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Journal articles on the topic 'Punk Rock'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Silva, Ademir Luiz da, and Jéssica Meireles Pereira. "Distopias e utopias urbanas no punk rock brasiliense." Revista Coralina (ISSN 2675-1399) 4, no. 1 (2022): 268–81. http://dx.doi.org/10.31668/coralina.v4i1.13389.

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Brasília é uma símbolo da modernidade brasileira. Não por acaso o estilo punk rock proliferouna cidade durante a década de 1970, a despeito da censura do Regime Militar. Neste artigo, apresentarmos o contexto no qual as bandas punks de Brasília foram formadas. Investigaremos o rock brasiliense enquanto crítica à cidade de Brasília, seu projeto utópico, bem como ao contexto político do período militar, considerando que os jovens que formavam as bandas punk estavam na capital federal, portanto, muito próximas do centro de poder.  Palavras-chave: Brasília, punk rock, utopia e distopia

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2

Kristiansen, Lars J. "‘Punks in Vegas’: Punk rock and image repair." Punk & Post Punk 9, no. 1 (2020): 23–40. http://dx.doi.org/10.1386/punk_00016_1.

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At their 2018 headlining appearance at the annual Punk Rock Bowling and Music Festival in downtown Las Vegas, NV, California skate punk stalwarts NOFX generated widespread controversy after band members quipped about the mass shooting that occurred eight months prior during the Route 91 Harvest Country Music Festival in neighbouring Paradise, NV. After days of censorious media coverage, which prompted Stone Brewing to summarily terminate the band’s sponsorship contract in a widely circulated news release, the band issued a statement in which members collectively expressed remorse and apologize

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3

Lusty, Heather. "Punk Crisis: The Global Punk Rock Revolution." Popular Music and Society 43, no. 5 (2020): 569–73. http://dx.doi.org/10.1080/03007766.2020.1765282.

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4

Tranmer, Jeremy. "Rock Against Racism, Punk and Post-Punk." Études anglaises 71, no. 1 (2018): 85. http://dx.doi.org/10.3917/etan.711.0085.

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HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (2017): 353–77. http://dx.doi.org/10.1017/s0960777317000054.

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This paper argues that crosstown traffic in the East and West German punk subculture was an essential aspect of how popular music helped to challenge the political legitimacy of the East German government. West German punks frequently crossed the border to attend Eastern punk concerts, meet with friends and trade stories and experiences, connections that helped to foster a transnational community of alternative youths. These interactions denied official claims that punk was the result of capitalist decadence while undermining the East German government's efforts at cultivating a distinctive so

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6

Bryan, Joseph D. "History in an Unfamiliar Key." History of the Present 14, no. 2 (2024): 245–73. http://dx.doi.org/10.1215/21599785-11247009.

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Abstract Since the turn of the century, historians have focused on the diverse representations of the past, recognizing that traditional spaces (e.g., museums, statuary, and public commemorations) no longer have a monopoly on the public dissemination of history. This article explores representations of the past from an unusual place: punk rock music and the Canadian band Propagandhi (1986–present). It asks: Can we read history through punk rock? If so, what do we learn? Punks’ treatment of the past should be integrated into how we evaluate public consumption of history. While Propagandhi does

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7

Alcântara, Moacir Oliveira de. "MEMÓRIA E IDENTIDADE PUNK NOS EXTRAMUROS DE BRASÍLIA." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (2021): 1–20. http://dx.doi.org/10.31668/revsap.v10i5.12622.

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Este artigo discute narrativas de sujeitos punks oriundos de regiões periféricas do Distrito Federal. Trata-se de, sob o prisma historiográfico, investigar memórias e identidades de sujeitos punks imersos no território geográfico e simbólico das cidades-satélites nas décadas de 1980 e 1990. A partir de relatos orais de pessoas que participaram da cena punk tramada nos “extramuros” de Brasília, intenta-se perscrutar narrativas não hegemônicas acerca do punk nesses contextos. Ainda que invisibilizado no discurso da grande mídia e em outros dispositivos difusores das memórias consideradas oficiai

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McDowell, Amy D. "Enemies, Allies, and the Struggle for Self-definition in “Muslim Punk” Rock." Social Currents 6, no. 3 (2018): 270–83. http://dx.doi.org/10.1177/2329496518820011.

