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Üretirken Direnmek: Türkiye Punk Sahnesinde Kendin Yap
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Following the 1979 Iranian Revolution, the decline and temporary fall of an established music industry, necessitated the creation of a new underground DIY culture to help redevelop music culture in Iran. This culture referenced the DIY movements that emerged in mid-twentieth-century Britain and America through the dissemination of cassette tapes, underground shows, word of mouth promotion, and symbolic stencilling and graffiti. Now, with use of twenty-first-century technology, the DIY movement continues to evolve through online underground networks where music can be easily recorded, uploaded, and downloaded. Bands such as 127, Kiosk, and Hypernova emerged from the Tehrani underground through DIY means while simultaneously channelling the musical influences of Western punk and indie-rock.
This essay explores how the concepts of DIY culture and the underground have been transformed in an Iranian context as young Iranian musicians find themselves trying to navigate between dual identities: between the cultural influences of East and West, the mainstream and the underground, and the traditional and the popular. In the process, many contradictions have emerged, surrounding notions of authenticity and autonomy. Post-2000 exposure in Western and diaspora publications continues to play a large role in the perception of the Iranian underground, shaping how Iranian popular musicians are perceived globally, while reinforcing images of authenticity. By comparing representations of Iranian illegal popular music in the Western media with personal accounts from underground musicians in Iran, it also becomes clear that the myths surrounding the Iranian underground are actively negotiated by both the Western media and Iranian youth.
Keywords: DIY culture, underground subculture, popular music, youth identity, Iran
While punk and skinhead experiences in the English-speaking world have been widely documented, the same cannot be said for the French space where these subcultures nonetheless took root from the end of the 1970s onwards. This article paints the portraits of punks and skinheads who each embody, in their own way, a certain sense of ‘chaos in France’. In doing so, it opens up a research avenue that not only fills a gap in existing studies but also suggests a new way of examining the signification of subcultural resistance to dominant normativities. The article draws on observation and interviews, as well as auto-ethnographic material and critical analysis of text, music and film archives. This produces a variety of perspectives, which bring out subcultural dynamics in an analysis that is as closely focused as possible on the lives of those who embodied these dynamics to the bitter end, in all the contradictions of rebellion.
Müziğin incelenmesinde, üretimiyle başlayan şifrelenmiş içsel yapısından (nota
düzeninden) başlayarak, dinleyicinin şifre çözümüne (müziği dinleyip
anlamlandırmasına), belli bir yer ve zamandaki müziksel pratiklerin ele alınmasından
tarihsel gelişimi üzerinde durmaya kadar çeşitlenen oldukça zengin ilgi odakları vardır.
Bilimsel ilgi alanı olarak müzik, niteliksel ve niceliksel çeşitiliği yanında, akla gelebilen
her sosyal bilim alanıyla ilgisi olan çok disiplinli bir karaktere sahiptir. Müziğin belli bir
dönemde ve belli bir yerel veya ulusal çevrede üretim, dağıtım ve kullanım/tüketim
biçimleri ve bu biçimlerin sonuçları, tarihsel, müziksel-yapısal, dilsel-yapısal, ideolojik,
kültürel, ekonomik, siyasal ekonomik, antropolojik, sosyolojik, psikolojik, sosyalpsikolojik
ve toplum yönetim politikaları açılarından ele alınıp incelenebilir. Bu
makalede, müziğin kültür, ideoloji ve siyasal ekonomi yanları irdelenecek; günümüzde
Türkiye´de müziğin incelenmesi gereken, fakat çoğunlukla ihmal edilmiş bu yanları
hakkında kuramsal tartışma, varsayımlar ve araştırma soruları sunarak, bu noktalarda
müzikle ilgili akademik araştırma yapılması yönünde katkıda bulunulmaya çalışılacaktır.
Music listening has been suggested to beneficially impact health via stress-reducing effects. However, the existing literature presents itself with a limited number of investigations and with discrepancies in reported findings that may result from methodological shortcomings (e.g. small sample size, no valid stressor). It was the aim of the current study to address this gap in knowledge and overcome previous shortcomings by thoroughly examining music effects across endocrine, autonomic, cognitive, and emotional domains of the human stress response.
