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.
Rob Ruckus是拉斯维加斯朋克界的资深人士，在过去的四十年里，他曾在朋克乐队中演奏，并参与了各种朋克项目。自朋克摇滚博物馆于2023年4月在拉斯维加斯开幕以来，罗布一直管理着它的Jam Room。Jam Room的特色是各种朋克乐队捐赠给博物馆的一系列乐器。所有的乐器都可以供参观博物馆的游客演奏，罗布在谈论博物馆或他的朋克经历时，热情地鼓励人们演奏乐器。罗布在2023年7月采访了保罗·菲尔兹。
{"title":"Punk Rock Museum: An interview with Rob Ruckus","authors":"Paul Fields","doi":"10.1386/punk_00209_1","DOIUrl":"https://doi.org/10.1386/punk_00209_1","url":null,"abstract":"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.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134908252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing on examples of novelty songs from Tin Pan Alley, rock ’n’ roll, punk, skiffle and pop, this article argues that novelty songs, when they make it into the charts, always appear to perform a similar function. Whatever the differences in the ecologies of popular music in Britain and the United States, and despite historical changes, novelty songs always seem to arrive as a more or less impolite interruption. The article proposes that it is this, the way they are used, that distinguishes novelty songs, not distinctions between novelty songs and other popular songs based on their (lack of) authenticity, seriousness, originality or durability.
{"title":"Sex, violence and a bit of a giggle: Notes on the novelty song","authors":"Hugh Hodges","doi":"10.1386/punk_00198_1","DOIUrl":"https://doi.org/10.1386/punk_00198_1","url":null,"abstract":"Drawing on examples of novelty songs from Tin Pan Alley, rock ’n’ roll, punk, skiffle and pop, this article argues that novelty songs, when they make it into the charts, always appear to perform a similar function. Whatever the differences in the ecologies of popular music in Britain and the United States, and despite historical changes, novelty songs always seem to arrive as a more or less impolite interruption. The article proposes that it is this, the way they are used, that distinguishes novelty songs, not distinctions between novelty songs and other popular songs based on their (lack of) authenticity, seriousness, originality or durability.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85998520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Born in Singapore, Chris Morton moved with his family to England as a young child, settling in the north-east in the early 1960s. His passion and talent for drawing was reflected in his love of comics and animation, later with a combined interest in music leading him to underground magazines and posters associated with the hippie counterculture. After having to leave art college early in 1975, he found himself in the right place at the right time and was commissioned to create a graphic identity for a new independent record label based in London – Stiff Records. Still running a design studio in Newcastle, he discusses punk, new wave, typography, print technologies, humour, parody and graphic design with Russ Bestley.
{"title":"‘Fuck Art, Let’s Dance’: An interview with Chris Morton","authors":"Russell Bestley","doi":"10.1386/punk_00208_7","DOIUrl":"https://doi.org/10.1386/punk_00208_7","url":null,"abstract":"Born in Singapore, Chris Morton moved with his family to England as a young child, settling in the north-east in the early 1960s. His passion and talent for drawing was reflected in his love of comics and animation, later with a combined interest in music leading him to underground magazines and posters associated with the hippie counterculture. After having to leave art college early in 1975, he found himself in the right place at the right time and was commissioned to create a graphic identity for a new independent record label based in London – Stiff Records. Still running a design studio in Newcastle, he discusses punk, new wave, typography, print technologies, humour, parody and graphic design with Russ Bestley.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"193 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77701345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Writer, novelist and cultural commentator Michael Bracewell was born in London in 1958 and educated at the University of Nottingham. He has written several novels and many works of non-fiction, including books about artists Gilbert & George and Richard Hamilton, and bands such as Roxy Music. England Is Mine: Pop Life in Albion from Wilde to Goldie () and When Surface Was Depth: Death by Cappuccino and Other Reflections on Music and Culture in the 1990s () were much more ambitious and wide-ranging volumes that roamed popular music, culture and society, whilst his 2021 title Souvenir: London, 1979–1986 was a more reflective book which intrigued by the way Bracewell wrote around music, without engaging directly with it. It was in response to Souvenir that I interviewed the author, although since my questions were sent to him he has not only helped bring the new Gilbert & George Centre in East London to completion, but also published a new novel, Unfinished Business.
