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Editorial 编辑

Punk and Post-Punk Pub Date : 2021-10-01 DOI: 10.1386/punk_00114_2

Russell Bestley

引用次数: 0

The cover-version spectrum: Reframing the relationship between imitation and transformation in pop-punk cover-versions 封面版光谱:重塑流行-朋克封面版中模仿与转化的关系

Punk and Post-Punk Pub Date : 2021-09-16 DOI: 10.1386/punk_00110_1

R. Upton

{"title":"The cover-version spectrum: Reframing the relationship between imitation and transformation in pop-punk cover-versions","authors":"R. Upton","doi":"10.1386/punk_00110_1","DOIUrl":"https://doi.org/10.1386/punk_00110_1","url":null,"abstract":"‘Covering’ previously recorded tracks is a central aspect of popular music. Despite an abundance of examples, discourse related to cover-version tracks is limited and includes questionable application of dichotomizing terminology (‘cover’, ‘version’) that can cause problems for interpreting the cover-version genre and diminish the nuanced approaches taken by artists who produce cover-versions. Examining recordings from the Punk Goes… album series reveals many examples that go beyond the either–or cover/version dichotomy generally presented in musicology. As such, this article has three main aims: to investigate the ways in which Punk Goes… tracks innovatively move between the poles of cover and version, thus requiring a new analytical framework; to explore the connection between imitation and transformation to the ascription of cover and version; and to move beyond prior musicological scholarship that emphasizes formal elements and composer intention. This article presents a reclassification of the terms ‘cover’ and ‘version’ as extreme poles of a ‘cover-version spectrum’ dependent on the listener’s interpretation of the performative character. Analyses challenge assumptions that equate musical phrases with fixed musical meanings, suggesting instead that the interpreted manner of performance is more significant than syntactical concerns. This provides a structure for clearer examination of cover-versions and supports the view that semiotic methods are a vital tool in the analysis of recorded popular music.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83113395","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}

引用次数: 0

‘We are the Others’: A literary analysis of the rise, fall and resurrection of Ultima Thule’s Viking-rock 《我们是他者》:对天涯海角维京岩石的兴衰与复活的文学分析

Punk and Post-Punk Pub Date : 2021-08-20 DOI: 10.1386/punk_00109_1

Björn Bradling

{"title":"‘We are the Others’: A literary analysis of the rise, fall and resurrection of Ultima Thule’s Viking-rock","authors":"Björn Bradling","doi":"10.1386/punk_00109_1","DOIUrl":"https://doi.org/10.1386/punk_00109_1","url":null,"abstract":"Viking-rock grew out of the diminishing Swedish punk scene in the early 1980s and is lyrically linked to British Oi! and the far-right ‘Rock against Communism’ (RAC) scene. Previous research on Viking-rock either emphasizes the genre as a cultural expression of the Swedish white power milieu of the 1990s or as a product of the skinhead subculture. However, critical analyses of Viking-rock lyrics are scarce. This study emphasizes the development of the Other, as expressed in the lyrics of Viking-rock flagship band Ultima Thule from the 1980s to the 2010s, in relation to the development of the political party the Sweden Democrats. The lyrics are analyzsed from a comparative literature perspective that draws upon both borealism and the concept of the subaltern as an anti-intellectual voice of power as well as the idea that long-lasting political change is preceded by cultural change. The results suggest that Ultima Thule’s lyrical Other has gone from vague to distinct characterization. Ultima Thule also makes use of self-victimization when confronting journalism and intellectualism, much like the Sweden Democrats’ own view of themselves as political outcasts. Ultimately, the lyrics toe the party line and describe nationalists as an outcast Other in an alleged, politically correct, discourse.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84090006","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}

引用次数: 0

‘We were living the video revolution’: An interview with Emily Armstrong and Pat Ivers “我们生活在视频革命时代”:采访艾米丽·阿姆斯特朗和帕特·艾佛斯

