Mike Dines
Originally from a working-class, market-trading, punk rock background, Mike joined the West Sussex Institute of Higher Education in the early 1990s, gaining a first class Honours degree in Music and Related Arts. Although a performer through-out his degree (he is a classical pianist), he decided that the road of musicology and analysis was for him; and so embarked on a Masters degree under the careful guidance of Professor David Osmond-Smith and Professor Julian Johnson at The University of Sussex. There, Mike looked at two fundamental areas of research; ‘Analytical Theory’, looking at the work of writers such as Heinrich Schenker and Rudolph Reti, and ‘Aesthetics and Ideology’, looking at the role of aesthetics (and music in particular) within the Western Philosophical Tradition.
Study at this level allowed Mike the freedom to combine his two passions: Kantian aesthetics and punk rock, and his MA thesis looked at the role of subversion (and, in particular, the music/ideals of the anarcho-punk band ‘Crass’) and the complex relationship between Kant’s notion of the sublime and the musical extremity of punk-rock. Leaving the University of Sussex, Mike taught A-Level music in a local college for a few years (where he gained his teaching certificate), and then received funding from the Economic and Social Research Council to complete a PhD under Professor Sheila Whiteley, at the University of Salford.
Following on from his research at Sussex, Mike continued to look at the anarcho-punk scene of the 1980s, this time raising questions concerning the role/position of the musical object within the ‘scene’, focusing on the way in which this later manifestation of punk subsequently appropriated (and re-contextualised) the political/subversive characteristics of anarchism from punk’s first-wave in the late-1970s. As such, Mike gained his PhD with the completion of a thesis titled ‘The Emergence of the Anarcho-Punk Scene of the 1980s’.
Mike continues to research into the subversive relationship between music and protest, with an edited Anthology of the anarcho-punk scene (and a number of papers) in the pipeline.
Supervisors: Prof Sheila Whiteley
Study at this level allowed Mike the freedom to combine his two passions: Kantian aesthetics and punk rock, and his MA thesis looked at the role of subversion (and, in particular, the music/ideals of the anarcho-punk band ‘Crass’) and the complex relationship between Kant’s notion of the sublime and the musical extremity of punk-rock. Leaving the University of Sussex, Mike taught A-Level music in a local college for a few years (where he gained his teaching certificate), and then received funding from the Economic and Social Research Council to complete a PhD under Professor Sheila Whiteley, at the University of Salford.
Following on from his research at Sussex, Mike continued to look at the anarcho-punk scene of the 1980s, this time raising questions concerning the role/position of the musical object within the ‘scene’, focusing on the way in which this later manifestation of punk subsequently appropriated (and re-contextualised) the political/subversive characteristics of anarchism from punk’s first-wave in the late-1970s. As such, Mike gained his PhD with the completion of a thesis titled ‘The Emergence of the Anarcho-Punk Scene of the 1980s’.
Mike continues to research into the subversive relationship between music and protest, with an edited Anthology of the anarcho-punk scene (and a number of papers) in the pipeline.
Supervisors: Prof Sheila Whiteley
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Con scritti di: Russ Bestley, Greg Bull, Justine Butler, Rich Cross, Mike Dines, The Free Association, Alastair ‘Gords’ Gordon, Matt Grimes, Alistair Livingstone, Chris Low, Willie Rissy, Francis Stewart e Peter Webb, precedentemente pubblicati in Gran Bretagna in:
* Tales from the punkside, edited by Mike Dines & Greg Bull (Itchy monkey press, 2014)
* Not Just bits of paper, edited by Greg Bull & Mickey Penguin (Perdam Babylonis Nomen Publications/Situation Press, 2015)
* Some of us scream, some of us shout, edited by Greg Bull & Mike Dines (Itchy monkey press, 2016)
* The Aesthetic of our anger, edited by Mike Dines & Matthew Worley (Autonomedia, 2014)
Una mappa dell'anarcopunk britannico che si estende oltre Londra, mostrando la varietà delle espressioni locali di una controcultura che, forse per prima, riuscì a raggiungere città e villaggi dell'intero territorio britannico; che si estende oltre la musica, dando spazio a esperienze personali, ad altre forme d'arte e ai molteplici modi di fare politica; che si estende oltre i Crass, che con il loro ruolo di padri fondatori della scena, rischiano di oscurarne le differenze interne.
"Londra, ma anche Belfast e Bristol, i centri industriali del Nord e la brughiera del sud'ovest. I dodici capitoli di questo volume, ciascuno scritto da chi ha vissuto la scena in prima persona, presentano per la prima volta tematiche spesso ignorate come il ruolo del punk nell'abbattimento delle divisioni confessionali nell'Irlanda del Nord, l'importanza delle zine nella formazione intellettuale dei giovani punk, le manifestazioni di Stop The City nella Londra del 1983, l'incontro/scontro con i minatori in sciopero, l'apporto del femminismo, dell'animalismo e i vicoli ciechi da cui non tutti sono riusciti a salvarsi.
The book you have before you began with a conversation I had with a mate of a mate. ‘You publish books, don’t you?’ my mate’s mate asked me one night. ‘There’s this bloke called Trev. He’s a mate of a mate and I know his partner Pam.’ I hadn’t really thought about publishing a book of poetry until then, and to be honest, I wasn’t really that bothered. Anyway, I told my mate’s mate to give his mate my email address so that he could pass it on to his mate and I never thought anything of it. Until about a fortnight later, when I had these poems sent to me accompanied by an apologetic email explaining that ‘if I wanted to do something with them I could’. You see, the writer of the poems – and obviously the sender of the email – Trevor Paviour wasn’t actually a ‘poet’ as such. He hadn’t had anything published before and he just wrote this stuff down as it came into his head. I read the first few poems and couldn’t believe what I was reading. I asked him for some more and, ever since, I’ve had a steady stream of poetry hitting my inbox every few months.
From Trev’s poems, I thought about gathering those who I feel resonate with what is happening in our current social and political climate. I’d already published Laura Way’s poetry in Tales From the Punkside, so I hoisted her out of my Dropbox folder. The same book had been designed by a good mate of mine – Russ Bestley – who is also lead singer of the Portsmouth-based post-punk band Watch You Drown, and I cajoled him into including some of his lyrics. After that, I put a post out on Facebook, and along came Ashleigh Stewart, Stephen Spencer-Fleet and Frank Rafferty. I was then pushed in the direction of Chris Dibnah and Henry Raby by a good mate of mine, and then met Del Blyben at a festival last year. In fact, it was the same festival where I asked Doghouse (aka Jason Mark Walsh) if he would like to contribute. Laura Taylor and Tom McNair were already on board by that point, too. I’d seen Tim perform his poem in the middle of Stonehenge at the summer solstice in 2016 and immediately wanted to publish it. And Laura Taylor: What better references could you get? I first read her poetry in the ‘gutter’ press: the inimical Class War and wrote to her. Not only was it great to see CW back in print it was great to read Laura’s poetry. So, I got these guys together, and was just about to send the book to the publisher when I bumped into Steve Micalef at a posh academic-type do in London. I bought his book of poetry, The Punk Kings of Dyslexia and couldn’t help but ask him if he wanted to be involved. And so last, but not least, Steve joined this motley crew of wordsmiths and vagabonds.
