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Journal articles on the topic 'Punk Rock'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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 (September 20, 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 (February 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 apologized for the offending comments. Four decades of punk history notwithstanding, NOFX’s decision to apologize and offer mea culpas is something of a unicum. Punks, after all, are not typically in the business of extending olive branches or tendering requests for forgiveness. Accordingly, punk apologia is an understudied and undertheorized area of research. Utilizing Benoit’s Theory of Image Repair, this article adds to the limited stock of available research by critically evaluating the apologetic discourse following NOFX’s comments in Las Vegas through a systematic examination of the band’s letter of apology as well as audiences’ responses to that statement.

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3

HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (March 13, 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 socialist identity. Nor were border crossings unidirectional, as Eastern punks made daring attempts to connect with their Western cousins. Writing for West German fanzines, appearing in the Western press and even managing to release Eastern recordings smuggled westwards, Eastern punks crossed the Iron Curtain and in so doing, worked to present an alternative vision of Eastern youth to the world and join the global punk scene.

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Lusty, Heather. "Punk Crisis: The Global Punk Rock Revolution." Popular Music and Society 43, no. 5 (May 18, 2020): 569–73. http://dx.doi.org/10.1080/03007766.2020.1765282.

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5

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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6

Alcântara, Moacir Oliveira de. "MEMÓRIA E IDENTIDADE PUNK NOS EXTRAMUROS DE BRASÍLIA." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 8, 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 oficiais do rock de Brasília, o punk articulado nas periferias da Capital Federal corresponde a um longevo cenário musical e comportamental underground, perpassado por múltiplas vivências, experiências e ativismo político de inspiração anarquista. Palavras-chave: Punk. Memória. Identidade.

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McDowell, Amy D. "Enemies, Allies, and the Struggle for Self-definition in “Muslim Punk” Rock." Social Currents 6, no. 3 (December 22, 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 changed, however, as they started to realize that most mainstream media stories were turning their punk protest into sensationalist stories about Americanized “Muslim punks” who oppose Islamic conventions. It was around this time that Taqwacores began imagining their audience as either with them or against them, enemies or allies. This study shows how this understanding of their audience shaped an internal dispute among Taqwacores about whether or not to identify as “Muslim punk.” Findings reveal that their internal debate over the Muslim punk label is structured by a racist media frame that defines Muslims as either good or bad, with or against the United States.

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Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (June 1, 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, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.

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Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (January 16, 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, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

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BLESSING, BENITA. "Legacies of Punk Rock in Socialist Hungary." Contemporary European History 26, no. 2 (March 21, 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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11

McDowell, Amy D. "“This is for the Brown Kids!”." Sociology of Race and Ethnicity 3, no. 2 (July 8, 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 Others. Taqwacore punks do this by (1) using punk rock attitudes to call out whiteness and keep it out of their punk and (2) redefining punk in favor of “brown kids.” These findings expand a new body of scholarship that shows how marginalized youth are using popular culture to create new racial identities against whiteness.

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12

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 (April 29, 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 coletâneas Gente que no: postpunks, darks y otros iconoclastas del under porteño en los 80, de 2010, e Derrumbando la Casa Rosada: mitos y leyendas de los primeros punks en la Argentina. 1978-1988, de 2011 – todos publicados pela editora Piloto de Tormenta1. Em 2018, lançou seu último livro, Remeras de rock, pela editora Tren en Movimiento2. Trata-se de um apanhado eclético de críticas, ensaios, crônicas de viagem e entrevistas sobre o rock, camisetas de rock e outros fetiches roqueiros. Flores gentilmente nos concedeu a entrevista abaixo, na qual conversamos principalmente sobre o início do punk argentino, sua relação com a moda, a construção de sua identidade visual e de sua cultura material. [...]

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Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (February 26, 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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14

Moriates, Christopher, and Mehraj Baig. "Building Trust Through Punk Rock." Annals of Internal Medicine 171, no. 2 (July 16, 2019): 139. http://dx.doi.org/10.7326/m19-0396.