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Research shows that both entertainment and news media coverage of Islam and Muslims generate anti-Muslim attitudes in the wider U.S. public. In this article, I explore how this media trend shaped Taqwacore punks’ struggle to define what it means to be American, Muslim, and punk rock on their own terms. Upon their first U.S. tour, Taqwacore started getting the attention of both independent and mainstream media outlets. Taqwacores initially welcomed this because it helped them expand their audience to other (potential) Taqwacores as well as to a larger non-Muslim public. Their perspective change

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9

Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.

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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, prot

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10

Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (2007): 35–48. http://dx.doi.org/10.1017/s0266464x06000613.

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Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, c

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11

Bestley, Russ. "Nefarious Artists: The Evolution and Art of the Punk Rock, Post-Punk, New Wave, Hardcore Punk and Alternative Rock Compilation Record, 1976–1989, Welly Artcore (2023)." Punk & Post-Punk 13, no. 2 (2024): 270–72. http://dx.doi.org/10.1386/punk_00255_5.

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Review of: Nefarious Artists: The Evolution and Art of the Punk Rock, Post-Punk, New Wave, Hardcore Punk and Alternative Rock Compilation Record, 1976–1989, Welly Artcore (2023) Ticehurst: Earth Island Books, 414 pp., ISBN 978-1-91686-412-2, p/bk, £24.99

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Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (2018): 11–20. http://dx.doi.org/10.5604/01.3001.0010.8262.

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The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.

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BLESSING, BENITA. "Legacies of Punk Rock in Socialist Hungary." Contemporary European History 26, no. 2 (2017): 413–16. http://dx.doi.org/10.1017/s0960777317000030.

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With a slight shrug of the shoulders, a middle-aged, middle-class man describes his teenage years as a member of the Hungarian punk scene: ‘we were right-wing punks. Because this was full communism’. This sentiment is echoed throughout Lucile Chaufour's documentary stroll down communist memory lane. We were angry teenagers, her interview partners tell the camera; we were unhappy, we hated communism, we hated the Soviet Union, but we loved Hungary, and anti-government sentiment in a left-wing regime turns a hard right.

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14

McDowell, Amy D. "“This is for the Brown Kids!”." Sociology of Race and Ethnicity 3, no. 2 (2016): 159–71. http://dx.doi.org/10.1177/2332649216647747.

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Recent research shows that non-Muslims “read” Muslim and non-Muslim Others through an Islamophobic lens, whether the victims of Islamophobia are practitioners of Islam or not. Yet how Muslims and non-Muslims band together against anti-Muslim racism in nonreligious ways and venues is less understood. The author draws on a wide range of qualitative data to show how “Taqwacore” punks ( taqwa means “God consciousness” in Arabic and core comes from hardcore punk) create a racial identity as “brown kids” that is panethnic and opposed to the major racial frames used to vilify Muslims and brown-bodied

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15

Schmitt, Juliana. "¡Rómpelo-tu-mismo! Histórias do punk argentino e outras rebeldias portenhas." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 12, no. 25 (2019): 247–52. http://dx.doi.org/10.26563/dobras.v11i25.865.

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Daniel Flores é um especialista em subculturas do rock. Há anos o argentino, jornalista do La Nación e músico, dedica-se a reconstituir e a registrar a história das cenas roqueiras a partir do fim da década de 70 na Argentina. Nascido em 1973, nos anos 90 atuou como um dos fundadores das revistas de rock alternativas Esculpiendo Milagros e Revólver. Em 2009, publicou La manera correcta de gritar, uma história do ska na Argentina, e Pintó el punk!, livrinho com vinte capas de discos de punk para colorir, que incluía resenhas e comentários sobre as bandas. Foi organizador e um dos autores das co

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16

Moriates, Christopher, and Mehraj Baig. "Building Trust Through Punk Rock." Annals of Internal Medicine 171, no. 2 (2019): 139. http://dx.doi.org/10.7326/m19-0396.