I hope you will enjoy the contents of this compilation. I’ve read through these poems many times, and each time I read something new. First up, I would like to thank Trev and Pam for being the inspiration in putting this book together. Secondly, I would like to thank all those who have allowed me to publish their work. It is rather humbling to work with those who have contributed; obviously without them you would not be holding this book in your hand. Next, I’d like to thank Sarah Dryden and Sam Dines for the photography that accompanies the text: evocative images that were shot on location in the Western desert of the USA and the Scottish Hebrides. The images specifically speak of home, nostalgia and memory. I would also like to thank Russ Bestley who has put a lot of work into designing this book. He has designed most of the Itchy Monkey Press titles and without him we would not be able to get this stuff out there. Last but not least, thanks to the kids: Eric, Spike and Little Bear (the Hair Bear Bunch).
Mike Dines (Portsmouth, 2018)
The book you have before you is the third in the Tales From the Punkside series; a collection of books whose main concern was providing a space for the stories, anecdotes and various other shenanigans for those persons rarely heard in the punk movement. Books are often written by – or about – those who have some kind of ‘status’ in punk circles. I don’t mean that in a derogative sense; after all, status is often thrust upon those concerned. Instead, I mean that there has been hundreds, nay thousands, of books written with ‘leading’ musicians, artists and activists in mind. Many would argue that those books reached saturation point a long time ago. (If you want to ask the opinion of say, Dick Lucas you merely email the guy or ask him at a gig). And All Around Was Darkness then, alongside Some of Us Scream, Some of Us Shout (and the sister volume Not Just Bits of Paper) continues to highlight the egalitarian nature of punk.
As with previous books in the series, And All Around Was Darkness presents a variety of narratives. Lucy Robinson’s academic-led chapter on Greenham Common sits alongside Francis’ Stewart’s ‘The Stranger in the Pit: Women, Animal Advocacy and Anarcho-Punk.’ Ted Curtis’ characteristic prose accompanies TS Paviour’s insightful poetry on religion, democracy and the daily grind. Woven in between we have the stories and recollections, from gluing the locks on the local school to the Mob touring in Finland. There is, thankfully, still a naivety over the writing. As editors Greg and I have ensured that we have edited sparingly throughout, meaning that idiosyncrasies remain. This is, after all, not a ‘polished,’ internationally published tome.
Greg and I hope you enjoy this current anthology. Special thanks always to Russ Bestley for designing the book. Thanks to Sarah Dryden for the superb front cover. And thanks to the each and every contributor for giving their time in putting pen to paper. But most of all, thanks to you, the reader, in buying this book.
Mike Dines
Portsmouth, 2017
This work is the first in a series entitled ‘Lost Academic Writings on Punk.’ Drawn from an undergraduate dissertation written in the mid-1990s, Alastair Gordon’s Crass Reflections is informative on a number of different levels. For a start, it is evidence that there was research on Crass and anarcho-punk before the contemporary plethora of writing on this diverse and fascinating scene.
Secondly, the resurgence of recent interest in the anarcho-punk of the 1980s means that the modern reader has a choice of a number of different books, articles and interviews to peruse. On the other hand, Crass Reflections remains an artefact of pre-Internet research. It highlights the difficulties that researchers
of anarcho-punk had in joining the dots and getting beneath the surface of the ethos, philosophy and aesthetic of the scene. Lastly, and as outlined in the introduction, the editors have been faithful to the original. This means that although some of the ideas may seem rather naïve is our global ‘all-seeing’ digital age, it is, nonetheless one of the first works that attempted to decipher to
music of this era: and it is arguably what makes Crass Reflections a fascinating and important read.
I would also like to take this opportunity to ask any writers who would like to be part of this series to get in touch. To attempt a complete overview of any subculture all narratives need to be considered, examined and heard.
Onwards and Upwards!
Mike Dines
Itchy Monkey Press
May 2016
Although the PSN is aware of the academic reputation of publishing post-doctoral work, it also recognises the importance that postgraduate research has in keeping research in this area relevant. Therefore, the First International Postgraduate Symposium was a means of bringing together an international array of scholars who are currently researching and writing in this area. The central task of this work, therefore, is to provide a space for postgraduates to publish work that is on going but is also of a high academic standard. More specifically, each chapter adopts an essentially analytical perspective so as to raise questions initially over the international punk scene, including its form, structure and cultural significance.
Journal Articles/Book Chapters/Reports by Mike Dines
Chapter entitled How Much Longer? Punk Styles, Punk Aesthetics, Punk Conventions, published by Itchy Monkey Press, Portsmouth, Summer 2017, pp.188-207. ISBN 978-1-291-74025-7
P-Orridge’s awareness of the occult and pagan ritual was integral to forming Psychic TV, and was also central to the simultaneous formation of the Thee Temple ov Psychick Youth (TOPY), an organization that was to become the magickal and philosophical wing of Psychic TV, and which subsequently led to the incorporation of magick, occultism and ritual into their music and multimedia productions. Using the Psychic TV’s debut album, Force the Hand
of Chance (1982) as an investigative framework, this chapter seeks to investigate, scrutinize and illuminate Psychic TV’s past and ongoing relationship with magick, occultism, mysticism and paganism. Through a semiotic and discursive analysis of Psychic TV and TOPY’s multimedia texts, performances, rituals and interviews, this chapter unpacks the significance of magick, occultism and ritual in asserting Psychic TV’s occupying of an interesting ‘cult’ural and philosophical space between music, performance art and the practice and
exposition of ‘chaos magick’.
Con scritti di: Russ Bestley, Greg Bull, Justine Butler, Rich Cross, Mike Dines, The Free Association, Alastair ‘Gords’ Gordon, Matt Grimes, Alistair Livingstone, Chris Low, Willie Rissy, Francis Stewart e Peter Webb, precedentemente pubblicati in Gran Bretagna in:
* Tales from the punkside, edited by Mike Dines & Greg Bull (Itchy monkey press, 2014)
* Not Just bits of paper, edited by Greg Bull & Mickey Penguin (Perdam Babylonis Nomen Publications/Situation Press, 2015)
* Some of us scream, some of us shout, edited by Greg Bull & Mike Dines (Itchy monkey press, 2016)
* The Aesthetic of our anger, edited by Mike Dines & Matthew Worley (Autonomedia, 2014)
Una mappa dell'anarcopunk britannico che si estende oltre Londra, mostrando la varietà delle espressioni locali di una controcultura che, forse per prima, riuscì a raggiungere città e villaggi dell'intero territorio britannico; che si estende oltre la musica, dando spazio a esperienze personali, ad altre forme d'arte e ai molteplici modi di fare politica; che si estende oltre i Crass, che con il loro ruolo di padri fondatori della scena, rischiano di oscurarne le differenze interne.
"Londra, ma anche Belfast e Bristol, i centri industriali del Nord e la brughiera del sud'ovest. I dodici capitoli di questo volume, ciascuno scritto da chi ha vissuto la scena in prima persona, presentano per la prima volta tematiche spesso ignorate come il ruolo del punk nell'abbattimento delle divisioni confessionali nell'Irlanda del Nord, l'importanza delle zine nella formazione intellettuale dei giovani punk, le manifestazioni di Stop The City nella Londra del 1983, l'incontro/scontro con i minatori in sciopero, l'apporto del femminismo, dell'animalismo e i vicoli ciechi da cui non tutti sono riusciti a salvarsi.
