcho-Punk Scene of the 1980s’.
Mike continues to research into the subversive relationship between music and protest, with an edited Anthology of the anarcho-punk scene (and a number of papers) in the pipeline.
Supervisors: Prof Sheila Whiteley
Study at this level allowed Mike the freedom to combine his two passions: Kantian aesthetics and punk rock, and his MA thesis looked at the role of subversion (and, in particular, the music/ideals of the anarcho-punk band ‘Crass’) and the complex relationship between Kant’s notion of the sublime and the musical extremity of punk-rock. Leaving the University of Sussex, Mike taught A-Level music in a local college for a few years (where he gained his teaching certificate), and then received funding from the Economic and Social Research Council to complete a PhD under Professor Sheila Whiteley, at the University of Salford.
Following on from his research at Sussex, Mike continued to look at the anarcho-punk scene of the 1980s, this time raising questions concerning the role/position of the musical object within the ‘scene’, focusing on the way in which this later manifestation of punk subsequently appropriated (and re-contextualised) the political/subversive characteristics of anarchism from punk’s first-wave in the late-1970s. As such, Mike gained his PhD with the completion of a thesis titled ‘The Emergence of the Anarcho-Punk Scene of the 1980s’.
Mike continues to research into the subversive relationship between music and protest, with an edited Anthology of the anarcho-punk scene (and a number of papers) in the pipeline.
Supervisors: Prof Sheila Whiteley
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Con scritti di: Russ Bestley, Greg Bull, Justine Butler, Rich Cross, Mike Dines, The Free Association, Alastair ‘Gords’ Gordon, Matt Grimes, Alistair Livingstone, Chris Low, Willie Rissy, Francis Stewart e Peter Webb, precedentemente pubblicati in Gran Bretagna in:
* Tales from the punkside, edited by Mike Dines & Greg Bull (Itchy monkey press, 2014)
* Not Just bits of paper, edited by Greg Bull & Mickey Penguin (Perdam Babylonis Nomen Publications/Situation Press, 2015)
* Some of us scream, some of us shout, edited by Greg Bull & Mike Dines (Itchy monkey press, 2016)
* The Aesthetic of our anger, edited by Mike Dines & Matthew Worley (Autonomedia, 2014)
Una mappa dell'anarcopunk britannico che si estende oltre Londra, mostrando la varietà delle espressioni locali di una controcultura che, forse per prima, riuscì a raggiungere città e villaggi dell'intero territorio britannico; che si estende oltre la musica, dando spazio a esperienze personali, ad altre forme d'arte e ai molteplici modi di fare politica; che si estende oltre i Crass, che con il loro ruolo di padri fondatori della scena, rischiano di oscurarne le differenze interne.
"Londra, ma anche Belfast e Bristol, i centri industriali del Nord e la brughiera del sud'ovest. I dodici capitoli di questo volume, ciascuno scritto da chi ha vissuto la scena in prima persona, presentano per la prima volta tematiche spesso ignorate come il ruolo del punk nell'abbattimento delle divisioni confessionali nell'Irlanda del Nord, l'importanza delle zine nella formazione intellettuale dei giovani punk, le manifestazioni di Stop The City nella Londra del 1983, l'incontro/scontro con i minatori in sciopero, l'apporto del femminismo, dell'animalismo e i vicoli ciechi da cui non tutti sono riusciti a salvarsi.
The book you have before you is the third in the Tales From the Punkside series; a collection of books whose main concern was providing a space for the stories, anecdotes and various other shenanigans for those persons rarely heard in the punk movement. Books are often written by – or about – those who have some kind of ‘status’ in punk circles. I don’t mean that in a derogative sense; after all, status is often thrust upon those concerned. Instead, I mean that there has been hundreds, nay thousands, of books written with ‘leading’ musicians, artists and activists in mind. Many would argue that those books reached saturation point a long time ago. (If you want to ask the opinion of say, Dick Lucas you merely email the guy or ask him at a gig). And All Around Was Darkness then, alongside Some of Us Scream, Some of Us Shout (and the sister volume Not Just Bits of Paper) continues to highlight the egalitarian nature of punk.