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15

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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16

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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17

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

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18

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

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19

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

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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 (February 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 heated, response from fans, with much of the conversation arguing whether or not what was said could be considered ‘punk’. Some argued these comments further solidified the band’s reputation as a punk band and are therefore imbued with an inherent right to offend, while others believed these comments were unethical, poorly timed, and pushed the boundaries of appropriateness. Through the analysis of 381 comments in response to the band’s 31 May 2018 post on their official Facebook page, this article investigates the uncivil and civil discussions of the incident and the subsequent aftermath, while also addressing the broader conversation surrounding the current ethos of punk rock within the scene in the United States today.

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Schrader, Stuart. "Rank-and-File Antiracism." Radical History Review 2020, no. 138 (October 1, 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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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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23

Hein, Fabien. "Troubles dans la scène punk rock." Sens-Dessous N° 27, no. 1 (April 6, 2021): 163–70. http://dx.doi.org/10.3917/sdes.027.0163.

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Briley, Ron. "Patti Smith: America’s Punk Rock Rhapsodist." Rock Music Studies 3, no. 3 (October 9, 2015): 321–23. http://dx.doi.org/10.1080/19401159.2015.1094912.

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25

Fields, Paul. "The Punk Rock Museum, Las Vegas." Punk & Post-Punk 12, no. 3 (October 1, 2023): 433–49. http://dx.doi.org/10.1386/punk_00220_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 (January 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 of capitalist telecommunication networks, navigating an increasingly interconnected and mediated world. Second, punk is a subversive message in its own right. Focusing on punk’s Do-It-Yourself (DIY) ethos and the resource it offers for resisting the multiple forms of alienation in modern society, the story I construct here is one of agency and empowerment often overlooked by traditional IR.

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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 (April 5, 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’institutionnalisation culturelle, contrairement au rock des années 1960, devenu un « objet de musée ».

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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 niewystylizowanym brzmieniem, a cechy cockneya kojarzone z klasycznym punkiem pojawiają się rzadko.

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Brandão, Leonardo, and Fernando Lucas Garcia de Souza. "“EFÊMERO, DOENTE E EQUIVOCADO”:." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 8, 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 objetivo é compreender a maneira como este veículo de comunicação de massas representou a subcultura do punk para seus leitores, tomando como recorte temporal o momento de ascensão deste movimento, o qual coincide com os últimos anos do regime militar; época em que bandas punks como Inocentes e Garotos Podres tiveram músicas censuradas pela Ditadura. Trata-se de um estudo situado no campo da História Cultural e que, através da análise do discurso em Veja, visou problematizar as representações veiculadas nesse periódico.Palavras-chave. Punk; Revista Veja; Juventude.

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Silva, Jaddson Luiz Sousa, and Joel Cardoso da Silva. "PICHAÇÃO E PUNK ROCK: Uma performance da liberdade." IAÇÁ: Artes da Cena 2, no. 1 (February 10, 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></strong></p><p><strong>Palavras-chave: </strong>Punk Rock, Pichação, Anarquismo, Máquina de Guerra.</p><p> </p>

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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 archaeology, and propose a practice of punk archaeology as a provocative and productive counter to fast capitalism and structural violence.

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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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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 (December 24, 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 Miller), e para a formação de banda musical local: esses dois aspectos parecem habilitar a inclusão dos santa-gertrudenses na “comunidade imaginada” (Benedict Anderson) do punk rock.

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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 (November 10, 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 arte de fronteira musical e política com o chamado Terceiro Mundo, usando textos (dub, jazz, soul, hip hop, calypso) geradores de uma semiótica que difere do regime significante (DELEUZE; GUATTARI, 1995) do punk britânico.

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FARLEY, TODD. "A Punk Rock Icon Takes on MS." Neurology Now 6, no. 5 (September 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 (March 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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Meagher, David. "Punk rock made me a psycho-therapissed." British Journal of Psychiatry 211, no. 6 (December 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 (July 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 (April 1, 2004): 193–95. http://dx.doi.org/10.2307/4137822.

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Mukhlis, Mukhlis, Alma Yulianti, and Ina Sakinah. "KETERTARIKAN REMAJA TERHADAP KOMUNITAS PUNK." Psympathic : Jurnal Ilmiah Psikologi 6, no. 2 (February 28, 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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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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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (May 10, 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 movements, the present essay considers the evolution of performative strategies of female artists in Russo-Soviet popular culture. The discussion spans the Soviet, late-Soviet, and post-Soviet historical periods, focusing on the gendered performative dimensions in the musical careers of Alla Pugacheva, Yanka Diagileva, and the art-punk collective Pussy Riot, in an effort to account for the glaring dearth of female performers in traditionally “transgressive” popular genres. I present the argument that Russian and Soviet women performers working in rock, punk, and rap, or when forging new directions in estrada, have evolved to mitigate the genres’ prescriptive masculinity by relying on performing “otherness” as a conduit to mass appeal, celebrity status, and acclaim for artistic individuality.