The book you have before you began with a conversation I had with a mate of a mate. ‘You publish books, don’t you?’ my mate’s mate asked me one night. ‘There’s this bloke called Trev. He’s a mate of a mate and I know his partner Pam.’ I hadn’t really thought about publishing a book of poetry until then, and to be honest, I wasn’t really that bothered. Anyway, I told my mate’s mate to give his mate my email address so that he could pass it on to his mate and I never thought anything of it. Until about a fortnight later, when I had these poems sent to me accompanied by an apologetic email explaining that ‘if I wanted to do something with them I could’. You see, the writer of the poems – and obviously the sender of the email – Trevor Paviour wasn’t actually a ‘poet’ as such. He hadn’t had anything published before and he just wrote this stuff down as it came into his head. I read the first few poems and couldn’t believe what I was reading. I asked him for some more and, ever since, I’ve had a steady stream of poetry hitting my inbox every few months.
From Trev’s poems, I thought about gathering those who I feel resonate with what is happening in our current social and political climate. I’d already published Laura Way’s poetry in Tales From the Punkside, so I hoisted her out of my Dropbox folder. The same book had been designed by a good mate of mine – Russ Bestley – who is also lead singer of the Portsmouth-based post-punk band Watch You Drown, and I cajoled him into including some of his lyrics. After that, I put a post out on Facebook, and along came Ashleigh Stewart, Stephen Spencer-Fleet and Frank Rafferty. I was then pushed in the direction of Chris Dibnah and Henry Raby by a good mate of mine, and then met Del Blyben at a festival last year. In fact, it was the same festival where I asked Doghouse (aka Jason Mark Walsh) if he would like to contribute. Laura Taylor and Tom McNair were already on board by that point, too. I’d seen Tim perform his poem in the middle of Stonehenge at the summer solstice in 2016 and immediately wanted to publish it. And Laura Taylor: What better references could you get? I first read her poetry in the ‘gutter’ press: the inimical Class War and wrote to her. Not only was it great to see CW back in print it was great to read Laura’s poetry. So, I got these guys together, and was just about to send the book to the publisher when I bumped into Steve Micalef at a posh academic-type do in London. I bought his book of poetry, The Punk Kings of Dyslexia and couldn’t help but ask him if he wanted to be involved. And so last, but not least, Steve joined this motley crew of wordsmiths and vagabonds.
I hope you will enjoy the contents of this compilation. I’ve read through these poems many times, and each time I read something new. First up, I would like to thank Trev and Pam for being the inspiration in putting this book together. Secondly, I would like to thank all those who have allowed me to publish their work. It is rather humbling to work with those who have contributed; obviously without them you would not be holding this book in your hand. Next, I’d like to thank Sarah Dryden and Sam Dines for the photography that accompanies the text: evocative images that were shot on location in the Western desert of the USA and the Scottish Hebrides. The images specifically speak of home, nostalgia and memory. I would also like to thank Russ Bestley who has put a lot of work into designing this book. He has designed most of the Itchy Monkey Press titles and without him we would not be able to get this stuff out there. Last but not least, thanks to the kids: Eric, Spike and Little Bear (the Hair Bear Bunch).
Mike Dines (Portsmouth, 2018)
The book you have before you is the third in the Tales From the Punkside series; a collection of books whose main concern was providing a space for the stories, anecdotes and various other shenanigans for those persons rarely heard in the punk movement. Books are often written by – or about – those who have some kind of ‘status’ in punk circles. I don’t mean that in a derogative sense; after all, status is often thrust upon those concerned. Instead, I mean that there has been hundreds, nay thousands, of books written with ‘leading’ musicians, artists and activists in mind. Many would argue that those books reached saturation point a long time ago. (If you want to ask the opinion of say, Dick Lucas you merely email the guy or ask him at a gig). And All Around Was Darkness then, alongside Some of Us Scream, Some of Us Shout (and the sister volume Not Just Bits of Paper) continues to highlight the egalitarian nature of punk.
As with previous books in the series, And All Around Was Darkness presents a variety of narratives. Lucy Robinson’s academic-led chapter on Greenham Common sits alongside Francis’ Stewart’s ‘The Stranger in the Pit: Women, Animal Advocacy and Anarcho-Punk.’ Ted Curtis’ characteristic prose accompanies TS Paviour’s insightful poetry on religion, democracy and the daily grind. Woven in between we have the stories and recollections, from gluing the locks on the local school to the Mob touring in Finland. There is, thankfully, still a naivety over the writing. As editors Greg and I have ensured that we have edited sparingly throughout, meaning that idiosyncrasies remain. This is, after all, not a ‘polished,’ internationally published tome.
Greg and I hope you enjoy this current anthology. Special thanks always to Russ Bestley for designing the book. Thanks to Sarah Dryden for the superb front cover. And thanks to the each and every contributor for giving their time in putting pen to paper. But most of all, thanks to you, the reader, in buying this book.
Mike Dines
Portsmouth, 2017
This work is the first in a series entitled ‘Lost Academic Writings on Punk.’ Drawn from an undergraduate dissertation written in the mid-1990s, Alastair Gordon’s Crass Reflections is informative on a number of different levels. For a start, it is evidence that there was research on Crass and anarcho-punk before the contemporary plethora of writing on this diverse and fascinating scene.
Secondly, the resurgence of recent interest in the anarcho-punk of the 1980s means that the modern reader has a choice of a number of different books, articles and interviews to peruse. On the other hand, Crass Reflections remains an artefact of pre-Internet research. It highlights the difficulties that researchers
of anarcho-punk had in joining the dots and getting beneath the surface of the ethos, philosophy and aesthetic of the scene. Lastly, and as outlined in the introduction, the editors have been faithful to the original. This means that although some of the ideas may seem rather naïve is our global ‘all-seeing’ digital age, it is, nonetheless one of the first works that attempted to decipher to
music of this era: and it is arguably what makes Crass Reflections a fascinating and important read.
I would also like to take this opportunity to ask any writers who would like to be part of this series to get in touch. To attempt a complete overview of any subculture all narratives need to be considered, examined and heard.
Onwards and Upwards!
Mike Dines
Itchy Monkey Press
May 2016
Although the PSN is aware of the academic reputation of publishing post-doctoral work, it also recognises the importance that postgraduate research has in keeping research in this area relevant. Therefore, the First International Postgraduate Symposium was a means of bringing together an international array of scholars who are currently researching and writing in this area. The central task of this work, therefore, is to provide a space for postgraduates to publish work that is on going but is also of a high academic standard. More specifically, each chapter adopts an essentially analytical perspective so as to raise questions initially over the international punk scene, including its form, structure and cultural significance.
Chapter entitled How Much Longer? Punk Styles, Punk Aesthetics, Punk Conventions, published by Itchy Monkey Press, Portsmouth, Summer 2017, pp.188-207. ISBN 978-1-291-74025-7
P-Orridge’s awareness of the occult and pagan ritual was integral to forming Psychic TV, and was also central to the simultaneous formation of the Thee Temple ov Psychick Youth (TOPY), an organization that was to become the magickal and philosophical wing of Psychic TV, and which subsequently led to the incorporation of magick, occultism and ritual into their music and multimedia productions. Using the Psychic TV’s debut album, Force the Hand
of Chance (1982) as an investigative framework, this chapter seeks to investigate, scrutinize and illuminate Psychic TV’s past and ongoing relationship with magick, occultism, mysticism and paganism. Through a semiotic and discursive analysis of Psychic TV and TOPY’s multimedia texts, performances, rituals and interviews, this chapter unpacks the significance of magick, occultism and ritual in asserting Psychic TV’s occupying of an interesting ‘cult’ural and philosophical space between music, performance art and the practice and
exposition of ‘chaos magick’.