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17

Smith, Trevor. "Punk Rock and Discourse Ethics." Radical Philosophy Review 15, no. 2 (2012): 281–304. http://dx.doi.org/10.5840/radphilrev201215221.

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18

Stewart, Francis. "Punk Rock is My Religion." International Journal of Religion and Spirituality in Society 1, no. 4 (2012): 59–74. http://dx.doi.org/10.18848/2154-8633/cgp/v01i04/51183.

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19

Prinz, Jesse. "The Aesthetics of Punk Rock." Philosophy Compass 9, no. 9 (2014): 583–93. http://dx.doi.org/10.1111/phc3.12145.

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20

Grossberg, Lawrence. "Is there rock after punk?" Critical Studies in Mass Communication 3, no. 1 (1986): 50–74. http://dx.doi.org/10.1080/15295038609366629.

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21

Worley, Matthew. "Raymond A. Patton, Punk Crisis: The Global Punk Rock Revolution." Journal of Contemporary History 55, no. 1 (2020): 237–39. http://dx.doi.org/10.1177/0022009419896481p.

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22

Bernhard, Ellen M. "‘I thought it was a very punk rock thing to say’: NOFX’s (sort-of) public apology and (in)civility in defining contemporary punk rock in online spaces." Punk & Post Punk 9, no. 1 (2020): 7–22. http://dx.doi.org/10.1386/punk_00015_1.

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As a music genre built on the foundations of questioning the status quo, punk rock has a long history of generating controversy. While many of punk rock’s offensive moments have been accepted and applauded by fans around the world, NOFX’s comments at the 2018 Punk Rock Bowling and Music Festival about the 2017 Las Vegas mass shooting were met with immediate consequences for the band, who lost several sponsorships and the ability to play their own Camp Punk in Drublic music festival one week following the incident. After footage of the band’s comments circulated, they were met with a mixed, yet

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23

Schrader, Stuart. "Rank-and-File Antiracism." Radical History Review 2020, no. 138 (2020): 131–43. http://dx.doi.org/10.1215/01636545-8359468.

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Abstract This review essay on recent scholarship on Rock Against Racism argues that the original scholarship on the topic misunderstood the relationship of punk rock and Rock Against Racism to the Left and to transformations in capitalism in Great Britain and beyond in the 1970s. This review offers a reinterpretation of punk rock as a rank-and-file mobilization in the realm of culture at a moment when more traditional venues for rank-and-file mobilization became unavailable.

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24

Fields, Paul. "The Punk Rock Museum, Las Vegas." Punk & Post-Punk 12, no. 3 (2023): 433–49. http://dx.doi.org/10.1386/punk_00220_5.

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Goli, Shabnam. "Punk Crisis: The Global Punk Rock Revolution by Raymond A. Patton." Notes 77, no. 1 (2020): 104–7. http://dx.doi.org/10.1353/not.2020.0069.

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26

Hein, Fabien. "Troubles dans la scène punk rock." Sens-Dessous N° 27, no. 1 (2021): 163–70. http://dx.doi.org/10.3917/sdes.027.0163.

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Reis, Vinícius Antônio Batista. "“Punk Rock Também É Pra Viado”." Revista do Colóquio 14, no. 23 (2024): 113–25. http://dx.doi.org/10.47456/col.v14i23.44468.

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Este trabalho visa traçar paralelos entre a construção visual do cinema queer e a estética punk, buscando assim entender os aspectos que constroem a questão visual do filme “Raspberry Reich” (Bruce LaBruce, 2004), que faz parte do movimento queercore, fundado pelo próprio LaBruce.

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Briley, Ron. "Patti Smith: America’s Punk Rock Rhapsodist." Rock Music Studies 3, no. 3 (2015): 321–23. http://dx.doi.org/10.1080/19401159.2015.1094912.

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29

Marchant, Alexandre. "Un manifeste du mouvement punk : extrait de L’Aventure punk de Patrick Eudeline (1977)." Parlement[s], Revue d'histoire politique N° 29, no. 1 (2019): 199–210. http://dx.doi.org/10.3917/parl2.029.0199.