{"title":"Seeing what they want to see: An interview with Michael Bracewell","authors":"Rupert Loydell","doi":"10.1386/punk_00196_7","DOIUrl":"https://doi.org/10.1386/punk_00196_7","url":null,"abstract":"Writer, novelist and cultural commentator Michael Bracewell was born in London in 1958 and educated at the University of Nottingham. He has written several novels and many works of non-fiction, including books about artists Gilbert & George and Richard Hamilton, and bands such as Roxy Music. England Is Mine: Pop Life in Albion from Wilde to Goldie () and When Surface Was Depth: Death by Cappuccino and Other Reflections on Music and Culture in the 1990s () were much more ambitious and wide-ranging volumes that roamed popular music, culture and society, whilst his 2021 title Souvenir: London, 1979–1986 was a more reflective book which intrigued by the way Bracewell wrote around music, without engaging directly with it. It was in response to Souvenir that I interviewed the author, although since my questions were sent to him he has not only helped bring the new Gilbert & George Centre in East London to completion, but also published a new novel, Unfinished Business.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74790403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, the slogan ‘no future’ has been used to illustrate punk ideology, focusing on notions of nihilism, pessimism and anxiety against the backdrop of various crises. It has also been interpreted as emblematic of a certain temporality typical of the years after the post-war boom. However, the meaning of ‘no future’ in and for punk cultures is rarely explored in detail – a gap this article seeks to address. It conceptualizes ‘no future’ as a central chronotype of punk, manifesting in various forms. Providing close readings of the exemplary punk songs ‘Now I Wanna Sniff Some Glue’ by the Ramones, ‘London Calling’ by the Clash, and ‘Deutschland’ by Slime, the article explores three such forms: presentism, choosing the present over the future; dystopia, detailing a negative future; and negative solution, calling for the negation of a certain aspect of the present. In doing so, the article shows the plurality of meanings of ‘no future’ in punk and points to further research to be conducted on the time culture of punk.
近年来，“没有未来”的口号被用来说明朋克的意识形态，在各种危机的背景下，关注虚无主义、悲观主义和焦虑的概念。它也被解释为象征着战后繁荣后的一段典型的短暂时期。然而，朋克文化中“没有未来”的含义很少被详细探讨——这篇文章试图解决这个缺口。它将“没有未来”概念化为朋克的核心时间类型，以各种形式表现出来。本文仔细研读了雷蒙斯乐队(Ramones)的经典朋克歌曲《Now I Wanna Sniff Some Glue》、Clash乐队的《London Calling》和Slime乐队的《Deutschland》，探讨了三种形式:当下主义，选择现在而不是未来;反乌托邦，详述一个消极的未来;消极的解决方案，要求否定现在的某一方面。由此，文章展示了朋克中“没有未来”的多重含义，并指出朋克的时间文化有待进一步研究。
{"title":"Presentism, dystopia, negative solution: Three forms of the punk chronotype ‘no future’","authors":"Justus Grebe","doi":"10.1386/punk_00195_1","DOIUrl":"https://doi.org/10.1386/punk_00195_1","url":null,"abstract":"In recent years, the slogan ‘no future’ has been used to illustrate punk ideology, focusing on notions of nihilism, pessimism and anxiety against the backdrop of various crises. It has also been interpreted as emblematic of a certain temporality typical of the years after the post-war boom. However, the meaning of ‘no future’ in and for punk cultures is rarely explored in detail – a gap this article seeks to address. It conceptualizes ‘no future’ as a central chronotype of punk, manifesting in various forms. Providing close readings of the exemplary punk songs ‘Now I Wanna Sniff Some Glue’ by the Ramones, ‘London Calling’ by the Clash, and ‘Deutschland’ by Slime, the article explores three such forms: presentism, choosing the present over the future; dystopia, detailing a negative future; and negative solution, calling for the negation of a certain aspect of the present. In doing so, the article shows the plurality of meanings of ‘no future’ in punk and points to further research to be conducted on the time culture of punk.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"85 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75975390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article seeks to investigate the ways punk and representations of juvenile delinquency interact in cinema and to explore the aesthetic, narrative and ideological quality of those depictions of youthful rebellion positioned as in dialogue with punk culture. By initially considering portrayals of delinquency in cinema existent outside of and/or predating the punk movement, this article will think through the specific ways punk is used to signify and fortify acts of rebellion. Beginning in the 1950s and with the reinvigoration of the term ‘juvenile delinquent’ in the post-war period, this article examines cinematic responses to the moral issue of ‘youth-crime’ in the context of a supposedly evaporating family unit. From here it considers the ‘skate-film’ of the 1980s and 1990s and its relationship to punk to explore the way other subcultural expressions of juvenile delinquency manifest on film. Subsequently, it moves to consider films that use, in different ways, the ethos and aesthetic of punk rock as a constitutive element in the depiction of adolescent rebellion. It argues that these films work to articulate the role punk plays in expressions of rebellion on-screen – utilizing both its violent and anarchic potential but also its inherent irony to express an oppositional philosophical framework with its own idiosyncratic ideology that is ultimately geared towards social change.