To be honest, this turned out to be a bit of an odd interview. Three days earlier to meeting Phil, JJ and Trev on a sunny afternoon in the ‘Our Black Heart’ pub in Camden, London, they had announced that SLUG were no more. Posting a pensive-looking shot of them sitting on Brighton beach (very tongue-in-cheek) the band had decided to move on to other projects. At first, I wondered whether they would cancel the interview, but was relieved to find they still wanted to meet. It was also odd in meeting Phil again for the first time in just over 15 years. In a previous life I had taught him music in a college in Portsmouth. Although at home I listened to Crass, Culture Shock and other noisy shenanigans, I taught Schubert, Mozart and Debussy, all of which are a far cry from the stuff that Phil plays today.
Formed in London, UK, SLUG consisted of Brickett on vocals, JJ on guitar and vocals, Campos on Bass, Phil on guitar and vocals, and Trev on drums. With members from Active Slaughter (JJ and Trev) and Bug Central (Trev), the band played fast, aggressive punk, dealing with subjects such as animal rights, Britain First and class war. Discography includes the album Detect, Denounce, Destroy (2014) and the split Echoes of the Past…Reverberate into Our Future (2014) with Piss on Authority. I started with the obvious….
Me: Pleased to meet you all. Would you like to introduce yourselves?
JJ: Normally I answer ‘no comment’ [Laughs]. JJ, guitarist of SLUG, and Trev sitting next to me, we started the band three years ago, a few weeks before Phil joined. For about 10 years we both used to be in a band called Active Slaughter. So we started SLUG and then we dragged in Phil and Sam and a fella called Bruce who was in a band called Bug Central, which used to be Trev’s band as well. Bruce stayed for about 6 months and then left and we brought in Campo on bass.
Phil: I’m Phil, I play guitar in SLUG. I met the other members in a squat called Kernels, in South London. That was roughly about five years ago. Me and the singer [Bricket] joined the band about three years ago with the guys sitting with me. Yeah, and I’m from Pompey.
Me: Thanks. I’ve been listening to your album Detect, Denounce, Destroy, and I particularly like tracks such as ‘Class War,’ ‘Shoot to Kill’ and ‘To The End.’ I’d really like your thoughts on definition and thought I’d start with a loaded question: do you see yourself as an ‘anarcho-punk’ band?
Trev: Personally, I have real trouble with the whole ‘naming’ everything different ‘sub-genres.’ I know, I understand, why people do it, but personally, I don’t like labels.
Within this paper, I wish to explore the idea of Nada Brahma within the rather unusual context of the American-based straightedge punk subgenre termed as ‘Krishnacore’. Here, punk musicians and writers fused together the transcendental nature of the oral, with the characteristics of Western punk music, amalgamating the Indian-based, Vedic spirituality of the Hare Krishna movement with the fast, ‘aggressive’ musical stylistics of punk rock. As such, lyrical subject matter became infused with prayer, and the punk rock stage became a podium for preaching Krishna Consciousness. Subsequently, instead of Vedic scripture being expressed within the traditional form of Indian devotional song – such as ‘bhajan’ or ‘kirtan’ – the talk of saranagati (surrender), of reincarnation, and even sacred mantras, were now espoused within a punk rock aesthetic.
I will briefly trace the path of Krishnacore from its roots in American straightedge, looking specifically at the ways in which many of the core principals of the Hare Krishna movement also lent themselves towards a synchronicity with a subculture such as straightedge. Afterword, through an analysis of lyrical content and musical stylistic, I will explore the complex relationship between Nada Brahma and the apparent transcendence of the divine beyond cultural and musical boundaries: looking to find the expression of an Indian theology within a non-traditional setting such as punk rock. In conclusion, I wish to highlight the way in which the sonic/oral tradition of the Vedas has fed through to modern times, providing an extraordinary and remarkable basis of expression in an American subculture such as straightedge punk rock.
All of the authors are interested in this debate as performers as well as teachers and researchers in higher education, and we greatly welcome the opportunity to contribute to the vital discussion around music venues in the UK.
Free and open to all, book here
Lecture Theatre C
This symposium will explore the relationship between punk scholarship and a range of pedagogic practices, from graphic design to visual communication, music, politics and cultural theory. It reflects upon the possibilities, practices, and implications of ‘punk pedagogies’, following a recent spike in interest and paper publications around this subject. It can also be seen partly as a response to a contemporaneous surge of political activity in the UK, US, and other Western nations, where education – especially higher education – is becoming increasingly embroiled in heated discussions around its aims, utility, and politics. Featuring speakers from a range of disciplines spanning visual communication, musicology, performance, music production and pedagogy, the symposium aims to explore punk pedagogies, above all, as ways of re-engaging with the humanity, humility, vigour, and vitality that educators know are at the heart of their purpose and function in society.
Speakers
Mike Dines, Independent Scholar, Punk Scholars Network, Editor: Punk Pedagogies: Music, Culture and Learning, Co-editor Punk & Post-Punk
Tom Parkinson, Centre for the Study of Higher Education, University of Kent, Editor: Punk Pedagogies: Music, Culture and Learning
Russ Bestley, Reader in Graphic Design, London College of Communication, Graphic Subcultures Research Hub, Punk Scholars Network, Author: The Art of Punk, Lead Editor Punk & Post-Punk
Matt Grimes, Senior Lecturer in Music Industries and Radio, Birmingham School of Media, Birmingham City University, Punk Scholars Network
Shara Rambarran, Independent Scholar and Freelance Writer, Editor: The Routledge Research Companion to Popular Music Education and The Oxford Handbook of Music and Virtuality
Image credit
Dylan Smith, G, Dines, M & Parkinson, T (2017), Punk Pedagogies: Music, Culture and Learning, London: Taylor & Francis. Book cover, designed by Russ Bestley.
Keep It Simple, Make It Fast!
Gender, differences, identities and DIY cultures
Summer School ‘What difference do DIY cultures make?’
3-7 July 2018
The KISMIF Conference offers a unique forum where participants can discuss and share information about underground cultures and DIY practices. KISMIF focuses on cultural practices that are often pitched against more mainstream, mass-produced and commodified forms of cultural production. Aligned with this is an anti-hegemonic ideology focused around aesthetic and lifestyle politics. KISMIF is the first and so far, only conference to examine the theory and practice of underground DIY cultures as an increasingly significant form of cultural practice in a global context. The conference has a multidisciplinary approach, welcoming contributions from the global community of scholars and activists working on all aspects of underground scenes and DIY cultures, and based on various methodologies — quantitative, qualitative and mixed-methods analysis. The goal is to discuss not only music but also other artistic fields such as film and video, graffiti and street art, theatre and the performing arts, literature and poetry, radio, programming and editing, graphic design, illustration, cartoon and comic fiction.
http://www.kismifconference.com/en/
A Summer School “Mappin' Your Own Underground!” tem como objetivo fornecer aos estudantes interessados um relevante feedback sobre os seus projetos de investigação e oferecer-lhes conhecimentos e competências práticas para construírem trajetórias profissionais e académicas bem sucedidas.
Em 2016, a KISMIF Conference centra-se novamente na música underground, orientando o seu enfoque analítico para a análise das culturas DIY e sua relação com o espaço, o território e os lugares. Assim, desafiam-se estudantes, professores investigadores juniores e seniores, mas também artistas e ativistas, a apresentarem na KISMIF International Conference 2016 trabalhos que explorem o potencial do desenvolvimento teórico e analítico do cruzamento entre as cenas musicais, a cultura DIY e o espaço sob uma visão pluridimensional e pluriforme, de forma a enriquecer a análise das cenas musicais underground e das culturas DIY com o desenvolvimento da teoria social aos mais diversos níveis e esferas disciplinares, considerando a importância charneira que as culturas DIY têm num contexto de modernidade tardia e num momento de uma severa crise societal contemporânea.