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L’Aventure punk (1978) de Patrick Eudeline, musicien et critique de rock, se veut un manifeste de la génération punk en France. Dans l’extrait commenté, Eudeline revient sur les origines de ce mouvement musical et protestataire né à Londres et le définit comme l’expression de « l’ennui et du mal de vivre » de toute une jeunesse occidentale dans les années 1970. Nouvelle forme de l’éternel conflit de générations, le courant punk se distingue par son recours permanent à la transgression. À ce titre, il se doit d’échapper tant à la caricature de la couverture médiatique qu’à toute tentative d’ins

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Quinn, Kevin. "Punk Revolution! An Oral History of Punk Rock Politics and Activism, John Malkin (2023)." Punk & Post-Punk 13, no. 3 (2024): 401–3. https://doi.org/10.1386/punk_00269_5.

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DUNN, KEVIN C. "Never mind the bollocks: the punk rock politics of global communication." Review of International Studies 34, S1 (2008): 193–210. http://dx.doi.org/10.1017/s0260210508007869.

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AbstractLargely ignored by scholars of world politics, the global punk rock scene provides a fruitful basis for exploring the multiple circuits of exchange and circulation of goods, people, and messages that moves beyond the limitations of IR. Punk can also offer new ways of thinking about international relations and communication from the lived experiences of people’s daily lives. At its core, this essay has two arguments. First, punk offers the possibility for counter-hegemonic expression within systems of global communication. Punk has simultaneously worked within and against the hegemony o

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32

Konert-Panek, Monika. "Polski punk rock po angielsku – socjofonetyczne aspekty stylu wykonawczego." Forum Poetyki, no. 27 (August 11, 2022): 58–75. http://dx.doi.org/10.14746/fp.2022.27.34892.

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Głównym celem artykułu jest zbadanie sposobu funkcjonowania wybranych angielskich cech fonetycznych oraz inspiracji z nimi związanych w polskim punk rocku oraz usytuowanie wyników analizy w szerszym kontekście stylistycznym oraz socjolingwistycznym. Zgodnie z przyjętą tezą sposób wymowy w śpiewie może łączyć się z przekazaniem określonych – potencjalnie ewoluujących – znaczeń społecznych bądź stylistycznych, a w przypadku anglojęzycznego polskiego punk rocka znaczenia te zależne są od nurtów omawianego gatunku. Wymowa większości wykonawców charakteryzuje się wyraźnym wpływem języka polskiego i

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33

Grinnel, George C. "Punk is Dead: Notes Toward the Apocalyptic Tone Adopted by Punk Rock." ESC: English Studies in Canada 45, no. 4 (2019): 53–81. http://dx.doi.org/10.1353/esc.2019.0017.

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Morgan, Colleen. "Punk, DIY, and Anarchy in Archaeological Thought and Practice." AP: Online Journal in Public Archaeology 5 (January 7, 2017): 123. http://dx.doi.org/10.23914/ap.v5i0.67.

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Recent developments in archaeological thought and practice involve a seemingly disparate selection of ideas that can be collected and organized as contributing to an anti-authoritarian, “punk” archaeology. This includes the contemporary archaeology of punk rock, the DIY and punk ethos of archaeological labor practices and community involvement, and a growing interest in anarchist theory as a productive way to understand communities in the past. In this article, I provide a greater context to contemporary punk, DIY, and anarchist thought in academia, unpack these elements in regard to punk arch

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35

Silva, Jaddson Luiz Sousa, and Joel Cardoso da Silva. "PICHAÇÃO E PUNK ROCK: Uma performance da liberdade." IAÇÁ: Artes da Cena 2, no. 1 (2019): 43. http://dx.doi.org/10.18468/iaca.2019v2n1.p43-56.