As with previous books in the series, And All Around Was Darkness presents a variety of narratives. Lucy Robinson’s academic-led chapter on Greenham Common sits alongside Francis’ Stewart’s ‘The Stranger in the Pit: Women, Animal Advocacy and Anarcho-Punk.’ Ted Curtis’ characteristic prose accompanies TS Paviour’s insightful poetry on religion, democracy and the daily grind. Woven in between we have the stories and recollections, from gluing the locks on the local school to the Mob touring in Finland. There is, thankfully, still a naivety over the writing. As editors Greg and I have ensured that we have edited sparingly throughout, meaning that idiosyncrasies remain. This is, after all, not a ‘polished,’ internationally published tome.
Greg and I hope you enjoy this current anthology. Special thanks always to Russ Bestley for designing the book. Thanks to Sarah Dryden for the superb front cover. And thanks to the each and every contributor for giving their time in putting pen to paper. But most of all, thanks to you, the reader, in buying this book.
Mike Dines
Portsmouth, 2017
This work is the first in a series entitled ‘Lost Academic Writings on Punk.’ Drawn from an undergraduate dissertation written in the mid-1990s, Alastair Gordon’s Crass Reflections is informative on a number of different levels. For a start, it is evidence that there was research on Crass and anarcho-punk before the contemporary plethora of writing on this diverse and fascinating scene.
Secondly, the resurgence of recent interest in the anarcho-punk of the 1980s means that the modern reader has a choice of a number of different books, articles and interviews to peruse. On the other hand, Crass Reflections remains an artefact of pre-Internet research. It highlights the difficulties that researchers
of anarcho-punk had in joining the dots and getting beneath the surface of the ethos, philosophy and aesthetic of the scene. Lastly, and as outlined in the introduction, the editors have been faithful to the original. This means that although some of the ideas may seem rather naïve is our global ‘all-seeing’ digital age, it is, nonetheless one of the first works that attempted to decipher to
music of this era: and it is arguably what makes Crass Reflections a fascinating and important read.
I would also like to take this opportunity to ask any writers who would like to be part of this series to get in touch. To attempt a complete overview of any subculture all narratives need to be considered, examined and heard.
Onwards and Upwards!
Mike Dines
Itchy Monkey Press
May 2016
Although the PSN is aware of the academic reputation of publishing post-doctoral work, it also recognises the importance that postgraduate research has in keeping research in this area relevant. Therefore, the First International Postgraduate Symposium was a means of bringing together an international array of scholars who are currently researching and writing in this area. The central task of this work, therefore, is to provide a space for postgraduates to publish work that is on going but is also of a high academic standard. More specifically, each chapter adopts an essentially analytical perspective so as to raise questions initially over the international punk scene, including its form, structure and cultural significance.
Journal Articles/Book Chapters/Reports by Mike Dines
Chapter entitled How Much Longer? Punk Styles, Punk Aesthetics, Punk Conventions, published by Itchy Monkey Press, Portsmouth, Summer 2017, pp.188-207. ISBN 978-1-291-74025-7
P-Orridge’s awareness of the occult and pagan ritual was integral to forming Psychic TV, and was also central to the simultaneous formation of the Thee Temple ov Psychick Youth (TOPY), an organization that was to become the magickal and philosophical wing of Psychic TV, and which subsequently led to the incorporation of magick, occultism and ritual into their music and multimedia productions. Using the Psychic TV’s debut album, Force the Hand
of Chance (1982) as an investigative framework, this chapter seeks to investigate, scrutinize and illuminate Psychic TV’s past and ongoing relationship with magick, occultism, mysticism and paganism. Through a semiotic and discursive analysis of Psychic TV and TOPY’s multimedia texts, performances, rituals and interviews, this chapter unpacks the significance of magick, occultism and ritual in asserting Psychic TV’s occupying of an interesting ‘cult’ural and philosophical space between music, performance art and the practice and
exposition of ‘chaos magick’.