Com efeito, é hoje por demais relevante a importância - neste mundo em mudança fragmentada - que a música e as culturas DIY têm. Mais, grande parte das mudanças que se têm operado no mundo contemporâneo, resultam notadamente da emergência de espaços, de zonas, de cenas locais, translocais e virtuais. O espaço, os espaços, os lugares, as fronteiras, as zonas são, assim, variáveis críticas na abordagem das culturas contemporâneas, dos seus sons, das suas práticas (artísticas, culturais, económicas e sociais), dos seus atores, dos seus contextos. Numa perspectiva pós-colonial, também de glocalização, importa equacionar a mudança nas práticas artísticas e musicais de natureza underground e traçar-lhe fronteiras simbólicas, lugares de acomodação, espaços de apropriação, locais de resistência, modalidades de funcionamento, economias de sobrevivência e agências alternativas ao capitalismo avançado. Territorialização e desterritorialização são marcas indeléveis das cenas artísticas e musicais no presente, são também referentes imediatos de cosmopolitismos, de diásporas, de novas relações de poder, de género, de etnias. À semelhança das edições anteriores da KISMIF Conference, pretendemos acolher contributos reflexivos que considerem a pluralidade de manifestações DIY nos mais diversos campos culturais, artísticos e criativos – indo, por isso, para além da música, e considerando campos artísticos como o cinema e vídeo, o graffiti e a street art; o teatro e as artes performativas; a literatura e a poesia; a rádio, a programação e a edição; o design gráfico, a ilustração, o cartoon e a banda desenhada; entre outros.
Em 2016, o estimulante programa científico da KISMIF Conference será novamente acompanhado por um programa social e cultural diversificado, consubstanciado por um conjunto de eventos artísticos, com especial enfoque na música underground e noutras expressões artísticas. Pretende-se, assim, propiciar a todos os participantes uma experiência singular ao nível das culturas DIY presentes em Portugal, no Porto e nas suas diásporas singulares.
O Congresso será sucedido por uma Summer School – intitulada “Mappin' Your Own Underground!” – que irá realizar-se no dia 22 de julho 2015, na Faculdade de Letras da Universidade do Porto. A Summer School irá oferecer uma oportunidade a todos os estudantes, incluindo aqueles que participem no Congresso, de discutir as suas investigações em seminários liderados por professores e investigadores relevantes neste campo de investigação (para mais informações acerca da Summer School, visite a página www.kismifconference.com).
The KISMIF Conference 2016 is once again focused on underground music, directing its attention this time towards the analysis of DIY cultures’ relationship to space and places. Thus, we challenge students, junior and senior teachers/researchers, as well as artists and activists, to come to the KISMIF International Conference and present works which explore the potential of the theoretical and analytical development of the intersection of music scenes, DIY culture and space under a multidimensional and multifaceted vision. We hope with this to enrich the underground scenes and DIY cultures analysis by producing innovative social theory on various spheres and levels, as well as focusing on the role of DIY culture in late modernity.
Indeed, the role of music and DIY cultures is once more an important question – taking place in a world of piecemealed yet ever-present change. The space, spaces, places, borders, zones of DIY music scenes are critical variables in approaching contemporary cultures, their sounds, their practices (artistic, cultural, economic and social), their actors and their contexts. From a postcolonial and glocalized perspective, it is important to consider the changes in artistic and musical practices with an underground and/or oppositional nature in order to draw symbolic boundaries between their operating modalities and those of advanced capitalism. Territorialization and deterritorialization are indelible marks of the artistic and musical scenes in the present; they are related to immediate cosmopolitanisms, to conflicting diasporas, new power relations, gender and ethnicity. As in previous KISMIF Conferences, it is our intention to welcome reflexive contributions which consider the plurality that DIY cultural practices demonstrate in various cultural, artistic and creative fields and to move beyond music in considering artistic fields like film and video, graffiti and street art, the theater and the performing arts, literature and poetry, radio, programming and editing, graphic design, illustration, cartoon and comics, as well as others.
In 2016, the stimulating scientific KISMIF Conference program will once again be accompanied by a diverse social and cultural program, embodied by a series of artistic events, with special focus on underground music and other artistic expressions. The aim is to provide a unique experience in terms of the DIY cultures present in Portugal, Porto and its unique diasporas.
The conference will be followed by a summer school entitled “Mappin' Your Own Underground!” on 22nd July 2015 in Faculty of Arts and Humanities of University of Porto. The summer school will offer an opportunity for all students, including those participating in the conference, to attend specialist master classes and discuss their research in seminars led by top academics in the field (for more information about Summer School click here www.kismifconference.com).
The Summer School “Mappin' Your Own Underground!” seeks to grant students with valuable feedback on their research projects, as well as share knowledge on how to achieve successful professional carreers, through practical know-how and scientific expertise.
Keep It Simple, Make It Fast! DIY Cultures, Spaces and Places
Summer School Mappin' Your Own Underground!
CALL FOR PAPERS
Abstracts Submission
From 01 January 2016 to 22 March 2016.
Dates:
Warm Up and Registration: 17 July 2016
KISMIF International Conference: 18 – 21 July 2016
KISMIF Summer School: 22 July 2016
Places:
Faculty of Arts and Humanities of the University of Porto
Casa da Música
TM Rivoli
Palacete Viscondes Balsemão
Edifício Montepio
Keynotes confirmed: Andy Bennett, Catherine Strong, Gina Arnold, Lucy Robinson, Peter Webb, Samantha Bennett
KISMIF Convenors: Andy Bennett and Paula Guerra
KISMIF Scientific Committee: Alastair Gordon, Andy Bennett, Augusto Santos Silva, Carles Feixa, George McKay, Guilherme Blanc, Heitor Alvelos, João Queirós, José Machado Pais, Júlio Dolbeth, Manuel Loff, Mark Percival, Matthew Worley, Mike Dines, Nick Crossley, Paul Hodkinson, Paula Abreu, Paula Guerra, Pedro Costa, Rui Telmo Gomes, Samantha Bennett and Will Straw.
KISMIF Executive Committee: Ana Oliveira, Esgar Acelerado, Carlos Ramos (Nico Nicotine), Gil Fesch, João Queirós, Miguel Januário, Paula Abreu, Paula Guerra, Pedro Costa, Pedro Miguel Ferreira, Pedro Quintela, Rodrigo Almeida, Rui Telmo Gomes, Susana Januário and Tânia Moreira.
The conference committee invites all academics and university professionals, composers, musicologists and practitioners with a special interest in the relationship between the sacred and popular music to submit proposals related specifically to this issue.
We are especially interested in the variety of approaches to the subject, and these may include, but not restricted by:
• Role of religion in lives of artists within the popular music genre
• The incorporation of popular music in sacred ceremonies
• Religious metaphor in popular music
• Incorporation of religion within popular music practice
• Fandom as a form of worship
• Divinity and rock stardom (rock stars’ homes as sites of pilgrimage, etc)
• Pop memorabilia as holy relics
Presentations may consist of individual papers (20 minutes) and lecture-recitals (40 minutes).