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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 (January 20, 2020): 101–4. http://dx.doi.org/10.1177/2050303219900248.

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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’expériences participatives.

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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 (June 18, 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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Ríos-Hernández, Marlén. "Policing Punk and the Surveilling of Difference." Aztlán: A Journal of Chicano Studies 47, no. 1 (2022): 73–102. http://dx.doi.org/10.1525/azt.2022.47.1.73.

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In 1979, a punk rock benefit concert at a former Elks Lodge in Los Angeles ended with dozens of arrests and injuries at the hands of police. This essay situates the Elks Lodge police riot within the punk rock and sex industry subcultures of Hollywood in the 1970s and 1980s and police surveillance of these spaces. The concert was the first and perhaps largest event in which LA Chicana/o punk youths participated in a scene that they created with other queer and trans people and people ofcolor. Yet narratives of the riot tend to be situated within punk studies and focus on white bodies being victimized by the LAPD. I argue that the event should be viewed in the context of the aftermath of the FBI’s COINTELPRO and of continuous policing and surveillance in Southern California. I emphasize the potential and portability of Chicana feminist research methods, specifically a trans-disciplinary method I call “intellectual dumpster diving,” which makes use of obsolete or unlikely ephemera to fashion intellectual archives. By combining the punk praxis of zine art with the Chicana artistic praxis of domesticana, I bring together art, ethnography, and prose to reconstruct an interdisciplinary, intersectional archive of the Elks Lodge police riot.

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Mulej, Oskar. "“We Are Drowning in Red Beet, Patching Up the Holes in the Iron Curtain”: The Punk Subculture in Ljubljana in the Late 1970s and Early 1980s." East Central Europe 38, no. 2-3 (2011): 373–89. http://dx.doi.org/10.1163/187633011x597207.

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AbstractThis article discusses the phenomenon of punk in Ljubljana, the capital of Slovenia, from its beginnings in the early 1970s to its heyday in early 1980s and its subsequent differentiation and dissolution in a wider alternative scene. The subject is thereby being treated primarily as a genre of protest music and as a youth subculture. A special focus is given to the harsh reactions on part of the communist regime, in particular the 1981 “Nazi punk affair,” and the strong political significance punk thus came to possess—albeit to a large extent unintentionally. Excerpts of lyrics from Ljubljana punk rock bands are also presented, pointing to the attitudes of the punk youth towards their social environment and political situation and revealing how they came to be seen as a threat to the socialist order. In the conclusion, the sociopolitical legacy of punk and certain controversies surrounding it are shortly touched upon.

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Widjayanti, Ellita Permata, Tarascania Audina, and Andrian Santosa. "The Ambiguity of Punk Women ‘Masculinity’ in Kuehnert’s I Wanna Be Your Joey Ramone and Castellucci’s Beige Novel." Ethical Lingua: Journal of Language Teaching and Literature 7, no. 1 (March 26, 2020): 136–48. http://dx.doi.org/10.30605/25409190.158.

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Punk constitutes a subculture that is perceived as an androgyny community in which there is no clear difference between men and women. However, this androgyny matter is questioned by the sexism that occurred through hegemonic masculinity. This study aims to see how the femininity of punk women intertwined with the hegemonic masculinity and to see the resistance to the hegemony in Kuehnert's I Want to Be Your Joey Ramone and Castellucci's Beige novel. The method used is descriptive analysis with the theory of hegemony masculinity. The results of this study indicate that hegemonic masculinity in punk is constructed through social structure and rock music. The resistance of women gets a rejection from both punk men and women themselves. The masculinity of punk women then raises the ambiguity of their position and role in the community.

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Martínez-Cruz, Paloma. "Sighting the Sound." Feminist Media Histories 7, no. 4 (2021): 27–54. http://dx.doi.org/10.1525/fmh.2021.7.4.27.

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Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.

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