To be honest, this turned out to be a bit of an odd interview. Three days earlier to meeting Phil, JJ and Trev on a sunny afternoon in the ‘Our Black Heart’ pub in Camden, London, they had announced that SLUG were no more. Posting a pensive-looking shot of them sitting on Brighton beach (very tongue-in-cheek) the band had decided to move on to other projects. At first, I wondered whether they would cancel the interview, but was relieved to find they still wanted to meet. It was also odd in meeting Phil again for the first time in just over 15 years. In a previous life I had taught him music in a college in Portsmouth. Although at home I listened to Crass, Culture Shock and other noisy shenanigans, I taught Schubert, Mozart and Debussy, all of which are a far cry from the stuff that Phil plays today.
Formed in London, UK, SLUG consisted of Brickett on vocals, JJ on guitar and vocals, Campos on Bass, Phil on guitar and vocals, and Trev on drums. With members from Active Slaughter (JJ and Trev) and Bug Central (Trev), the band played fast, aggressive punk, dealing with subjects such as animal rights, Britain First and class war. Discography includes the album Detect, Denounce, Destroy (2014) and the split Echoes of the Past…Reverberate into Our Future (2014) with Piss on Authority. I started with the obvious….
Me: Pleased to meet you all. Would you like to introduce yourselves?
JJ: Normally I answer ‘no comment’ [Laughs]. JJ, guitarist of SLUG, and Trev sitting next to me, we started the band three years ago, a few weeks before Phil joined. For about 10 years we both used to be in a band called Active Slaughter. So we started SLUG and then we dragged in Phil and Sam and a fella called Bruce who was in a band called Bug Central, which used to be Trev’s band as well. Bruce stayed for about 6 months and then left and we brought in Campo on bass.
Phil: I’m Phil, I play guitar in SLUG. I met the other members in a squat called Kernels, in South London. That was roughly about five years ago. Me and the singer [Bricket] joined the band about three years ago with the guys sitting with me. Yeah, and I’m from Pompey.
Me: Thanks. I’ve been listening to your album Detect, Denounce, Destroy, and I particularly like tracks such as ‘Class War,’ ‘Shoot to Kill’ and ‘To The End.’ I’d really like your thoughts on definition and thought I’d start with a loaded question: do you see yourself as an ‘anarcho-punk’ band?
Trev: Personally, I have real trouble with the whole ‘naming’ everything different ‘sub-genres.’ I know, I understand, why people do it, but personally, I don’t like labels.
Within this paper, I wish to explore the idea of Nada Brahma within the rather unusual context of the American-based straightedge punk subgenre termed as ‘Krishnacore’. Here, punk musicians and writers fused together the transcendental nature of the oral, with the characteristics of Western punk music, amalgamating the Indian-based, Vedic spirituality of the Hare Krishna movement with the fast, ‘aggressive’ musical stylistics of punk rock. As such, lyrical subject matter became infused with prayer, and the punk rock stage became a podium for preaching Krishna Consciousness. Subsequently, instead of Vedic scripture being expressed within the traditional form of Indian devotional song – such as ‘bhajan’ or ‘kirtan’ – the talk of saranagati (surrender), of reincarnation, and even sacred mantras, were now espoused within a punk rock aesthetic.
I will briefly trace the path of Krishnacore from its roots in American straightedge, looking specifically at the ways in which many of the core principals of the Hare Krishna movement also lent themselves towards a synchronicity with a subculture such as straightedge. Afterword, through an analysis of lyrical content and musical stylistic, I will explore the complex relationship between Nada Brahma and the apparent transcendence of the divine beyond cultural and musical boundaries: looking to find the expression of an Indian theology within a non-traditional setting such as punk rock. In conclusion, I wish to highlight the way in which the sonic/oral tradition of the Vedas has fed through to modern times, providing an extraordinary and remarkable basis of expression in an American subculture such as straightedge punk rock.