{"title":"Young, loud and snotty: Punk, rebellion and the movies","authors":"Matthew Smith","doi":"10.1386/punk_00194_1","DOIUrl":"https://doi.org/10.1386/punk_00194_1","url":null,"abstract":"This article seeks to investigate the ways punk and representations of juvenile delinquency interact in cinema and to explore the aesthetic, narrative and ideological quality of those depictions of youthful rebellion positioned as in dialogue with punk culture. By initially considering portrayals of delinquency in cinema existent outside of and/or predating the punk movement, this article will think through the specific ways punk is used to signify and fortify acts of rebellion. Beginning in the 1950s and with the reinvigoration of the term ‘juvenile delinquent’ in the post-war period, this article examines cinematic responses to the moral issue of ‘youth-crime’ in the context of a supposedly evaporating family unit. From here it considers the ‘skate-film’ of the 1980s and 1990s and its relationship to punk to explore the way other subcultural expressions of juvenile delinquency manifest on film. Subsequently, it moves to consider films that use, in different ways, the ethos and aesthetic of punk rock as a constitutive element in the depiction of adolescent rebellion. It argues that these films work to articulate the role punk plays in expressions of rebellion on-screen – utilizing both its violent and anarchic potential but also its inherent irony to express an oppositional philosophical framework with its own idiosyncratic ideology that is ultimately geared towards social change.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75843444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: We Can Be the New Wind , Alexandros Anesiadis (2022) Ticehurst: Earth Island Books, 822 pp., ISBN 978-1-83835-676-7, p/bk, £29.99 A Hardcore Heart: Adventures in a DIY Scene , David Gamage (2022) Ticehurst: Earth Island Books, 654 pp., ISBN 978-1-73964-773-5, p/bk, £24.99
{"title":"We Can Be the New Wind, Alexandros Anesiadis (2022)","authors":"Russ Bestley","doi":"10.1386/punk_00204_5","DOIUrl":"https://doi.org/10.1386/punk_00204_5","url":null,"abstract":"Review of: We Can Be the New Wind , Alexandros Anesiadis (2022) Ticehurst: Earth Island Books, 822 pp., ISBN 978-1-83835-676-7, p/bk, £29.99 A Hardcore Heart: Adventures in a DIY Scene , David Gamage (2022) Ticehurst: Earth Island Books, 654 pp., ISBN 978-1-73964-773-5, p/bk, £24.99","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135143764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: 69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance , Dorothy Max Prior (2022) London: Strange Attractor Press, 328 pp., ISBN 978-1-91368-963-6, p/bk, £18.99 The Horror Show! A Twisted Tale of Modern Britain , Faye Dowling (Ed.) (2022) London: Somerset House Trust, 128 pp., ISBN 987-1-99961-549-9, p/bk, £16.50
书评:《展览路69号:来自朋克、色情的十二个真实故事》;《表演》，Dorothy Max Prior(2022)，伦敦:Strange Attractor出版社，328页，ISBN 978-1-91368-963-6, p/bk, 18.99英镑。《现代英国的扭曲故事》，费伊·道林(编)(2022)伦敦:萨默塞特宫信托，128页，ISBN 987-1-99961-549-9, p/bk, 16.50英镑
{"title":"69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance, Dorothy Max Prior (2022)","authors":"Peter Jones","doi":"10.1386/punk_00200_5","DOIUrl":"https://doi.org/10.1386/punk_00200_5","url":null,"abstract":"Review of: 69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance , Dorothy Max Prior (2022) London: Strange Attractor Press, 328 pp., ISBN 978-1-91368-963-6, p/bk, £18.99 The Horror Show! A Twisted Tale of Modern Britain , Faye Dowling (Ed.) (2022) London: Somerset House Trust, 128 pp., ISBN 987-1-99961-549-9, p/bk, £16.50","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135143765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde , Rebecca Binns (2022) Manchester: Manchester University Press, 216 pp., ISBN 978-1-52614-789-9, p/bk, £20
{"title":"Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde, Rebecca Binns (2022)","authors":"Emily Owens","doi":"10.1386/punk_00199_5","DOIUrl":"https://doi.org/10.1386/punk_00199_5","url":null,"abstract":"Review of: Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde , Rebecca Binns (2022) Manchester: Manchester University Press, 216 pp., ISBN 978-1-52614-789-9, p/bk, £20","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135143351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Freak Scenes: American Indie Cinema and Indie Music Culture , Jamie Sexton (2023) Edinburgh: Edinburgh University Press, 200 pp., ISBN 978-1-47441-406-7, h/bk, £85
{"title":"Freak Scenes: American Indie Cinema and Indie Music Culture, Jamie Sexton (2023)","authors":"John Ike Sewell","doi":"10.1386/punk_00205_5","DOIUrl":"https://doi.org/10.1386/punk_00205_5","url":null,"abstract":"Review of: Freak Scenes: American Indie Cinema and Indie Music Culture , Jamie Sexton (2023) Edinburgh: Edinburgh University Press, 200 pp., ISBN 978-1-47441-406-7, h/bk, £85","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135143356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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