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This paper examines the case of grassroots-level live music in Japan during the height of the global COVID-19 pandemic. Despite imposing restrictions on cross-border movement, the Japanese government refrained from implementing the ‘lockdowns’ seen elsewhere. As such, this study provides an opportunity to examine what happens when infection prevention measures are delegated to the community level. Using qualitative data gathered from ethnographic fieldwork, this case study of punks in the northern city of Sapporo affords a ‘real life’ view of live music practice under such circumstances. Given that governments and policy makers are keen to avoid ‘lockdowns’ or similar measures should there be a future pandemic, a consideration of what actually happens in such a case becomes imperative. Qualitative analysis of this ethnographic case study reveals that whether an audience is able to sufficiently ‘control’ themselves in order to follow infection prevention guidelines is dependent on the social trajectories of those within it, and to what extent they are willing and able to employ their personal (sub)cultural capital to influence the emergent event. For policy makers, this suggests that any ‘community-level’ approach to infection prevention necessitates engagement with the group in question that is simultaneously ‘bottom up’ and ‘top down.’ [ABSTRACT FROM AUTHOR]

This paper challenges the common portrayal of White Power music as evolving from, or being an element of, Oi! punk. The paper traces the histories of White Power music and Oi!, and analyses a sample of 268 Oi! songs for racist or fascist lyrics. It shows that, while some Oi! artists and audience members were involved in far-right activism, the subculture was not itself fascist or overtly racist. Many of those involved in Oi! took action against racism and far-right movements, and almost no songs included racist lyrics. The paper proposes two arguments. First, drawing from Worley, media and scholarly portrayals of Oi! as racist or fascist may represent the demonization of the working-class. Second, that White Power co-opted elements of Oi! does not mean that White Power music emerged from Oi!. Rather it likely emerged from first-wave punk at roughly the same time as Oi!. The central argument being that the White Power music scene, and the far-right more generally, is parasitical. It feeds upon the resources of larger scenes and subcultures, often harming them in the process. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research aims to find out how media framing and the impact obtained from media framing on the representation of women in the hardcore punk scene. This research reveals how media framing affects people's perceptions and understanding of women's representation in the hardcore punk scene and the impact of media framing on women's representation. The many roles of women in the hardcore scene, with the presence of female musicians and fans who actively contribute and bring new perspectives that enrich this music scene. This study uses a qualitative method to describe how media framing represents women in the hardcore punk scene through the website and social media use your voice using Robert N. Entman's framing analysis theory. As for the results of this study, women in the hardcore punk scene are faced with various obstacles and discrimination that must be addressed immediately through concrete actions to improve representation and gender equality in the hardcore punk scene. [ABSTRACT FROM AUTHOR]

Within this article we move amongst the varied relationships between music, feeling, and politics. We begin by exploring differences and interrelations between affect and emotion to forward a conception of joy as the intensification of life capacities. We then locate joy in music and draw from various musical artists, poets, and activists to advance a modest programme of joy as a form of micropolitics. Ultimately, the focus of this article is an affective reimagining of leisure with a Deleuzian brush through the political potential of punk. We call for the expansion of life capacities, for the revivification of the soul, for music as joy as an act of resistance. [ABSTRACT FROM AUTHOR]

This article provides an overview of the current state of indie rock and its evolution. It acknowledges criticisms of the genre for its lack of diversity and focus on white, heterosexual males. The concept of "Antonoffication" is explored, which refers to the infusion of indie rock aesthetics into mainstream pop music. The article also discusses the trend of "indie sleaze," which romanticizes the past and highlights the gentrification and domestication of indie rock. It examines the shift towards a more mainstream and commercial sound, with corporate gigs becoming the main source of income for indie rock artists. The role of New York City in the gentrification of indie rock is also discussed, with Williamsburg becoming a hub for the genre. The article argues that indie rock has become more elitist and commercially-driven, losing its punk and post-punk roots. The privatization of the music scene and the impact of digital technology on indie rock are explored, with a focus on the loss of community and social network. The article also examines the co-optation of independent music scenes for marketing purposes and the adaptation of indie rock to patriarchal racial capitalism. Overall, the article provides insights into the changing landscape of indie rock and its relationship with mainstream music. [Extracted from the article]