All of the authors are interested in this debate as performers as well as teachers and researchers in higher education, and we greatly welcome the opportunity to contribute to the vital discussion around music venues in the UK.
Con scritti di: Russ Bestley, Greg Bull, Justine Butler, Rich Cross, Mike Dines, The Free Association, Alastair ‘Gords’ Gordon, Matt Grimes, Alistair Livingstone, Chris Low, Willie Rissy, Francis Stewart e Peter Webb, precedentemente pubblicati in Gran Bretagna in:
* Tales from the punkside, edited by Mike Dines & Greg Bull (Itchy monkey press, 2014)
* Not Just bits of paper, edited by Greg Bull & Mickey Penguin (Perdam Babylonis Nomen Publications/Situation Press, 2015)
* Some of us scream, some of us shout, edited by Greg Bull & Mike Dines (Itchy monkey press, 2016)
* The Aesthetic of our anger, edited by Mike Dines & Matthew Worley (Autonomedia, 2014)
Una mappa dell'anarcopunk britannico che si estende oltre Londra, mostrando la varietà delle espressioni locali di una controcultura che, forse per prima, riuscì a raggiungere città e villaggi dell'intero territorio britannico; che si estende oltre la musica, dando spazio a esperienze personali, ad altre forme d'arte e ai molteplici modi di fare politica; che si estende oltre i Crass, che con il loro ruolo di padri fondatori della scena, rischiano di oscurarne le differenze interne.
"Londra, ma anche Belfast e Bristol, i centri industriali del Nord e la brughiera del sud'ovest. I dodici capitoli di questo volume, ciascuno scritto da chi ha vissuto la scena in prima persona, presentano per la prima volta tematiche spesso ignorate come il ruolo del punk nell'abbattimento delle divisioni confessionali nell'Irlanda del Nord, l'importanza delle zine nella formazione intellettuale dei giovani punk, le manifestazioni di Stop The City nella Londra del 1983, l'incontro/scontro con i minatori in sciopero, l'apporto del femminismo, dell'animalismo e i vicoli ciechi da cui non tutti sono riusciti a salvarsi.
The book you have before you is the third in the Tales From the Punkside series; a collection of books whose main concern was providing a space for the stories, anecdotes and various other shenanigans for those persons rarely heard in the punk movement. Books are often written by – or about – those who have some kind of ‘status’ in punk circles. I don’t mean that in a derogative sense; after all, status is often thrust upon those concerned. Instead, I mean that there has been hundreds, nay thousands, of books written with ‘leading’ musicians, artists and activists in mind. Many would argue that those books reached saturation point a long time ago. (If you want to ask the opinion of say, Dick Lucas you merely email the guy or ask him at a gig). And All Around Was Darkness then, alongside Some of Us Scream, Some of Us Shout (and the sister volume Not Just Bits of Paper) continues to highlight the egalitarian nature of punk.
As with previous books in the series, And All Around Was Darkness presents a variety of narratives. Lucy Robinson’s academic-led chapter on Greenham Common sits alongside Francis’ Stewart’s ‘The Stranger in the Pit: Women, Animal Advocacy and Anarcho-Punk.’ Ted Curtis’ characteristic prose accompanies TS Paviour’s insightful poetry on religion, democracy and the daily grind. Woven in between we have the stories and recollections, from gluing the locks on the local school to the Mob touring in Finland. There is, thankfully, still a naivety over the writing. As editors Greg and I have ensured that we have edited sparingly throughout, meaning that idiosyncrasies remain. This is, after all, not a ‘polished,’ internationally published tome.