Punk and Post-Punk Pub Date : 2021-08-19 DOI: 10.1386/punk_00111_7

M. Buszek

引用次数: 0

Authenticity in an insider-in ethnography of post-punk 后朋克民族志的真实性

Punk and Post-Punk Pub Date : 2021-08-18 DOI: 10.1386/punk_00107_1

R. Goldhammer

{"title":"Authenticity in an insider-in ethnography of post-punk","authors":"R. Goldhammer","doi":"10.1386/punk_00107_1","DOIUrl":"https://doi.org/10.1386/punk_00107_1","url":null,"abstract":"Authenticity is a central aim of ethnography, and an insider researcher is best placed to observe behaviour based on existing trust with their participants. As both a scholar of goth and a participant in the goth subculture, upon commencing his research Hodkinson noted his involvement in the scene as becoming ‘part of an extensive research project’ after years of participation. I have been the vocalist for 1919, an original post-punk band, since their reformation in 2014. The original post-punk era is usually considered to have taken place between 1978 and 1984, and was prolific for Yorkshire artists. However, I was born in 1990, and came of age as a music fan in the early 2000s. In simply answering an advert, I would be placed at the centre of a world that had existed before I did, and had survived through a mixture of nostalgia, reverence and advancements in information and communication technology. Hodkinson’s point of entry begs the question: how does someone like me, born in 1990, who although raised in Yorkshire was born in London, become an authentic researcher of 1980s Yorkshire? Not only that, but to be positioned as the kind of insider-in researcher – one who uses their position within a community to observe without the barriers of entry experienced by an outsider anthropologist – like Hodkinson.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"120 15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84065177","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}

引用次数: 0

‘The culture I identify with’: An interview with Gary Budden “我认同的文化”:加里·布登访谈

Punk and Post-Punk Pub Date : 2021-08-02 DOI: 10.1386/punk_00108_1

Rupert Loydell

引用次数: 0

Bone in the Throat: Video archiving and identity building within the Montreal hardcore scene 喉咙里的骨头:蒙特利尔硬核场景中的视频存档和身份建设

Punk and Post-Punk Pub Date : 2021-08-02 DOI: 10.1386/punk_00106_1

Olivier Bérubé-Sasseville

{"title":"Bone in the Throat: Video archiving and identity building within the Montreal hardcore scene","authors":"Olivier Bérubé-Sasseville","doi":"10.1386/punk_00106_1","DOIUrl":"https://doi.org/10.1386/punk_00106_1","url":null,"abstract":"During the 1990s and early 2000s, the Montreal hardcore scene was a vibrant, thriving and dynamic subculture with a strong sense of community. The generational and cyclical nature of such scenes has led, over the past two decades, to a significant crowd turnover with older people leaving and newcomers taking over. However, through the emergence of an Instagram account created by a man named Andy Chico Mak, its past memories are resurfacing. The recent dissemination of the Bone in the Throat series on social media, along with other archives including flyers, interviews and never-seen-before footage from the era, sparks a series of questions regarding the role and impact of archiving subcultures. Since the archival turn in social sciences, archives are considered as a reflexive and constitutive process of identity building and collective memory creating. In the case of subcultures, often overlooked by official heritage institutions, the importance of understanding archives as a site of cultural production is paramount. The collection and preservation of self-produced documents is key to scholars in order to understand the social and political dynamics at the heart of those communities. This article analyses the impact of years of video archives, gathered and organized through the work of Andy Chico Mak, in the process allowing the creation of collective memory and the development of ‘scene identity’. By relating to contemporary conversations about archiving subcultures, it also provides insight into the impact of new technologies and the creation of ‘subcultural collective memory’.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"149 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76622529","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}

引用次数: 0

Brains on the asphalt: Three punk expressions of crisis 沥青上的大脑:危机的三个朋克表达

Punk and Post-Punk Pub Date : 2021-07-16 DOI: 10.1386/PUNK_00105_1

Franko Burolo

引用次数: 0

Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema 在超现实主义与政治之间:1980年代东德地下电影中颠覆性身体艺术的探索

Punk and Post-Punk Pub Date : 2021-07-09 DOI: 10.1386/PUNK_00104_1

Cynthia D. Schulz

{"title":"Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema","authors":"Cynthia D. Schulz","doi":"10.1386/PUNK_00104_1","DOIUrl":"https://doi.org/10.1386/PUNK_00104_1","url":null,"abstract":"This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.","PeriodicalId":37071,"journal":{"name":"Punk and Post-Punk","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81985043","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}

引用次数: 0

Editorial 社论

Punk and Post-Punk Pub Date : 2021-06-01 DOI: 10.1386/punk_00089_2

Russell Bestley

引用次数: 0