Those interested are encouraged to send proposals up to 500 words (excluding musical examples) via email to Georgina Gregory or Mike Dines at GGregory@uclan.ac.uk and mike.dines@icmp.co.uk. Please include one page of biography.
In addition, proposals should also include the following details:
▪ Full title of the paper
▪ Full name, contact details (email address, telephone number, postal address), and institutional affiliation (if any)
▪ Audio/visual requirements
The committee’s decision will be announced by the beginning of July at the latest.
Punk Scholars Network 5th Annual Conference and Postgraduate Symposium.
De Montfort University Leicester, December 13-14th 2018
Hosted by the Punk Scholars Network in conjunction with the International Association of Metal Music Studies, the Journal of Punk and Post-Punk, the Journal of Metal Music Studies, Media and Communication Research Centre and Intellect Books.
Metal and punk cultures have long shared musical and cultural similarities. From Motörhead’s ubiquitous global presence, and the complex amalgam of Thrash Metal, Doom Metal, American Hardcore, Straight Edge, Japanese-based Burning Spirits, Black Metal, and DiY cultural production, one can see a plethora of hybridised and reinterpreted global music scenes. Indeed, the pervasive influence of metal and NWOBHM from the mid-1980s onwards has had an irreversible and notable effect on both punk and metal musical and cultural aesthetics (see Glasper, forthcoming, 2018).
In spite of their broadly separate academic literatures, from their competing inceptions in the mid to late-1970s, punk and metal music studies have shared common historical theoretical and methodological approaches; yet no significant critical reflection of these research crossovers has been undertaken to date. The principle aim of this interdisciplinary conference is to critically reflect upon points of similarity, difference and hybridity in global punk and metal subcultures.
The Punk Scholars Network and The International Association of Metal Music Studies would like to invite new and established scholars in punk and metal music studies to critically interrogate such similarities and differences and to share their research: not every paper needs to discuss both punk and metal but simply by presenting research on the same panels to a mixed audience will allow a unique opportunity for researchers to cross perceived genre boundaries and learn from each others methodologies and trajectories.
Topics of interest for submission include, but are not limited to:
Metal and/or punk histories
Genre boundaries
Cross genre authenticities
Gender, hegemony in metal and/or punk cultures
Ethics/moral codes: differences and similarities in metal and/or punk cultures
Ethnicities and contested identities in metal and punk
Geographies, crossover and hybridity in punk and metal music scenes
Crossovers between metal and/or punk
Aesthetic crossovers in local and global punk/metal scenes
Political narratives in punk and metal music
‘Negatologies’: bullying, marginalisation, drugs and violence in punk and/or metal cultures (Gordon, 2018)
Conceptual crossover and difference
The aesthetics of virtuosity and simplicity in metal and punk
The curation of punk and metal bands on festival bills
Legacies
Hybrid cultures, audience research and ethnographies of metal and/or punk cultures
The policy and political economy of metal and punk record labels
Musical production, instrumentation and aesthetics
Art and design in metal and/or punk
Abstracts of no more than 250 words should be sent to the following link by September 16th 2018
metalpunkDMU@gmail.com
CALL FOR PAPERS: Punk NOW!!
Following the dynamic emergence of punk in the UK, USA and Europe in the 1970s, the subculture spread widely. As punk and new wave gained commercial and critical success, together with an attractive notoriety, it soon began an ongoing journey around the globe – both as a product and as an ideology. Punk, then, despite its omnipresence in contemporary underground and popular cultures, is clearly more than legacy music. More than forty years after the proto-punk progenitors of Detroit and New York unconsciously launched an underground revolution, to continue what some of the 60’s and 70’s anarchic counter culture propagated, and after untold premature obituaries, it appears that punk – in terms of music, philosophy, and identity – remains in rude health.
Punk scenes continue to thrive as far afield as Russia, South America, India, Pakistan, China, Japan, Eastern Europe, Africa, the Middle East and Indonesia – 2011 saw the first official record release from a Saudi Arabian punk band, Sound of Ruby, while other scenes have established their mark in Madagascar, Algeria, Uzbekistan, Kyrgyzstan, even Tibet and the Himalayas. Meanwhile, nearer to home, an underground punk scene never actually went away and continues to ‘mutate and survive’– ranging from the continued support for longstanding bands and scenes, to the network of emerging small-scale gigs, fanzines, music distribution, (sub)cultural and political activities of a truly cross-generational subculture.
This joint conference and postgraduate symposium seeks to illuminate the current landscape of contemporary punk in all of its global, musical, political and (sub) cultural manifestations. Suggested topics include (but are not limited to)
· International/national contemporary punk scenes and networks
· Contemporary punk and politics
· Contemporary punk and gender
· Subcultural scenes, tribes and neo-tribes informed/influenced by punk
· Contemporary punk identity
· The Design and Aesthetics of Contemporary Punk
· Contemporary punk fanzines and digital publishing
· Ageing in a contemporary punk scene
· The old and the new; inter/intra generational scenes, retro scenes, controversy and tensions.
· Fan practices in contemporary punk;
· Contemporary punk as resistance
· Contemporary punk music: Musicology, performance, new genres and hybridization
· Punk commodities and consumerism: From the role of the boutique to the online punk distro
· Contemporary punk and digital media; digital production, distribution and consumption. DiY media, YouTube, social media.
· Punk for Sale: New genres and hybrid musical developments in punk musical aesthetics
The programme will consist of keynote speakers (tbc) and a number of thematically grouped panels for both academics and postgraduates. By creating a dual purpose to the conference the Punk Scholars Network aims to bring together established academics and the next generation of punk scholars in a supportive and colloquial environment, which we hope will encourage networking opportunities, ideas exchange and potential future research collaborations.
Post graduates and graduates can present work-in-progress papers on their PhD thesis, Master’s dissertation or graduate dissertation.
Alongside this the organisers plan to have an art exhibition exploring the visual identity of contemporary punk and live music from Birmingham’s resilient punk scene.
Each paper should last no more than 20 minutes and proposals should be submitted in the form of an abstract of c.250 words. All proposal submissions should also include:
§ Full title of the paper
§ Full name, contact details, 150 word biography and institutional affiliation
§ Your academic status-post graduate/graduate or ‘established’ academic (this is for the purpose of panel allocation)
§ Any requirements (projector, CD/DVD player, OHP, etc)
Deadline for receipt of proposals/abstracts is 31st June 2015.
Proposals should be sent in the form of an abstract as an e-mail attachment to matt.grimes@bcu.ac.uk.
The conference programme will be announced in September 2015.
The conference and symposium is scheduled to take place at Birmingham City University either 29th/30th of October 2015 or 5th/6th November 2015 (TBC).
It is intended that a book of conference proceedings will published.
The First Annual PSN Postgraduate Symposium will be held at the University of Leicester on Thursday 30th October 2014, and we invite both postgraduate and graduate students to submit proposals.
Dr Dines was the first in his family to go to university. Having secured a place at the West Sussex Institute of Higher Education (now the University of Chichester) for his piano playing, he began to appreciate what punk could bring to academia. He went on to do a PhD and co-found the Punk Scholars Network, which is associated with a journal, Punk & Post Punk.
Continue reading the article at
https://www.timeshighereducation.com/news/shot-by-both-sides-what-its-like-to-be-punk-in-academia
An idea inspired by the punk rock fiction of Robert Dellar, Ted Curtis, Stewart Home and Martin Millar; by the DiY-trodden path of fanzine culture, immortalised by the likes of Sniffin’ Glue and the incorrigible One Way Ticket to Cubesville; by the revolutionary antics of Guy Debord, Attila the Stockbroker and Chaotic Dischord; and finally, by the punch-ups and shenanigans at numerous punk gigs, gatherings and get-togethers across the globe. This is a volume based upon a punk rock adventure that will delve into the very bowels of punk and the diaspora of subculture: for this is an adventure entitled Tales from the Punkside.