Greg and I hope you enjoy this current anthology. Special thanks always to Russ Bestley for designing the book. Thanks to Sarah Dryden for the superb front cover. And thanks to the each and every contributor for giving their time in putting pen to paper. But most of all, thanks to you, the reader, in buying this book.
Mike Dines
Portsmouth, 2017
This work is the first in a series entitled ‘Lost Academic Writings on Punk.’ Drawn from an undergraduate dissertation written in the mid-1990s, Alastair Gordon’s Crass Reflections is informative on a number of different levels. For a start, it is evidence that there was research on Crass and anarcho-punk before the contemporary plethora of writing on this diverse and fascinating scene.
Secondly, the resurgence of recent interest in the anarcho-punk of the 1980s means that the modern reader has a choice of a number of different books, articles and interviews to peruse. On the other hand, Crass Reflections remains an artefact of pre-Internet research. It highlights the difficulties that researchers
of anarcho-punk had in joining the dots and getting beneath the surface of the ethos, philosophy and aesthetic of the scene. Lastly, and as outlined in the introduction, the editors have been faithful to the original. This means that although some of the ideas may seem rather naïve is our global ‘all-seeing’ digital age, it is, nonetheless one of the first works that attempted to decipher to
music of this era: and it is arguably what makes Crass Reflections a fascinating and important read.
I would also like to take this opportunity to ask any writers who would like to be part of this series to get in touch. To attempt a complete overview of any subculture all narratives need to be considered, examined and heard.
Onwards and Upwards!
Mike Dines
Itchy Monkey Press
May 2016
Although the PSN is aware of the academic reputation of publishing post-doctoral work, it also recognises the importance that postgraduate research has in keeping research in this area relevant. Therefore, the First International Postgraduate Symposium was a means of bringing together an international array of scholars who are currently researching and writing in this area. The central task of this work, therefore, is to provide a space for postgraduates to publish work that is on going but is also of a high academic standard. More specifically, each chapter adopts an essentially analytical perspective so as to raise questions initially over the international punk scene, including its form, structure and cultural significance.
Chapter entitled How Much Longer? Punk Styles, Punk Aesthetics, Punk Conventions, published by Itchy Monkey Press, Portsmouth, Summer 2017, pp.188-207. ISBN 978-1-291-74025-7
P-Orridge’s awareness of the occult and pagan ritual was integral to forming Psychic TV, and was also central to the simultaneous formation of the Thee Temple ov Psychick Youth (TOPY), an organization that was to become the magickal and philosophical wing of Psychic TV, and which subsequently led to the incorporation of magick, occultism and ritual into their music and multimedia productions. Using the Psychic TV’s debut album, Force the Hand
of Chance (1982) as an investigative framework, this chapter seeks to investigate, scrutinize and illuminate Psychic TV’s past and ongoing relationship with magick, occultism, mysticism and paganism. Through a semiotic and discursive analysis of Psychic TV and TOPY’s multimedia texts, performances, rituals and interviews, this chapter unpacks the significance of magick, occultism and ritual in asserting Psychic TV’s occupying of an interesting ‘cult’ural and philosophical space between music, performance art and the practice and
exposition of ‘chaos magick’.
To be honest, this turned out to be a bit of an odd interview. Three days earlier to meeting Phil, JJ and Trev on a sunny afternoon in the ‘Our Black Heart’ pub in Camden, London, they had announced that SLUG were no more. Posting a pensive-looking shot of them sitting on Brighton beach (very tongue-in-cheek) the band had decided to move on to other projects. At first, I wondered whether they would cancel the interview, but was relieved to find they still wanted to meet. It was also odd in meeting Phil again for the first time in just over 15 years. In a previous life I had taught him music in a college in Portsmouth. Although at home I listened to Crass, Culture Shock and other noisy shenanigans, I taught Schubert, Mozart and Debussy, all of which are a far cry from the stuff that Phil plays today.