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<p><strong>Resumo: </strong>o presente artigo pretende abordar o fenômeno social da pichação e a poética que emana da cultura urbana do punk rock, na busca por uma reflexão teórica no campo da arte e da filosofia. Para tanto, a perspectiva filosófica de Deleuze e Guattari (1997) abrirá caminhos para a constituição deste trabalho, a partir do conceito de Máquina de Guerra Nômade. No entanto, esta escrita mapeará as potências poéticas e políticas da cultura punk que foram disparadas através de algumas intervenções urbanas espalhadas pela cidade de Belém do Pará.<strong>&l

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Marquioni, Carlos Eduardo. "Uma fúria compartilhada em toda parte: sentimento e cultura material nos primórdios do punk rock do interior paulista." Artcultura 23, no. 43 (2021): 143–59. http://dx.doi.org/10.14393/artc-v23-n43-2021-64089.

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O artigo analisa ocorrências do ethos “Faça você mesmo” (em relação ao punk rock) na cidade de Santa Gertrudes no início da década de 1980. Sustenta que traços de um “sentimento” (Raymond Williams) do período podem ser identificados ao relacionar práticas de punk rockers em metrópoles mundiais com aquelas assumidas por moradores da pequena cidade paulista, estabelecendo-se o que é intitulado aqui como fúria compartilhada. Isso contribuiria para a superação de dificuldades de acesso a conteúdos a partir da produção e distribuição de artefatos que constituem formas de “cultura material” (Daniel

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37

Brandão, Leonardo, and Fernando Lucas Garcia de Souza. "“EFÊMERO, DOENTE E EQUIVOCADO”:." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (2021): 1–21. http://dx.doi.org/10.31668/revsap.v10i5.12623.

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punk é um movimento de contestação associado à música (punk rock), ao comportamento, à política, à estética e à juventude. Ele nasceu na Inglaterra durante a desmontagem do Estado de Bem-Estar Social e logo espraiou-se pelo mundo, em especial para a América do Norte e América Latina (com destaque para Brasil e Argentina). Aqui, ele ganhou expressividade em cidades como São Paulo, Rio de Janeiro, Brasília e outras. Neste artigo, propomos um estudo sobre as representações deste movimento na mídia impressa, centrando a análise na revista Veja por ela ser a de maior vendagem à época. Deste modo, o

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Świeściak, Alina. "Kamila Janiak i punk." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 153–70. http://dx.doi.org/10.14746/pspsl.2018.33.9.

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The author presents poetry by Kamila Janiak in the context of avant-guard pop-culture. She deals mainly with punk and cyber-punk motifs of this poetry, which alow to understand them as a feminist, post-human and anty-capitalist project. She shows how Janiak for her purposes uses d.tournements: she takes on the one hand principles, which rule in the “controlled societies” and on the other hand pop-culture aesthetics and psychodelic rock music.

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FARLEY, TODD. "A Punk Rock Icon Takes on MS." Neurology Now 6, no. 5 (2010): 15–17. http://dx.doi.org/10.1097/01.nnn.0000389994.26926.52.

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Chase, Michelle. "Socially Dangerous: Misrepresenting Cuba’s Punk Rock Trial." NACLA Report on the Americas 42, no. 2 (2009): 50–52. http://dx.doi.org/10.1080/10714839.2009.11725449.

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Tuft, Mia, Bergljot Gjelsvik, and Karl O. Nakken. "Ian Curtis: Punk rock, epilepsy, and suicide." Epilepsy & Behavior 52 (November 2015): 218–21. http://dx.doi.org/10.1016/j.yebeh.2015.08.018.

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42

Meagher, David. "Punk rock made me a psycho-therapissed." British Journal of Psychiatry 211, no. 6 (2017): 395. http://dx.doi.org/10.1192/bjp.bp.117.203166.

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Muñoz, José Esteban. "The Wildness of the Punk Rock Commons." South Atlantic Quarterly 117, no. 3 (2018): 653–58. http://dx.doi.org/10.1215/00382876-6942219.

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Hall, Erle. "Our Nation: A Korean Punk Rock Community." Journal of American Folklore 117, no. 464 (2004): 193–95. http://dx.doi.org/10.2307/4137822.

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45

Mukhlis, Mukhlis, Alma Yulianti, and Ina Sakinah. "KETERTARIKAN REMAJA TERHADAP KOMUNITAS PUNK." Psympathic : Jurnal Ilmiah Psikologi 6, no. 2 (2018): 833–58. http://dx.doi.org/10.15575/psy.v6i2.2203.