Sixty healthy female volunteers (mean age = 25 years) were exposed to a standardized psychosocial stress test after having been randomly assigned to one of three different conditions prior to the stress test: 1) relaxing music ('Miserere', Allegri) (RM), 2) sound of rippling water (SW), and 3) rest without acoustic stimulation (R). Salivary cortisol and salivary alpha-amylase (sAA), heart rate (HR), respiratory sinus arrhythmia (RSA), subjective stress perception and anxiety were repeatedly assessed in all subjects. We hypothesized that listening to RM prior to the stress test, compared to SW or R would result in a decreased stress response across all measured parameters.
The three conditions significantly differed regarding cortisol response (p = 0.025) to the stressor, with highest concentrations in the RM and lowest in the SW condition. After the stressor, sAA (p=0.026) baseline values were reached considerably faster in the RM group than in the R group. HR and psychological measures did not significantly differ between groups.
Our findings indicate that music listening impacted the psychobiological stress system. Listening to music prior to a standardized stressor predominantly affected the autonomic nervous system (in terms of a faster recovery), and to a lesser degree the endocrine and psychological stress response. These findings may help better understanding the beneficial effects of music on the human body.
This article focuses on presenting, analysing and understanding the ‘do-it-yourself’ (DIY) representations of over 200 participants in Portuguese punk music scenes between 1977 and 2014. Through an ethnographic study of punk and the DIY ethos in Portugal, the article depicts its local interpretation and significance, and highlights the singularities of this socio-historical context. Our approach has three focal points: (1) the importance of DIY punk manifestations in the development of youth (sub)cultures, including forms of production and consumption of music, fashion, aesthetics, leisure, the night and cosmopolitanism; (2) the singularity of DIY punk manifestations in Portugal and related resistance practices in their correlation with social, political and economic development in a country outside the Anglo-Saxon context; and (3) the embedding of a DIY ethos and the associated claim to authenticity in the professions and careers in which punks engage today.
The phenomenon of 'Cool Japan' is one of the distinctive features of global popular culture of the millennial age. A History of Popular Culture in Japan provides the first historical and analytical overview of popular culture in Japan from its origins in the 17th century to the present day, using it to explore broader themes of conflict, power, identity and meaning in Japanese history.
E. Taylor Atkins shows how Japan is one of the earliest sites for the development of mass-produced, market-oriented cultural products consumed by urban middle and working classes. The best-known traditional arts and culture of Japan- no theater, monochrome ink painting, court literature, poetry and indigenous music-inhabited a world distinct from that of urban commoners, who fashioned their own expressive forms and laid the groundwork for today's 'gross national cool.' Popular culture was pivotal in the rise of Japanese nationalism, imperialism, militarism, postwar democracy and economic development.
Offering historiographical and analytical frameworks for understanding its subject, A History of Popular Culture in Japan synthesizes the latest scholarship from a variety of disciplines. It is a vital resource for students of Japanese cultural history wishing to gain a deeper understanding of Japan's contributions to global cultural heritage.