Formed in London, UK, SLUG consisted of Brickett on vocals, JJ on guitar and vocals, Campos on Bass, Phil on guitar and vocals, and Trev on drums. With members from Active Slaughter (JJ and Trev) and Bug Central (Trev), the band played fast, aggressive punk, dealing with subjects such as animal rights, Britain First and class war. Discography includes the album Detect, Denounce, Destroy (2014) and the split Echoes of the Past…Reverberate into Our Future (2014) with Piss on Authority. I started with the obvious….
Me: Pleased to meet you all. Would you like to introduce yourselves?
JJ: Normally I answer ‘no comment’ [Laughs]. JJ, guitarist of SLUG, and Trev sitting next to me, we started the band three years ago, a few weeks before Phil joined. For about 10 years we both used to be in a band called Active Slaughter. So we started SLUG and then we dragged in Phil and Sam and a fella called Bruce who was in a band called Bug Central, which used to be Trev’s band as well. Bruce stayed for about 6 months and then left and we brought in Campo on bass.
Phil: I’m Phil, I play guitar in SLUG. I met the other members in a squat called Kernels, in South London. That was roughly about five years ago. Me and the singer [Bricket] joined the band about three years ago with the guys sitting with me. Yeah, and I’m from Pompey.
Me: Thanks. I’ve been listening to your album Detect, Denounce, Destroy, and I particularly like tracks such as ‘Class War,’ ‘Shoot to Kill’ and ‘To The End.’ I’d really like your thoughts on definition and thought I’d start with a loaded question: do you see yourself as an ‘anarcho-punk’ band?
Trev: Personally, I have real trouble with the whole ‘naming’ everything different ‘sub-genres.’ I know, I understand, why people do it, but personally, I don’t like labels.
Within this paper, I wish to explore the idea of Nada Brahma within the rather unusual context of the American-based straightedge punk subgenre termed as ‘Krishnacore’. Here, punk musicians and writers fused together the transcendental nature of the oral, with the characteristics of Western punk music, amalgamating the Indian-based, Vedic spirituality of the Hare Krishna movement with the fast, ‘aggressive’ musical stylistics of punk rock. As such, lyrical subject matter became infused with prayer, and the punk rock stage became a podium for preaching Krishna Consciousness. Subsequently, instead of Vedic scripture being expressed within the traditional form of Indian devotional song – such as ‘bhajan’ or ‘kirtan’ – the talk of saranagati (surrender), of reincarnation, and even sacred mantras, were now espoused within a punk rock aesthetic.
I will briefly trace the path of Krishnacore from its roots in American straightedge, looking specifically at the ways in which many of the core principals of the Hare Krishna movement also lent themselves towards a synchronicity with a subculture such as straightedge. Afterword, through an analysis of lyrical content and musical stylistic, I will explore the complex relationship between Nada Brahma and the apparent transcendence of the divine beyond cultural and musical boundaries: looking to find the expression of an Indian theology within a non-traditional setting such as punk rock. In conclusion, I wish to highlight the way in which the sonic/oral tradition of the Vedas has fed through to modern times, providing an extraordinary and remarkable basis of expression in an American subculture such as straightedge punk rock.
All of the authors are interested in this debate as performers as well as teachers and researchers in higher education, and we greatly welcome the opportunity to contribute to the vital discussion around music venues in the UK.
Em 2016, a KISMIF Conference centra-se novamente na música underground, orientando o seu enfoque analítico para a análise das culturas DIY e sua relação com o espaço, o território e os lugares. Assim, desafiam-se estudantes, professores investigadores juniores e seniores, mas também artistas e ativistas, a apresentarem na KISMIF International Conference 2016 trabalhos que explorem o potencial do desenvolvimento teórico e analítico do cruzamento entre as cenas musicais, a cultura DIY e o espaço sob uma visão pluridimensional e pluriforme, de forma a enriquecer a análise das cenas musicais underground e das culturas DIY com o desenvolvimento da teoria social aos mais diversos níveis e esferas disciplinares, considerando a importância charneira que as culturas DIY têm num contexto de modernidade tardia e num momento de uma severa crise societal contemporânea.