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This research aims to study the teenagers interest toward punk community. Having qualitative method with interview, observation, and documentation, this research involved six respondents from the oi and skinhead community. Result shows internal and external factors in which internal factors are need for freedom, need for existence, identity crisis and influencing each others. Meanwhile external factors are unharmonious relationship with their family, peer influence and interest toward rock punk musi and punk make up.

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Vargas, Herom, and Nilton Carvalho. "O ÁLBUM SANDINISTA!: AGENCIAMENTOS E FRONTEIRAS MUSICAIS DO GRUPO THE CLASH // THE SANDINISTA! ALBUM: AGENCEMENTS AND MUSICAL BOUNDARIES OF THE BAND THE CLASH." Contemporânea Revista de Comunicação e Cultura 15, no. 2 (2017): 511. http://dx.doi.org/10.9771/contemporanea.v15i2.18243.

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O movimento punk inglês produziu rompimentos com o rock mainstream da indústria fonográfica, mas após algum tempo, sua estética se estabeleceu como fórmula cristalizada. No álbum Sandinista! (1980), a banda inglesa The Clash se afasta dessa rigidez musical ao movimentar-se para as fronteiras, em contato com outras culturas e seus agenciamentos textuais. Essa mudança é um aspecto fundamental na construção da linguagem híbrida do disco que difere dos moldes identitários do punk rock. Com base nos Estudos Culturais e na Semiótica da Cultura, este artigo visa demonstrar como o grupo propôs uma art

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González, George. "Francis Stewart, Punk Rock Is My Religion—Straight Edge Punk and ‘Religious’ Identity." Critical Research on Religion 8, no. 1 (2020): 101–4. http://dx.doi.org/10.1177/2050303219900248.

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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (2022): 200–230. http://dx.doi.org/10.30965/22102396-05602012.

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Abstract The officially sanctioned popular music genre of Soviet estrada has traditionally been an industry where both male and female performers have been able to achieve high levels of success and public exposure. Meanwhile, within the genres of underground and unofficial popular music – rock, punk, and rap – the male-dominated gender disparity has been much more pronounced. This article investigates the reasons behind this dynamic within a Russo-Soviet context. In dialogue with Judith Butler’s notion of gender performativity as well as recent scholarship on gender in Western rock and punk m

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Hein, Fabien. "Bien plus que de la musique ! Le punk rock comme force de participation sociale et politique." Partie 3 — Les figures de la solidarité quotidienne pour prendre en charge l’intolérable et la différence, no. 71 (May 2, 2014): 143–58. http://dx.doi.org/10.7202/1024743ar.

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Le DIY (Do It Yourself) constitue le régime d’engagement majeur de la scène punk rock. Il en est « l’arrière-scène ». Ce régime, fondé sur la célébration de l’action ne revêt pas seulement une dimension artistique et culturelle. Il recouvre également une dimension sociale et politique animée par un puissant désir de corriger certains déséquilibres sociaux en participant concrètement à la vie de la cité. De ce fait, contrairement aux idées reçues, le régime d’engagement punk rock s’avère objectivement structurant. Cet article entend en mesurer les effets à la lumière de plusieurs exemples d’exp

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Mota Zurdo, David. "“He visto las calles ardiendo otra vez”. La estabilización de la escena músico-política en el País Vasco durante la década de 1990. Del caso de Eskorbuto al de Negu Gorriak." Historia Contemporánea 2, no. 57 (2018): 413–51. http://dx.doi.org/10.1387/hc.18056.

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La eclosión del Rock Radical Vasco dotó de un nuevo significado al punk vasco, un movimiento esencialmente anti-todo, que fue utilizado como vehículo de propaganda por la izquierda abertzale. Este proceso se observa claramente a través de las bandas Eskorbuto y Negu Gorriak, la primera representante del anti-todo punk y la segunda de un “rock identitario”. A lo largo de este artículo se ofrecen algunas claves imprescindibles para entender el proceso de conversión de la música underground vasca en instrumento de expresión identitaria para la izquierda abertzale.

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