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Punk and the Political: The Role of Practices in Subcultural Lives
... Punk subculture grows as the medium of voicing political and social issues, and also those who want to express themselves as an individual. Since it is dominantly followed and practiced by the youth, punk is used by them to -escape‖ (Tucker, 2008;Prasetyo, 2017Billet, 2020, meaning that through the subculture, they can chase as well as build their identity by themselves. This is done by practicing the principles and ethos of punk as the DIY culture punk subculture has built. ...
As globally sprung up, punk subculture is an evidence how American influence has been penetrated in many life facets, including through youth culture. Indonesia becomes one of many countries that accept and practice the subculture. The discussion of punk subculture in Indonesia can reveal the relation between both countries, in which America becomes the powerful party while Indonesia is the submissive ones. To find out American influence in the spread of punk subculture in Indonesia, Representation theory by Stuart Hall is applied in the research. The theory is used in observing punk community both of Indonesia and America in Instagram platforms, particularly some posts that containing of punk elements. By using qualitative method, the result of the research uncovers that Indonesia absorbs American punk elements in two ways: By assimilating it without adding other elements outside of punk and by integrating it to Indonesian context. Both ways show the submissiveness of Indonesia in absorbing the foreign subculture. Yet, especially for the latter, it shows how Indonesia still has a power of resistance in accepting punk subculture by still maintaining mother cultural elements in practicing it, and in the end, it adds a new different color in the global punk scene.
... Spesifik olarak punk'ın nasıl bir müzik türü olduğuyla ve felsefesiyle ilgili çalışmaların yanı sıra (bkz. Clark, 2003;O'Hara, 2008;Tucker, 2008), bir müzik ve alt kültür olarak punk'ın yerel sahnelerdeki izdüşümünü araştıran birçok çalışma da bulunmaktadır (bkz. Baron, 1989;Beauchez, 2016;Ferrarese, 2017;Guerra, 2018;Silva ve Guerra, 2017 Jarett'a (1991) göre kapitalist üretim sürecinde müzik yozlaşmakta, alınıp satılan bir ürün haline gelmektedir, kendisi bu süreci "temel bir insan aktivitesinin sömürgeleştiril- Endüstride kontrol edilen çoğu zaman sadece üretilen müzik değildir, sanatçıların imajları da müzik şirketleri tarafından hazırlanarak dinleyiciye sunulmaktadır. ...
... Past researches also proved that in the late 1970s, punk rock has been associated with various left-wing or anti-establishment ideologies, including anarchism and socialism [38]. Punk's DIY culture held an attraction for some on the Left, suggesting an affinity with the ideals of workers' control, and empowerment of the powerless [39].The Jam, The Ruts, Stiff Little Fingers, Angelic Upstarts, TRB, and Newtown Neurotics inspired a lyrical focus on subjects such as racial tension, unemployment, class resentment, urban alienation, and police violence, as well as imperialism [16]. ...
Music is a lot like literature that can be pleasing, enlightening, and changing the inner sense of life and is a compass helping us identify valuables categories in a wide area. Alternative rock that includes elements of punk, folk music, and heavy metal is a broad category of music that is usually thought of as somewhat out of the mainstream. In Sri Lanka, we can recognize a set of disciples that are interested in alternative music. Among them, university undergraduates are one of the most important sets of disciples because they have a different reading about Arts compared to others. So the current study aims to explore the influence of Alternative music on the lifestyle of university undergraduates. Five participants were selected by using a purposive sample technique from the University of Peradeniya, Sri Lanka. Semi-structured interviews wereconducted for data collection and analyses of the data were conducted through thematic analysis. The result suggests that alternative music causes a change in the different perspectives on the lifestyle of university undergraduates like increased drug usage; different ideas and attitudes about sexual behavior, married life and love; political views about current society; and cultural acceptance. The current research will help open new research areas for Sri Lankan researchers who are interested in this field. More research is needed to get a complete understanding of this topic in the Sri Lankan context.
... Por outro lado, num exercício de comparação do caso português e noutros contextos geográfico-culturais, encontramos, ao mesmo tempo, uma reiteração do caráter mimético, presente principalmente ao nível das influências musicais, uma avaliação que aponta para uma falta de infraestruturas e atividades de apoio ao movimento (como punk houses e squats) que permitam alargar as suas esferas de ação, uma capacidade de intervenção, organização e dinamismo e, finalmente, um reconhecimento de que o movimento punk evolui e se constitui numa estreita relação com as especificidades de cada contexto local e nacional ao nível das mentalidades. Havendo diferenças em termos de vitalidade, dimensão, estrutura e organização, mantém-se uma lógica fortemente ancorada em princípios fundamentais do punk, que se prendem com o inconformismo: o DIY feito habitus (Tucker, 2006) e feito ethos, refletindo uma transformação dos agentes de consumidores em produtores culturais (Dunn, 2008: 198). Reencontramos aqui os valores normativos da comunidade punk identificados por Kieran James (2009: 128): a ética e estética DIY; a atitude de oposição ao capitalismo e à alienação inerente a esse sistema de produção; a defesa de um "ponto de vista ao nível da rua" ou de um "espírito proletário emotivo". ...