Com efeito, é hoje por demais relevante a importância - neste mundo em mudança fragmentada - que a música e as culturas DIY têm. Mais, grande parte das mudanças que se têm operado no mundo contemporâneo, resultam notadamente da emergência de espaços, de zonas, de cenas locais, translocais e virtuais. O espaço, os espaços, os lugares, as fronteiras, as zonas são, assim, variáveis críticas na abordagem das culturas contemporâneas, dos seus sons, das suas práticas (artísticas, culturais, económicas e sociais), dos seus atores, dos seus contextos. Numa perspectiva pós-colonial, também de glocalização, importa equacionar a mudança nas práticas artísticas e musicais de natureza underground e traçar-lhe fronteiras simbólicas, lugares de acomodação, espaços de apropriação, locais de resistência, modalidades de funcionamento, economias de sobrevivência e agências alternativas ao capitalismo avançado. Territorialização e desterritorialização são marcas indeléveis das cenas artísticas e musicais no presente, são também referentes imediatos de cosmopolitismos, de diásporas, de novas relações de poder, de género, de etnias. À semelhança das edições anteriores da KISMIF Conference, pretendemos acolher contributos reflexivos que considerem a pluralidade de manifestações DIY nos mais diversos campos culturais, artísticos e criativos – indo, por isso, para além da música, e considerando campos artísticos como o cinema e vídeo, o graffiti e a street art; o teatro e as artes performativas; a literatura e a poesia; a rádio, a programação e a edição; o design gráfico, a ilustração, o cartoon e a banda desenhada; entre outros.
Em 2016, o estimulante programa científico da KISMIF Conference será novamente acompanhado por um programa social e cultural diversificado, consubstanciado por um conjunto de eventos artísticos, com especial enfoque na música underground e noutras expressões artísticas. Pretende-se, assim, propiciar a todos os participantes uma experiência singular ao nível das culturas DIY presentes em Portugal, no Porto e nas suas diásporas singulares.
O Congresso será sucedido por uma Summer School – intitulada “Mappin' Your Own Underground!” – que irá realizar-se no dia 22 de julho 2015, na Faculdade de Letras da Universidade do Porto. A Summer School irá oferecer uma oportunidade a todos os estudantes, incluindo aqueles que participem no Congresso, de discutir as suas investigações em seminários liderados por professores e investigadores relevantes neste campo de investigação (para mais informações acerca da Summer School, visite a página www.kismifconference.com).
Punk Scholars Network 5th Annual Conference and Postgraduate Symposium.
De Montfort University Leicester, December 13-14th 2018
Hosted by the Punk Scholars Network in conjunction with the International Association of Metal Music Studies, the Journal of Punk and Post-Punk, the Journal of Metal Music Studies, Media and Communication Research Centre and Intellect Books.
Metal and punk cultures have long shared musical and cultural similarities. From Motörhead’s ubiquitous global presence, and the complex amalgam of Thrash Metal, Doom Metal, American Hardcore, Straight Edge, Japanese-based Burning Spirits, Black Metal, and DiY cultural production, one can see a plethora of hybridised and reinterpreted global music scenes. Indeed, the pervasive influence of metal and NWOBHM from the mid-1980s onwards has had an irreversible and notable effect on both punk and metal musical and cultural aesthetics (see Glasper, forthcoming, 2018).
In spite of their broadly separate academic literatures, from their competing inceptions in the mid to late-1970s, punk and metal music studies have shared common historical theoretical and methodological approaches; yet no significant critical reflection of these research crossovers has been undertaken to date. The principle aim of this interdisciplinary conference is to critically reflect upon points of similarity, difference and hybridity in global punk and metal subcultures.