This field study of the punk rock subculture is an exploratory examination in the much neglected area of Canadian adolescent subcultures. The data consist of transcribed unstructured interviews with subculture members and field notes gathered during the observation period. Functionalist and neo-Marxist theories of subculture were used as guides to inquiry. The results reveal that the punk subculture is a "classless" form of delinquent youth culture. Members were seen to be reacting to the age and generational effect of youth employment opportunities. They displayed varying levels of resistance to dominant cultural goals, school, and the family. Severity of the resistance was related to gender. Political attitudes were characterized by a "libertarian" consciousness that served to mute political resistance. While members could not address issues of unemployment, poverty, and alienating labour, they were able to achieve status through participation in the subculture and violence. /// Cette enquête sur place de la subculture punk rock est une étude d'exploration du domaine très négligé des subcultures d'adolescents canadiens. Les données sont composées de transcriptions d'entrevues non-structurées avec des membres de la subculture ainsi que de notes prises sur place pendant la période d'observation. Les théories fonctionaliste et néo-marxiste de subculture servirent de guide à l'enquête. Les résultats révélèrent que la subculture punk est une forme de la culture de la jeunesse délinquante qui est "sans classe". Les membres réagissaient aux influences d'âge at de génération sur les chances d'emplois de jeunes. Ils manifestèrent des niveaux variables de résistance à l'école, à la famille et aux buts de la culture dominante. L'intensité de la résistance était reliée au sexe. Les attitudes politiques furent caractérisées par conscience "libertaire" qui avait pour résultat d'atténuer la résistance politique. Sans pouvoir aborder leurs problèmes de chômage, de pauvreté, ou de l'aliénation de l'ouvrage, ces jeunes ont été capable de réaliser un statut en participant à la subculture et à la violence.
This article considers the relevance of geographical theories about gender roles and how gender is performed, to the situated context of a local DIY ('Do It Yourself) punk scene. It draws on an auto-ethnographic study carried out by the author between September 2008 and May 2009, which explored the themes of the body, gendered performativity and gendered spatialities. The study was based on the author's observations, reflections and conversations with other participants at live music events ('shows') in a particular region of the UK, but also revealed how DIY punk offers an example of an imagined community, crossing temporal, spatial and cultural boundaries with a sense of belonging and collective identity expressed by participants. The study illustrates the complexity of the relationship between punk ideologies and practices and the ways that spaces can simultaneously offer contradictory and negotiable opportunities for empowerment and resistance, acceptance and exclusion.
Le magazine sadomasochiste Brat Attack edite par des lesbiennes promeut une vision radicale de la sexualite. L'A. analyse la signification de la violence et la signification des images de violence dans l'imaginaire sadomasochiste. Elle compare les strategies politiques des feministes et des lesbiennes concernant les representations de la sexualite. Elle souligne le caractere resolument non fictif, realiste des images sadomasochistes de Brat Attack. Elle rappelle que les feministes, tout comme les lesbiennes, s'opposent a la pornographie sadomasochiste qui peut favoriser les violences a l'encontre des femmes. Brat Attack revendique une pleine liberation de la sexualite des lesbiennes
Angela McRobbie (1992) has recently observed that what is currently missing from Marxist cultural studies is a sense of urgency. In part, I believe this lack of urgency is the result of cultural studies' tendency ultimately to privilege theory over lived experience; the lived experiences of the post-baby boom generation seem especially neglected. As a 1991 issue of Spin magazine told its readers:
Magazines and newspapers such as Time and the New York Times are … comparing you unfairly to the dynamic and euphoric baby boomers – the authentic prototype of youth culture, at least as they would have it. They're saying you, the members of the twentysomething generation, have no distinctive identity, no culture to call your own, only recycled bits from the past. Ask yourself this question: Do you recognize yourself in this portrait? No? We didn't think so. (Owen 1991, p. 68)
Teenage Wasteland provides memorable portraits of "rock and roll kids" and shrewd analyses of their interests in heavy metal music and Satanism. A powerful indictment of the often manipulative media coverage of youth crises and so-called alternative programs designed to help "troubled" teens, Teenage Wasteland draws new conclusions and presents solid reasons to admire the resilience of suburbia's dead end kids. "A powerful book."âSamuel G. Freedman, New York Times Book Review "[Gaines] sheds light on a poorly understood world and raises compelling questions about what society might do to help this alienated group of young people."âAnn Grimes, Washington Post Book World "There is no comparable study of teenage suburban culture . . . and very few ethnographic inquiries written with anything like Gaines's native gusto or her luminous eye for detail."âAndrew Ross, Transition "An outstanding case study. . . . Gaines shows how teens engage in cultural production and how such social agency is affected by economic transformations and institutional interventions."âRichard Lachman, Contemporary Sociology "The best book on contemporary youth culture."âRolling Stone
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