The article questions the relevance of punk in its extent and significant multiplicity, with reference to the Portuguese case. Based on results of an enlarged research about punk in Portugal, this article explores the cultural, social and symbolic meanings of this form of aesthetic expression that, appearing simultaneously as an ethos and a way of being in life, reveals a great heuristic potential for the understanding of identity and societal processes that currently are established around the musical scenes. The approach of punk in Portugal allows to resume the debate on youth cultures in the context of the still unfinished debate between cultural studies and poststructuralist theories, i.e., between the subcultural theory and post‑subcultural theory.
Bukittinggi merupakan kota wisata yang banyak menerima pendatang dari luar daerah dengan berbagai latar dan kebiasaan yang berbeda. Hal ini dapat memunculkan heterogenitas yang jika tidak dikelola dengan baik maka akan memuncul konflik. Salah satu kelompok komunitas yang berkembang di Bukittinggi adalah punk. Komunitas ini terasa memberikan nuansa yang kurang bagus bagi kehidupan bermasyarakat kota tersebut. Dengan modal kehidupan kota yang teratur dengan bersumber pada nilai-nilai agama berhadapan dengan kehidupan yang bebas dan tidak terikat pada lembaga manapun. Untuk membatasi permasalahan ini, analisa yang dipakai adalah sub kultur. Bagaimana menjawab tantangan dalam kehidupan yang mono menjadi multikultural di Kota Bukittinggi. Hasil yang didapatkan adalah adanya tarik ulur dalam melaksanakan nilai-nilai luhur dan prinsip kehidupan masing-masing kelompok. Masyarakat dengan sumber kesadaran berasal kearifan lokal, melakukan penilaian terhadap yang lain lebih pada tampilan. Sementara komunitas punk, prinsip dasar yang mereka punya sering disalahgunakan oleh segelintir anggota untuk kepentingan pribadi.
The impact, influence, and legacy of the Sex Pistols have inspired a considerable number
of works, with those of Jon Savage being perhaps the most paradigmatic. However, these
studies are generally centered on Anglo perceptions of the Sex Pistols and of punk more
broadly. We believe that it is important to understand the Sex Pistols cultural and
economic impact globally, and thus to realize the influence of English or Anglo-Saxon
culture in non-English-speaking countries through the lens of popular music. In this
article, our main aims are as follows: to understand the current and previous
representation of the Sex Pistols in Portugal; to evaluate the group’s legacy in Portuguese
society and its punk scene, its influence on the formation of bands and their consideration
of questions relating to authenticity and market; to define the role of the Sex Pistols in the
dissemination of the DIYethic and concept among punks in Portugal; and to examine the
importance of the Sex Pistols in the ever unfinished construction of what represents the
mainstream and the underground in music.
Drawing on interviews, this article examines how the third wave of the straight edge (sXe) hardcore music scene can promote a gender-progressive image in light of evidence that suggests men's continued advantage over women in the scene. The author argues that this discrepancy can be explained by straight edgers' use of going rate comparisons (to its previous waves, to other times and places, and to gender relations as a whole) that highlight the scene's “doings” and “not-doings” in ways that portray sXe favorably. By insisting that gender is no longer relevant, straight edgers (sXers) then set up a going rate of authenticity that is purportedly attainable by men and women. This going rate, however, ultimately reinstates gender boundaries sXers claim to erase. The author concludes the article by discussing the larger implications of doings and not-doings in going rate constructions and the performance of gender.
In this article, the author examines the relative roles of music and the internet for self-identifying members of the straightedge youth subculture. For nearly 30 years, subcultures have been conceptualized primarily in terms of music and style. Participation has therefore typically been characterized by the consumption of specific types of music and clothing and participation in local, face-to-face music scenes. However, with the recent growth of information and communication technologies like the internet, opportunities have emerged that enable individuals to participate in subcultures in which they otherwise might not participate. The author shows that a new type of subculturalist is emerging—one whose subcultural participation is limited to the internet. Using the concepts of authenticity and scene, the author explores how participants in a straightedge internet forum negotiate their affiliations with the subculture and how some members attempt to halt others’ claims to a straightedge identity. The study suggests that the internet is emerging as a new, but highly contested, subcultural scene.