The Punk Scholars Network and The International Association of Metal Music Studies would like to invite new and established scholars in punk and metal music studies to critically interrogate such similarities and differences and to share their research: not every paper needs to discuss both punk and metal but simply by presenting research on the same panels to a mixed audience will allow a unique opportunity for researchers to cross perceived genre boundaries and learn from each others methodologies and trajectories.
Topics of interest for submission include, but are not limited to:
Metal and/or punk histories
Genre boundaries
Cross genre authenticities
Gender, hegemony in metal and/or punk cultures
Ethics/moral codes: differences and similarities in metal and/or punk cultures
Ethnicities and contested identities in metal and punk
Geographies, crossover and hybridity in punk and metal music scenes
Crossovers between metal and/or punk
Aesthetic crossovers in local and global punk/metal scenes
Political narratives in punk and metal music
‘Negatologies’: bullying, marginalisation, drugs and violence in punk and/or metal cultures (Gordon, 2018)
Conceptual crossover and difference
The aesthetics of virtuosity and simplicity in metal and punk
The curation of punk and metal bands on festival bills
Legacies
Hybrid cultures, audience research and ethnographies of metal and/or punk cultures
The policy and political economy of metal and punk record labels
Musical production, instrumentation and aesthetics
Art and design in metal and/or punk
Abstracts of no more than 250 words should be sent to the following link by September 16th 2018
metalpunkDMU@gmail.com
Since 1997 saw the publication of “Never Mind the Tagmemics, Where’s the Sex Pistols” (CCC 48.1 pp 9 -29) there has been an increasing interest in the way in which the ethics, attitudes and people of punk rock can inform, shape, critique and revolutionise teaching pedagogies. In part this is due to the rising number of punkademics and punk teachers, but it is so much more than that. It is also because of the value for education in approaches that centre on philosophies such as Do-It-Yourself, creativity and resistance; a framework of enquiry and a toolkit that potentially helps take cynicism to critique. In short, punk can offer pedagogical tools for interrogating the world around us. However it is a two way street, and punk can learn much from newly emerging pedagogical ideas and approaches within secondary, further and higher education. This 1-2 day symposium aims to provide a space to explore, in a supportive environment, those interactions and lessons. It seeks to ask questions such as what can be gained from using punk tools and approaches as a pedagogical approach within ‘the classroom’? What can experiences and innovations in ‘the classroom’ offer to the continuing development and learning of punks and the subculture of punk rock?
and Epic Tales of the Anarcho is the second in the Tales
From the Punkside series. Whereas the self-titled first
volume encompassed the wider punk scene, Some of Us
Scream… brings together the stories, the artwork and
the inspiration of the anarcho-punk scene from the
1980s to the present day.
As with Tales… stimulus has come from the everyday,
from those who were ‘there’ and from those who have
personal accounts to convey. Too often a ‘scene’ such as
anarcho-punk becomes defined by its canon, its key
players. In this case, they are often (amongst others)
Crass, Conflict, Rudimentary Peni, the Subhumans and
Flux of Pink Indians (of which, ironically, the editors
would like to thank for the title of this book). The editors
do not wish to detract from their stories but merely
add to them, to document those who were inspired by
the music, those who (in their own ways) further contributed
to the scene.”
Mike Dines
“A Gurt Lush book containing lots of great flyers, interesting memories, recollections, essays and personal opinions. Every anarcho-punk should own a copy. It’s a great companion read to Not Just Bits of Paper. Lovely”
Greg Bull
This article addresses how manifestos came to be used in post-punk. Using as a starting point Julia Downes’ description of musical manifestos in riot grrl as a ‘key way to define…ideological, aesthetic and political goals.’ A series of chronological case studies investigate the key components and aesthetics of the post-punk manifesto, which include the use of lists, itemisation and direct, second-person address.