Tales From the Punkside
This is a book written according to an anarcho-narrative structure. Based upon the theme of ‘Tales from the Punkside’, the book will consist of a series of chapters connected by the over arching theme of a personal involvement with punk subculture. Authors of individual chapters have been free to decide the most appropriate structure to tell of their stories, escapades and experiences and their involvement with punk, whether that be traditional formats, more free form text (e.g. transcripts of social media interactions; poetry; illustrative fictional prose), through images, video, mp3, or whatever media seems appropriate to the author. Of course, the text may be biographical, factual, fictional, or indeed, a culmination of all three. The website for the project is already up and running and can be found at
http://talesfromthepunkside.com/
We already have the submissions we need for the book, but urgently need your help in the final publishing stage, of getting the volume together and getting it up on the website itself.
Submissions we have include autobiographical material, punk poems, diary entries, academic writing and other weird and wonderful insights into an involvement with punk. Although some of these are tragic, raw and realistic, the book will also include various 'tongue-in-cheek' punk shenanigans, including a crossword, knitting patterns (especially one to re-create that Dennis the Menace look) and cut-out-and-keep action punk figures. There will also be QR-type codes to send readers to other multimedia material, such as music or videos.
Publisher
The text will be electronic by default, available freely under CC license, although print on demand editions will be made available if deemed appropriate when editing the finished text. The volume will be published by Itchy Monkey Press in association with the Punk Scholars Network; a new publisher who has already published Ted Curtis' The Darkening Light and am in the process of publishing Mark Greenwood's Lad Broke. Both the editor and design team work on a voluntary basis.
Although we have the contributors, the design team and website, we still need your help in bringing this project to life. As such, we need funding to complete the following:
- The embedding of the book on the website itself;
- The embedding of links to mp3s and other media;
- The embedding of Mark Greenwood's Lad Broke on the website;
- Printing of posters, flyers, etc for all three books - Tales From the Punkside, The Darkening Light and Lad Broke to distribute around gigs, book-fairs and co-operatives etc;
- Advertising revenue to market both the volume and Itchy Monkey Press;
- Funds towards a much in demand print run for The Darkening Light;
- Monies to continue to sustain the website for future writers and artists.
This is a non-profit making project, and so any financial gain will be invested back into the website and Itchy Monkey Press.
In particular, we hope to provide a space for new writers, musicians, artists and poets etc., to publish their work. Keeping it real, raw and fun!
Music Venue Trust is delighted to formally announce the launch of the Music Venues Alliance, an association of venues and organisations that have united behind the work of the Trust to engage with the industry, the cultural sector, and politicians to take actions that protect, secure and improve the UK's music venue network.
Emerging from Venues Day 2014, the Music Venues Alliance is the first significant response to the recent ICMP summary report "Understanding Small Venues", which painted a picture of a UK live music venue circuit that is in a perilous and precarious state, facing an uncertain future at real risk despite the passion of the people involved in it.
Members of the Alliance have united behind the work of the Music Venue Trust to enable the Charity to speak up on their behalf, discussing and airing challenges with live music industry colleagues and the cultural sector, and seeking ways to work together to tackle a range of issues so we not only maintain and preserve this circuit but actively start to improve it.
On behalf of the Music Venues Alliance, Music Venue Trust has already been invited to be part of the UK Live Music Group and to play a lead role in the Mayor of London's Taskforce on Live Music. The Trust has taken up issues raised at Venues Day with PRS, and is working with MPs to identify tax and investment opportunities that will directly improve the venues through a series of projects.
Music Venue Trust will be making a major announcement about the future of the grassroots circuit at the International Live Music Conference in London on Friday 6 March, and will follow this with the launch of their full report on "Understanding Small Venues" in Parliament on Monday 9 March.
Over 80 venues are already represented within the Alliance, alongside live music agencies, campaign groups, and cultural organisations. Membership is open to any UK venue that wishes to join the campaign, and the Alliance welcomes applications from industry bodies and professional organisations that want to add their voices to support this vital part of the sector. You can contact the Alliance at musicvenuetrust (at) gmail (dot) com
MUSIC VENUES ALLIANCE: FOUNDER MEMBERS:
13 Artists * Academy Music Group * Attitude is Everything * Band on the Wall (Manchester) * Birthdays (London) * Cellar 35 (Aberdeen) * Culture in Planning Alliance * Echoes & Dust * Electric Circus (Edinburgh) * Ents24 * Exchange, Bristol * Exeter Phoenix * Fallow Cafe (Manchester) * Generator * Glee Club (Birmingham/Nottingham/Cardiff) * Half Moon Putney * Independent (Sunderland) * Ironworks (Inverness) * Koko (London) * Live Music Exchange * Music Industries Association * Paradise by Way of Kensal Green (London) * Pocklington Arts Centre (York) * Regent Music Agency * Rich Mix (London) * Sneaky Pete's (Edinburgh) * Sound Connections * Splendid Communications * Sticky Mike's Frog Bar (Brighton) * Strongroom (London) * Surya (London) * The 1865 (Southampton) * The Agency Group Ltd * The Bedford (London) * The Blues Kitchen (London) * The Boileroom (Guildford) * The Cookie (Leicester) * The Ealing Club Community Interest Company * The Fleece (Bristol) * The Good Ship (London) * The Hairy Dog (Derby) * The Harley (Sheffield) * The Hope (Brighton) * The Horn (St Albans) * The Hunter Club (Bury St Edmunds) * The Joiners (Southampton) * The Lexington (London) * The Lighthouse (Deal) * The Louisiana (Bristol) * The Nest (London) * The Old Blue Last (London) * The Old Queens Head (London) * The Phoenix Artist Club (London) * The Railway (Winchester) * The Roadhouse (Birmingham) * The Ruby Lounge (Manchester) * The Servant Jazz Quarters (London) * The Soundhouse Leicester * The Stillery (London) * The Sugarmill (Stoke-on-Trent) * The Theatres Trust * The Tin at the Coal Vaults (Coventry) * The Troubadour (London) * The Victoria, Swindon * The Victoria Inn (Derby) * The Wedgewood Rooms (Portsmouth) * The Woolwich Grand Theatre * The Zanzibar Club (Liverpool) * Tunbridge Wells Forum * Village Underground (London) * West End Centre (Aldershot) * Windmill Brixton * York Fibbers * XOYO (London)
http://thesocietyforcuriousthought.com/a-fair-society/mike-dines/
Since 1997 saw the publication of “Never Mind the Tagmemics, Where’s the Sex Pistols” (CCC 48.1 pp 9 -29) there has been an increasing interest in the way in which the ethics, attitudes and people of punk rock can inform, shape, critique and revolutionise teaching pedagogies. In part this is due to the rising number of punkademics and punk teachers, but it is so much more than that. It is also because of the value for education in approaches that centre on philosophies such as Do-It-Yourself, creativity and resistance; a framework of enquiry and a toolkit that potentially helps take cynicism to critique. In short, punk can offer pedagogical tools for interrogating the world around us. However it is a two way street, and punk can learn much from newly emerging pedagogical ideas and approaches within secondary, further and higher education. This 1-2 day symposium aims to provide a space to explore, in a supportive environment, those interactions and lessons. It seeks to ask questions such as what can be gained from using punk tools and approaches as a pedagogical approach within ‘the classroom’? What can experiences and innovations in ‘the classroom’ offer to the continuing development and learning of punks and the subculture of punk rock?