This article examines the impact of The Beatles' 1964 tour in Australia and its significance in the context of globalisation and youth culture. It argues that the cultural changes brought about by the tour were more complex than just Americanisation. The Beatles' music resonated with Australian audiences because it drew on British musical traditions and African-American influences. The tour showcased the large Australian audience for youth culture and rock and roll, and it also represented a form of female desire. The article explores the changing meanings of youth and gender in 1960s Australia, with a focus on the phenomenon of Beatlemania and the role of women in the rock and roll audience. The enthusiastic response to The Beatles in Adelaide is attributed to the city's high number of British migrants who brought British musical sensibilities. The article suggests that studying Beatlemania can provide insights into Australian globalisation, nationhood, gender, and youth culture. [Extracted from the article]

The Museum of Vancouver in Canada recently held an exhibition titled "Dressed for History: Why Costume Collections Matter: Women’s Fashion 1750–2000." The exhibition showcased 250 years of women's fashion through pieces loaned from four fashion and costume collectors in British Columbia. The exhibition aimed to provide insights into period aesthetics, garment construction, and societal expectations of women's comportment. It featured a variety of styles and designers, including Dior, Mary Quant, Vivienne Westwood, and Issey Miyake, representing different cultural identities and societal perceptions of women's bodies throughout history. The exhibition aimed to challenge Eurocentric perspectives, although it still had limitations in terms of representation. The article suggests that the exhibition could have been more immersive and interactive to engage visitors further. Overall, the exhibition highlighted the importance of costume collections and raised questions about collecting and preservation practices. [Extracted from the article]

The emerging research on music fanzines in Central and Eastern Europe focuses almost exclusively on the production of the late 1980s (such as punk, skinhead, rock, metal), but leaves aside historically older periods. This article maps for the first time the terrain of privately (i.e. illegally) published Czech jazz fanzines across two totalities: in the final phase of the Nazi occupation and in the first phase of the communist regime. The case studies of Okružní korespondence [Circular Correspondence], Boptime and Jazz Express are followed by an analysis of other so far little-known independent publications as well as the so-called semi-official jazz press. I also deal with the issue of the repression of their creators. In the conclusion, I suggest how the research of fanzines and sources of a private nature can contribute to a re-evaluation of the “official jazz history” and to a deeper insight into the lived experience of jazz musicians and their supporters. [ABSTRACT FROM AUTHOR]

Engaging with Christopher Small's notion of musicking and Veena Das and Michael Lambek's notion of ordinary ethics, this article analyzes research on religion in punk from religion studies, sociology, and theology to offer a (self) critique of the representation of religious belief and relationships in punk. Focusing on the presence of evangelical Christianity in contemporary punk, and emphasizing relationships as central to the activity of musicking, this article draws attention to exclusions and essentializations in research in this field. Focusing on the ordinary ethics enacted through punk musicking, rather than the normative ethics located in sometimes polemical punk statements and scholarship, it is argued that a more accurate understanding of the place of religion in punk becomes apparent by focusing on quotidian relational practices. [ABSTRACT FROM AUTHOR]

This article examines the political potential and limits of Muslim punk feminism within the context of multicultural Britain through a reading of the first season of Channel 4's 2021 dramedy We Are Lady Parts. The show explores how the religious and cultural beliefs of Muslim communities are represented as incompatible with contemporary British values. To situate the cultural politics of the text, the article considers the characters in relation to their exclusion from "legitimate" British society, as well as their original feminist strategies as a subversive and novel response to it. Muslim women are read through a nexus of social factors – international and national. These readings can be viewed as both productive and conflicting: at some times producing important rereadings of the submissive and oppressed orientalized Muslim female figure, while at others challenging the possibility of a stable Muslim female identity as positioned in normative models of British assimilationist multiculturalism. [ABSTRACT FROM AUTHOR]

The historical relationship between youth subcultures and mainstream media has long been the subject of debate. Some researchers have proposed that, after mixed panic and hype, the media quickly coopts and commodifies subcultural threats. Conversely, others have argued that negative media coverage keeps subcultures coherent and thriving, while positive coverage is the 'kiss of death'. Despite its continued importance, few studies have closely examined this topic and none has quantitatively examined changes in subcultural media representation over time using archival data. This paper addresses this gap though a computer-assisted content analysis of 735 newspaper articles about punk subculture spanning three decades of publication. The results provide mixed support for both theoretical predictions, but fit neither perfectly. Overall coverage is ambivalent in tone, but becomes more positive and less radical over time. Punk takes far longer to commodify than cooptation perspectives predict. It survives positive coverage, but becomes increasingly coherent. The results call into question previous claims about media representation, highlight the need for more synthetic theories of the media's relationship to subcultures, and illustrate the utility of text-mining methods for historical youth studies. [ABSTRACT FROM AUTHOR]

