{"title":"Angelic upstart: Thomas Mensforth, 4 July 1956‐10 December 2021","authors":"Nathan Brown","doi":"10.1386/punk_00135_7","DOIUrl":"https://doi.org/10.1386/punk_00135_7","url":null,"abstract":"","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"190 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79537607","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: Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s, Rachel Garfield (2022)London and New York: Bloomsbury Academic, 288 pp.,ISBN 978-1-78831-399-5, h/bk, £75
{"title":"Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s, Rachel Garfield (2022)","authors":"Tim Forster","doi":"10.1386/punk_00141_5","DOIUrl":"https://doi.org/10.1386/punk_00141_5","url":null,"abstract":"Review of: Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s, Rachel Garfield (2022)London and New York: Bloomsbury Academic, 288 pp.,ISBN 978-1-78831-399-5, h/bk, £75","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73289223","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}
{"title":"Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)","authors":"Russell Bestley","doi":"10.1386/punk_00139_5","DOIUrl":"https://doi.org/10.1386/punk_00139_5","url":null,"abstract":"Review of: Reversing Into The Future: New Wave Graphics 1977‐1990, Andrew Krivine (2021)London: Pavilion, 336 pp.,ISBN 978-1-91166-395-9, h/bk, £35.00","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73996574","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}
{"title":"Girlsville: The Story of The Delmonas & Thee Headcoatees, Saskia Holling (2021)","authors":"P. Dale","doi":"10.1386/punk_00124_5","DOIUrl":"https://doi.org/10.1386/punk_00124_5","url":null,"abstract":"Review of: Girlsville: The Story of The Delmonas & Thee Headcoatees, Saskia Holling (2021)N.p.: Spinout Publications, 278 pp.,ISBN 978-1-52728-458-6, p/bk, £12.00","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82850331","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}
Social Distortion’s 1996 album White Light, White Heat, White Trash is a concept album reflecting the recovery in Alcoholics Anonymous (AA) of lead singer and songwriter Mike Ness: twelve songs, with each of the songs describing Ness’s experience of the corresponding step in AA’s twelve-step programme. The rhetoric of recovery in the song lyrics has an intertextual relationship to Alcoholics Anonymous (the ‘Big Book’), with Ness’s lyrics quoting directly from the programme of recovery outlined in the basic text of AA. Though the rhetoric of recovery in the album reflects Ness’s own experience, it also demonstrates how individual authentic experience is constructed interdiscursively through broader cultural trends, both within the Lou Reed-inflected rockist history of guitars, drugs and confessional authenticity and, more broadly, how the rhetoric of recovery has permeated other genres of American popular music and culture.
{"title":"The rhetoric of recovery in Social Distortion’s White Light, White Heat, White Trash","authors":"A. Goldwyn","doi":"10.1386/punk_00129_1","DOIUrl":"https://doi.org/10.1386/punk_00129_1","url":null,"abstract":"Social Distortion’s 1996 album White Light, White Heat, White Trash is a concept album reflecting the recovery in Alcoholics Anonymous (AA) of lead singer and songwriter Mike Ness: twelve songs, with each of the songs describing Ness’s experience of the corresponding step in AA’s twelve-step programme. The rhetoric of recovery in the song lyrics has an intertextual relationship to Alcoholics Anonymous (the ‘Big Book’), with Ness’s lyrics quoting directly from the programme of recovery outlined in the basic text of AA. Though the rhetoric of recovery in the album reflects Ness’s own experience, it also demonstrates how individual authentic experience is constructed interdiscursively through broader cultural trends, both within the Lou Reed-inflected rockist history of guitars, drugs and confessional authenticity and, more broadly, how the rhetoric of recovery has permeated other genres of American popular music and culture.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"398 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85024831","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 interview contextualizes the music of Robert Hampson, firstly with the bands Loop and Main (which became a solo project), and then within the area of musique concrète and acousmatic music. Hampson discusses his initial influences and the move from psychedelic post-punk guitar to guitarless abstract sound compositions, and why he has reformed a new version of Loop.
{"title":"Multichannel diffusion: An interview with Robert Hampson","authors":"Rupert Loydell","doi":"10.1386/punk_00146_7","DOIUrl":"https://doi.org/10.1386/punk_00146_7","url":null,"abstract":"This interview contextualizes the music of Robert Hampson, firstly with the bands Loop and Main (which became a solo project), and then within the area of musique concrète and acousmatic music. Hampson discusses his initial influences and the move from psychedelic post-punk guitar to guitarless abstract sound compositions, and why he has reformed a new version of Loop.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86896754","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 traces the evolution of punk’s do it yourself (DIY) ethos from an emphasis on individualist-contrarian to collectivist-participatory forms following its initial commercial period (c. 1977–80). The focus is on 1980s American hardcore as locus of shifts in music content, media production and distribution, and venue infrastructure, which together developed and ultimately linked local punk scenes into a national and international network. The article identifies ‘punk comradeship’ as the mechanism of social enculturation that reorients punk into an inclusionary, activist endeavour working in its own interests rather than those of the culture industry. The contemporary relevance of punk’s commitment to institution building is considered in the context of increasing dominance of biopolitics and reformatting of the DIY ethos as the entrepreneurial curation of individual selves.