An in-depth content analysis of five web sites and eight paper zines (self-produced and distributed magazines) was conducted to uncover the inspiration, content, and unique strategies associated with text -based contemporary menstrual product activism. Menstrual product activism is loosely defined as various attempts to expose the hazards of commercial “feminine protection” to both women's bodies and the environment and the promotion of healthier, less expensive, and less resource-intensive alternatives. This activism's discourse draws on many traditions to produce its resistance to mainstream menses management. The movement, first and foremost, is the legacy of several decades of related activism, dating to the mid1970s. Contemporary menstrual product activism updates and modifies this tradition with the “do it yourself” ethic and anti-corporate philosophy of Punk culture and Third Wave feminist ideals of anti-essentialism, inclusion, humor, irony, and reappropriation. To date, this activist agenda has received little scholarly attention, yet it promises to yield meaningful insight into so called Third Wave feminist theory and practice and reveal the resilience of a woman-centered modern history of resistance.
Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bring about an amazing change in our very notion of art. © 2019 selection and editorial matter, Sheila Watson, Amy Jane Barnes and Katy Bunning; individual chapters, the contributors.
Stacy Thompson's Punk Productions offers a concise history of punk music and combines concepts from Marxism to psychoanalysis to identify the shared desires that punk expresses through its material productions and social relations. Thompson explores all of the major punk scenes in detail, from the early days in New York and England, through California Hardcore and the Riot Grrrls, and thoroughly examines punk record collecting, the history of the Dischord and Lookout! record labels, and 'zines produced to chronicle the various scenes over the years. While most analyses of punk address it in terms of style, Thompson grounds its aesthetics, and particularly its most combative elements, in a materialist theory of punk economics situated within the broader fields of the music industry, the commodity form, and contemporary capitalism. While punk's ultimate goal of abolishing capitalism has not been met, the punk enterprise that stands opposed to the music industry is still flourishing. Punks continue to create aesthetics that cannot be readily commodified or rendered profitable by major record labels, and punks remain committed to transforming consumers into producers, in opposition to the global economy's increasingly rapid shift toward oligopoly and monopoly.
From the theory of "deliberative democracy" to the politics of the "third way," the present Zeitgeist is characterised by an attempt to negate the inherently conflictual nature of democratic politics. Political thought and practice are stifled by a misconceived search fro consensus and the promotion of a bland social unanimity which, as Chantal Mouffe shows, far from being the sign of progress, constitute a serious threat for democratic institutions. Indeed, in many countries this 'consensus of the centre' is providing a platform for the growth of populist right-wing parties which, by presenting themselves as the only 'anti-establishment' forces, are trying to occupy the terrain of contestation deserted by the left. Taking issue with the work of John Rawls and Jurgen Habermas on one side, and with the tenets of the third way as practised by Tony Blair and theorised by Anthony Giddens on the other, Mouffe brings to the fore the paradoxical nature of modern liberal democracy. Against those who affirm that, with the demise of the left/right divide, antagonism has been eliminated from contemporary post-industrial societies and that an all-inclusive politics has become possible, she argues that the category of the 'adversary' plays a central role in the very dynamics of modern democracy. Drawing on the work of Wittgenstein and Derrida, and engaging with the provocative theses of Carl Schmitt, she proposes a new understanding of democracy in terms of 'agonistic pluralism' which acknowledges the ineradicability of antagonism and the impossibility of a final resolution of conflicts.
Pretty in Punk takes readers into the lives of girls living on the margins of contemporary culture. Drawing on interviews with 40 girls and women between the ages of 14-37, Leblanc examines the lives of her subjects, illuminating their forms of rebellion and survival. Pretty in Punk lets readers hear the voices of these women as they describe the ways their constructions of femininity-from black lipstick to slamdancing-allow them to reject damaging cultural messages and build strong identities. The price they pay for resisting femininity can be steep-girls tell of parental rejection, school expulsion, institutionalization, and harassment. Leblanc illuminates punk girls' resistance to adversity, their triumphs over tough challenges, and their work to create individual identities in a masculine world.
This article examines punk subculture's methods of commercially independent cultural production. While previous scholarship on punk and other youth cultures concludes that resistance is to be found in fashion, style, and symbolic gestures, the author locates dissent in the act of producing music and media that are relatively autonomous from the corporate culture industry, which in punk subcultures is known as the “do-it-yourself ethic.” Pierre Bourdieu's theory of “the field of cultural production” is used to explain how cultural producers are motivated to create and perform independently of the commercial marketplace. The findings are based on years of participant-observation and in-depth interviewing within punk subcultures in the Southern California region.