Rob Ruckus is a veteran of the Las Vegas punk scene and has played in punk bands and been involved in various punk projects across the past four decades. Since the Punk Rock Museum opened in Las Vegas in April 2023, Rob has managed its Jam Room. The Jam Room features a range of instruments donated to the museum by various punk bands. All the instruments are all available to be played by visitors to the museum, and Rob is as enthusiastic about encouraging people to play the instruments as he is talking about the museum or his experiences in punk. Rob spoke with Paul Fields in July 2023. [ABSTRACT FROM AUTHOR]

Between 1935 and 1970, roller derby was a co-ed North American sport practised on roller skates and played on a banked track. The 2000s marked its revival when a group of women decided to give it a new lease of life: roller derby is now exclusively for women and takes place on a flat track. Teams assert their independence from established institutions and follow a model of 'do-it-yourself' organization. According to some critics, the roller derby revival is a continuation of the feminist Riot Grrrl movement. This article aims to understand how French roller derby players use the 'alternative' heritage of American women. By mobilizing the frameworks of Cultural Studies and Sport Subculture, the article reflects on the ways in which the legacy of Riot Grrrl, as a movement to challenge a dominant order, enables derby teams to create alternatives to mainstream sports models. Through 90 interviews and participant observation conducted between January 2020 and the present day, the study was able to show a use of the DIY ethos articulated between resourcefulness and a claim to independence. While Riot Grrrl radically defends the values of the punk movement, against the prevailing economic and gender order, French roller derby and its teams propose a hybrid sporting model, articulated between reflections on a different way of looking at sport and a move away from the DIY model of the early days. [ABSTRACT FROM AUTHOR]

Among the recurrent preoccupations of punk and post-punk is a critical consideration of the individual's relationship to society. The emergence of podcasts in which hosts and musicians engage in historically contextualized conversations therefore presents an intriguing turn of events that will be of interest to punk and post-punk scholars. This article considers the possibilities of conversational podcasts via a discussion of the C86 Show, a popular UK-based podcast featuring interviews with punk, post-punk and indie musicians of the 1980s. Aided by the empathic interviewing style of its host, David Eastaugh, the show's long-form, in-depth conversations connect musicians' experiences and memories to historical contexts associated with the Thatcher era. Engaging two main fields of research – audio studies and punk and post-punk scholarship – I argue that the C86 Show offers listeners a rich window into punk, post-punk and indie during that time. By inviting musicians to reflect on their pasts (and their lives since the 1980s), the show sheds light also on how these musical movements and genres are remembered today. No less important, the show's online collection of over one thousand interviews represents a significant archiving project that will be of interest to punk and post-punk scholars. [ABSTRACT FROM AUTHOR]

This article is an exploration of the temporal politics of folk punk. Folk punk is a subgenre of punk played with predominantly acoustic instruments that emerged in the 1980s but developed a more concrete form in the late 1990s. This article compares the temporal politics of two scenes within folk punk. First, it looks at an early scene centred on the record label Plan-It-X. Second, 'traditional folk punk' is examined. In this latter scene, artists utilize an increasing range of instruments and musical resources associated with various types of traditional music. This musical change is also reflected lyrically; the second scene has much broader temporal references in comparison with the narrowly defined presentism of the Plan-It-X scene. The central argument of this article is that these musical and lyrical differences are politically and theoretically important. The dynamics within the folk punk scene complicate understandings of prefigurative politics, challenging the forms of presentism and individualism that this concept is associated with. The implications of these dynamics are lastly elaborated upon with reference to Gustav Landauer's mystical anarchism. [ABSTRACT FROM AUTHOR]

The Punk movement arrived in Mexico in the late 70's and early 80's and concentrated in historically marginalized territories, such as the periphery of the former Distrito Federal and the Estado de México. The socioeconomic context, the urbanization process, and the stigmatization towards youth socialization spaces were the fertile ground that allowed Punk to arrive in that area of the country and which was expressed in the imagination and memory of its protagonists. However, given the aesthetics and ideology of the movement, its members were subjected to practices of violence and repression, which are remembered in their stories. Through the testimony of its protagonists and the research that has been carried out regarding the movement, we aim to dissect its particularities and the representation they made of the violence that those who identified themselves as punks went through, within which we will highlight stigmatization and the razzias as a punitive mechanism from the State. [ABSTRACT FROM AUTHOR]