{"title":"You (plural): Political configurations of punk’s DIY ethos","authors":"J. Goshert","doi":"10.1386/punk_00148_1","DOIUrl":"https://doi.org/10.1386/punk_00148_1","url":null,"abstract":"This article traces the evolution of punk’s do it yourself (DIY) ethos from an emphasis on individualist-contrarian to collectivist-participatory forms following its initial commercial period (c. 1977–80). The focus is on 1980s American hardcore as locus of shifts in music content, media production and distribution, and venue infrastructure, which together developed and ultimately linked local punk scenes into a national and international network. The article identifies ‘punk comradeship’ as the mechanism of social enculturation that reorients punk into an inclusionary, activist endeavour working in its own interests rather than those of the culture industry. The contemporary relevance of punk’s commitment to institution building is considered in the context of increasing dominance of biopolitics and reformatting of the DIY ethos as the entrepreneurial curation of individual selves.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72827844","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}
It has been claimed that craft beer and punk are bedfellows. There are large numbers of Millennials among drinkers of craft beer and fans of punk, and each can play a significant role in drinkers’ and fans’ identities. Communities are built around the appreciation of each, and precision is important. Subtle distinctions between different craft beers are magnified to craft beer drinkers; subtle differences in sound between different punk bands are magnified to committed punk fans. Obscure craft beers manufactured in low numbers reflect the limited run of 100 units of an album pressed on vinyl by an obscure punk band. These similarities have not gone unnoticed by craft breweries or punk bands. Scottish brewery BrewDog uses the word ‘punk’ in its products and literature; US brewery Stone Brewing partnered with US punk band NOFX to produce a NOFX-branded craft beer. However, both breweries have suffered as a consequence. This article reflects on both breweries’ appropriation of punk and considers factors that contributed to problems that they subsequently encountered. In both cases, though in different ways, conceptions of punk that are lazy, platitudinous or both have contributed towards the issues suffered.
{"title":"Just a noisy hall, where there’s a nightly brawl, and all that punk: The problematic union of craft beer and punk","authors":"Paul Fields","doi":"10.1386/punk_00160_1","DOIUrl":"https://doi.org/10.1386/punk_00160_1","url":null,"abstract":"It has been claimed that craft beer and punk are bedfellows. There are large numbers of Millennials among drinkers of craft beer and fans of punk, and each can play a significant role in drinkers’ and fans’ identities. Communities are built around the appreciation of each, and precision is important. Subtle distinctions between different craft beers are magnified to craft beer drinkers; subtle differences in sound between different punk bands are magnified to committed punk fans. Obscure craft beers manufactured in low numbers reflect the limited run of 100 units of an album pressed on vinyl by an obscure punk band. These similarities have not gone unnoticed by craft breweries or punk bands. Scottish brewery BrewDog uses the word ‘punk’ in its products and literature; US brewery Stone Brewing partnered with US punk band NOFX to produce a NOFX-branded craft beer. However, both breweries have suffered as a consequence. This article reflects on both breweries’ appropriation of punk and considers factors that contributed to problems that they subsequently encountered. In both cases, though in different ways, conceptions of punk that are lazy, platitudinous or both have contributed towards the issues suffered.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78995461","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}
The article examines two recent memoirs by punk musicians, From the Graveyard of the Arousal Industry by Justin Pearson and The Spitboy Rule by Michelle Cruz Gonzales, and asks how do these works rethink the value and function of community in punk and what might be involved in recognizing friendship as something that can structure punk around altogether different operations than a notion of community presently does? The article contests a popular and scholarly perception that punk is best appreciated as a distinct community of outcasts, a view that justly recognizes that punk is much more than a failed social protest. Gonzales and Pearson challenge the assumption that punk offers a community for marginalized individuals, documenting the routine discrimination they faced from punks who prioritized uniformity and idealized norms of white male heterosexuality. Their memoirs examine how punk sometimes replicates the discriminatory social norms the authors encountered outside of the subculture and thus these works explore the limits of interpreting punk as a separate community. As an alternative, Gonzales and Pearson test out expressions of punk friendship that retain some of the optimism and sociability of punk while also remembering the centrality of relations of power that condition any practice of living with others.
{"title":"On punk friendship and the limits of community","authors":"George C Grinnell","doi":"10.1386/punk_00161_1","DOIUrl":"https://doi.org/10.1386/punk_00161_1","url":null,"abstract":"The article examines two recent memoirs by punk musicians, From the Graveyard of the Arousal Industry by Justin Pearson and The Spitboy Rule by Michelle Cruz Gonzales, and asks how do these works rethink the value and function of community in punk and what might be involved in recognizing friendship as something that can structure punk around altogether different operations than a notion of community presently does? The article contests a popular and scholarly perception that punk is best appreciated as a distinct community of outcasts, a view that justly recognizes that punk is much more than a failed social protest. Gonzales and Pearson challenge the assumption that punk offers a community for marginalized individuals, documenting the routine discrimination they faced from punks who prioritized uniformity and idealized norms of white male heterosexuality. Their memoirs examine how punk sometimes replicates the discriminatory social norms the authors encountered outside of the subculture and thus these works explore the limits of interpreting punk as a separate community. As an alternative, Gonzales and Pearson test out expressions of punk friendship that retain some of the optimism and sociability of punk while also remembering the centrality of relations of power that condition any practice of living with others.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"152 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72494606","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}
{"title":"Rub Me Out: All My Songs and a Load of Other Stuff, The Shend (2021)","authors":"R. Cross","doi":"10.1386/punk_00122_5","DOIUrl":"https://doi.org/10.1386/punk_00122_5","url":null,"abstract":"Review of: Rub Me Out: All My Songs and a Load of Other Stuff, The Shend (2021)Self-published, 276 pp.,ISBN 978-0-99554-753-7, p/bk, £14.99","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43016390","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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