The mainstreaming of punk rock in the 1990s was disheartening to artists and fans committed to punk's radical political ethos. This paper examines the rhetorical response to punk's popularization in this era, focusing on how the DC-area band, the Make-Up, reorganized the common sense of punk by articulating it to the musical and social elements of gospel and funk. Analysis of the "repertoires for rhetorical living" that result from this juxtaposition of musical discourses leads to the conclusion that the Make-Up offers a transformed understanding of what may count as authentic in punk, reorganizing authenticity, political commitments, and identity around a collectivist subject position. The ethical implications of the Make-Up's ironic appropriations of black culture also are considered.
In this paper we examine some ways in which members of subcultures make comparisons between and within subcultural groups and one function served by such comparisons. Specifically, we illustrate how social comparisons are used to achieve authenticity for the subcultural group and for the self as a member of that group. Our analysis focuses on the language through which such comparisons are made in people's talk. The data come from a series of informal interviews with punks, gothics and hippies. We analyse three types of comparison: the comparison of one or more groups with an external standard; the comparison of the subculture's past and present character; and the comparison between older and newer members. The implications of our findings for social identity theory are considered. Finally, we discuss an interesting and recurrent device for emphasising authenticity which lay in the construction of the descriptions of members' motivations for joining. This was related to the distinction between 'being' a member, or having the correct grounds for affiliation, and merely 'doing' or performing, aspects of the subculture.
Whether in characterizing Catherine MacKinnon's theory of gender as itself pornographic or in identifying liberalism as unable to make good on its promises, this text pursues a central question: how does a sense of woundedness become the basis for a sense of identity? Brown argues that efforts to outlaw hate speech and pornography powerfully legitimize the state: such apparently well-intentioned attempts harm victims further by portraying them as so helpless as to be in continuing need of governmental protection. "Whether one is dealing with the state, the Mafia, parents, pimps, police, or husbands," writes Brown, "the heavy price of institutionalized protection is always a measure of dependence and agreement to abide by the protector's rules." True democracy, she insists, requires sharing power, not regulation by it; freedom, not protection. Refusing any facile identification with one political position or another, Brown applies her argument to a panoply of topics, from the basis of litigiousness in political life to the appearance on the academic Left of themes of revenge and a thwarted will to power. These and other provocations in contemporary political thought and political li
This paper examines punk subcultures as a response to “the condition of postmodernity,” defined here as a crisis of meaning caused by the commodification of everyday life. Punk musicians and subcultures have responded to this crisis in one of two ways. Like other forms of “plank parody” associated with postmodernism, the “culture of deconstruction” expresses nihilism, ironic cynicism, and the purposelessness experienced by young poeple. On the other hand, the “culture of authenticity” seeks to establish a network of underground media as an expression of artistic sincerity and independence from the allegedly corrupting influences of commerce. Although these cultures are in some ways diametrically opposed, they have represented competing tendencies within punk since the 1970s, and I argue that they are both reactions to the same crisis of postmodern society.
Against theories of cultural hybridity and disembodied flows of recorded media, this article argues for the continued relevance of the concept of regional musical scenes. It takes as examples contemporary punk as it exists in four cities and shows that there are different local accents in Washington D.C., Austin, Texas, Toronto and Mexico City. The conclusion describes some aspects of the social organisation of cultural contacts between these scenes. The article is part of a larger project of multi-site ethnography of youth subculture and resistance to globalisation.
Discourses on Livy is the founding document of modern republicanism, and Harvey C. Mansfield and Nathan Tarcov have provided the definitive English translation of this classic work. Faithful to the original Italian text, properly attentive to Machiavelli's idiom and subtlety of thought, it is eminently readable. With a substantial introduction, extensive explanatory notes, a glossary of key words, and an annotated index, the Discourses reveals Machiavelli's radical vision of a new science of politics, a vision of "new modes and orders" that continue to shape the modern ethos. "[Machiavelli] found in Livy the means to inspire scholars for five centuries. Within the Discourses, often hidden and sometimes unintended by their author, lie the seeds of modern political thought. . . . [Mansfield and Tarcov's] translation is careful and idiomatic."âPeter Stothard, The Times "Translated with painstaking accuracyâbut also great readability."âWeekly Standard "A model of contemporary scholarship and a brave effort at Machiavelli translation that allows the great Florentine to speak in his own voice."âChoice
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