This work analyzes a corpus of fanzines produced between 1986 and 1993 in various cities in the province of Buenos Aires and the Argentine capital. Created using affordable techniques and materials with non-profit motives, these publications were part of different political-cultural initiatives linked to anarchist activism and the underground punk scene. Adopting a methodological perspective in which the magazines constitute polyvalent and heterogeneous objects, our analysis considers their material, textual, and visual dimensions, as well as the distribution methods adopted. Based on this premise, we aim to recover the residual and emergent elements that engage with the past and present of a period marked by the process of democratic recovery and consolidation. Finally, we trace the connections established between these publications, through the overlap of spaces, individuals, and events referenced within the corpus. [ABSTRACT FROM AUTHOR]

In the last decade, a notable phenomenon has emerged in the Spanish music scene: the rise of self-proclaimed queerpunk or dyke punk bands. These groups compose their lyrics based on experiences outside heteronormative norms, exploring diverse gender identities. The lack of visibility for these bands until the previous decade is attributed to potential influences from lesbian activism since the early days of the Spanish Transition. This study examines the position of lesbians in activism, practices outside institutions, and the obstacles that prevented the assertion of dyke identities in the punk scene. The ideological alignment between the punk scene and queer/lesbian feminist movements is highlighted, giving rise to self-managed bands that occupy the scene with activist and identity-driven messages. [ABSTRACT FROM AUTHOR]

The role of the alternative media in the constitution of independent music scenes has been fundamental for the creation of support, dissemination and promotion networks. This article explores these communicative experiences in depth by analysing, through fanzines and free radio stations, how their relationship with different Spanish music scenes (punk and Jamaican music) developed. With the aim of introducing a historical analysis that traces the depth of these media and their evolution from the past to the present, the adaptation of these media to the new web environment that, since the beginning of the century, has dominated the space of cultural production and consumption has been analysed. [ABSTRACT FROM AUTHOR]

The article presents a dossier on subcultures, countercultures, and music scenes in Spain, highlighting the lack of academic research in Spanish and the need to dignify and enhance these studies. The dossier consists of five texts that address topics such as subcultural studies, alternative communication, and the relationship between lesbian activism and the punk scene. It also analyzes the emergence of queer punk bands in the 21st century and the establishment of South Korean pop music in Spain as a challenging subculture. The importance of future research on urban music is emphasized. [Extracted from the article]

This article explores the relationship between punk rock and religion, examining the similarities and differences between the two. It suggests that participating in punk culture may fulfill spiritual and communal connections traditionally found in religious practices. The text also discusses the complexities within the punk and hardcore music scenes, including the straight edge movement and the phenomenon of "scene policing." The author concludes that further research is needed to fully understand the religious qualities of punk. This list of references and citations provides a valuable resource for library patrons researching the influence of punk on cultural change, the role of religion in punk rock, and the intersection of punk and social justice. [Extracted from the article]

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"No Machos Or Pop Stars: When the Leeds Art Experiment Went Punk" is a book by Gavin Butt that explores the emergence of musicians from the Leeds art school scene between 1974 and 1981. The book focuses on bands such as Gang of Four, the Mekons, Delta 5, Scritti Politti, Fad Gadget, and Soft Cell, and uses oral histories and memorabilia to tell their stories. Butt's argument is that forming a band in this scene was less about a career move and more about the pursuit of a utopia of togetherness. However, the book's argument is limited in that it doesn't provide comparative data or include the perspectives of non-art collaborators. [Extracted from the article]

This article develops a concept I call "gore aesthetics" by focusing on the regulatory and productive capacity of sexual obscenity and gore in contemporary performance art to diagnose shifts in neoliberalism's perceptual regimes. To do so, I centre the artistic practice and legacy of Chilean performance artist and underground, travesti punk monstrosity Hija de Perra or Daughter of a Bitch (1980–2014) to consider how her performance art, sexually obscene gore aesthetic, and legacy highlight the intensification of what Sayak Valencia theorizes as "necroliberalism". As neoliberalism's "b-side" (Valencia 2010), necroliberalism represents a form of governance and power organised by heightened modes of extractive violence against racialised, poor, queer, femme, trans, and travesti subjects in the Global South that produces value through death. Reading Hija de Perra's work, the extractive circumstances surrounding her untimely death from HIV/AIDS complications and the post mortem performances that ensued through sexual obscenity and gore, I argue that gore aesthetics ultimately foreground necroliberalism's intensification and operate as a travesti strategy of resistance to the extractive violence this form of power and governance occasions. At the same time, I consider gore's limitations when state actors co-opt gore aesthetics, as occurred during the Chilean estallido (2019) when police intentionally maimed protestors. [ABSTRACT FROM AUTHOR]