Conference + Summer School
NEW DEADLINE Considering the number of people interested in the KISMIF International Conference, we extend the deadline for abstract submission for 15 March 2015.
For further details: http://kismif.eventqualia.net/en/2015/home/
For further details: http://www.punk.pt/kismif-summer-school-2/
This Summer School is the result of a series of developed works in the last decade within the framework of social sciences, namely Sociology of Culture, Sociology of Arts, Sociology of Youth, Urban Sociology, Sociology of Music, Cultural Economics, Urban Studies and Urban Planning. Hence, it is important to understand the importance, functioning, process, the agents, characteristics, genres and subgenres of the current urban music scenes. The music scenes invite us to map the territory of the city in new ways while, at the same time, defining types of activities whose relationship with the territory is not easily expressed. There exists a contradiction between the growing visibility of the urban music scenes and its persistent illegitimacy as a sociological object of investigation (and also in social sciences, in a broader sense). Such a contradiction is a research challenge to pursuit. This will lead to an insightful debate about its mains aspects and structuring guidelines.
http://www.punk.pt/kismif-summer-school-2/
Keep It Simple, Make It Fast!
Crossing Borders of Underground Music Scenes
Summer School Gettin' Underground Together
***************************************
CALL FOR PAPERS
Abstracts Submission
From 5th November 2014 to 15th March 2015.
Keynotes confirmed: Andy Bennett, Dave Laing, Dick Hebdige, Mary Fogarty, Matthew Worley, Paul Hodkinson.
KISMIF Convenors: Andy Bennett (AU) and Paula Guerra (PT)
KISMIF Scientific Committee: Alastair Gordon, Andy Bennett, Augusto Santos Silva, Carles Feixa, Heitor Alvelos, Jeder Janotti Jr., João Queirós, José Machado Pais, Júlio Dolbeth, Luís Fernandes, Manuel Loff, Matthew Worley, Mike Dines, Paula Abreu, Paula Guerra, Paulo Cunha e Silva, Pedro Costa, Rui Telmo Gomes and Will Straw.
KISMIF Executive Committee: Ana Oliveira, Ana Raposo, Esgar Acelerado, Gil Fesch, Guilherme Blanc, João Queirós, Marcos Farrajota, Paula Abreu, Paula Guerra, Pedro Costa, Pedro Miguel Ferreira, Pedro Quintela, Ricardo Salazar, Rui Telmo Gomes, Tânia Moreira, Vítor Massa.
So, if you have recently edited a book, a magazine or a fanzine, if you released a record, a film, if you are building up a home-made instrument, etc., this might be the moment for you to present it in Portugal and discuss it with the fellow colleagues who are joining the conference and the summer school.
“Keep It Simple, Make It Fast! (KISMIF) Crossing Borders of Underground Music Scenes” will take place in Porto, Portugal between 15th July and 17th July 2015. The conference is associated with the research project Keep It Simple, Make It Fast! (PTDC/CS-SOC/118830/2010).
The submission of papers for this conference is open to academic researchers working in all areas of sociology, anthropology, history, cultural economics, geography, urban planning, media and cultural studies and cognate disciplines, including design, illustration musicology, popular music and visual and performing arts.
This initiative follows the great success of the first KISMIF conference (held in July, 2014). Keeping the focus on underground music and its creative possibilities for resistance and DIY, we extend the analysis of music scenes to consider the intersection and debate with other cultural, artistic and creative fields (cinema and video; graffiti and street art; theater and performance art; literature and poetry; radio; graphic design, illustration, cartoon and comics; etc.).
Thus, exploiting the potential of the theoretical and analytical development of the intersection of music scenes, we intend to enrich their relevance in the development of social theory, but also in the interpretation of late modernity in times of contemporary societal and cultural crisis. The relation and enlargement of the arts to social, cultural and political spheres seems to us a very fruitful research platform and also offers the possibility for the consolidation of an emerging knowledge domain that responds to the challenges and social changes created by new technologies, and also reconfigurations of identity, gender, lifestyle, spatiality, social class, age, and ethnicity as these map onto the networks, flows, art worlds, musical and artistic fields, and underground music scenes that are main focus of the conference.
The stimulating scientific program of the conference will be accompanied by a social program in the form of art and music in action providing a unique and enriching experience of underground music scenes in the city of Porto and elsewhere in the world.
The conference will be preceded by a two-day summer school (on 13th to 14th July) entitled “Gettin’ Underground Together!”. The summer school will offer an opportunity for undergraduate and graduate students, including those staying on for the conference, to attend specialist master classes and discuss their research in seminars led by top academics in the field.
The conference organizing committee welcomes abstracts relating to the following topics:
• Developments in social theory around networks, flows, art worlds, musical fields, artistic fields, underground music scenes
• Historicity, genealogy and diachrony of music scenes and art worlds from the post-war period to the present day
• Researching music: methodological challenges and dilemmas
• Subcultures, tribes, neo-tribes and underground scenes
• Contradictions and tensions between the underground and mainstream
• DIY Careers: alternative forms of musical, artistic and cultural entrepreneurship
• Style, aesthetic and musical corporeality
• Music scenes, art worlds: aging and gender
• Memory, technologies and the cultural and creative industries
• New intermediate and artistic production in the city and space
• Territorial mechanisms on music production, intermediation and consumption
• New dynamics of social inclusion through music and underground art practices
• Music and arts for social change, the arts and arts communities as part of urban culture
• Pedagogies and methodologies based on the underground
• Practices of resistance, and contemporary countercultural youth identities
• New social movements, music and other artistic scenes (local and global)
• Punk, post punk, metal, electro, funk, rap, hip hop: new musical and artistic boundaries
• Experimental music and new ethnographies of meaning
• Music scenes, DIY, liminality and public spaces
• Gatekeeping mechanisms, reputation building and (de)territorialization of cultural scenes
• Migrations, diasporas and identities: the role of music through the world
Please download the complete call for chapters below.
Please go visit the fantastic new website, where you can view all the interesting and insightful work the Punk Scholars Network has been involved in since its inception in 2012, including publications and events as well as our new blog that features announcements about new punk research and other creative work. You can even buy affordable PSN merch direct from the website to help support the not-for-profit Punk Scholars Network.
If you would like to share your punk related news and developments with us, or an insightful and interesting perspective on punk you would like to contribute to our blog, you can do so through the contact page on our new website https://www.punkscholarsnetwork.com/contact
Since its humble beginnings in 2012, the Punk Scholars Network has expanded its global membership and activities through conferences, symposiums, publications, talks and exhibitions, whilst seeking to maintain its original aim as an international forum for scholarly debate. The Punk Scholars Network has also held a long-standing commitment towards the nurturing of research, not only in terms of post-doctoral output, but also through pedagogical and academic support for postgraduate and undergraduate research students whilst encouraging and supporting non-academics to pursue and develop their interests in punk scholarship.
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and Epic Tales of the Anarcho is the second in the Tales
From the Punkside series. Whereas the self-titled first
volume encompassed the wider punk scene, Some of Us
Scream… brings together the stories, the artwork and
the inspiration of the anarcho-punk scene from the
1980s to the present day.
As with Tales… stimulus has come from the everyday,
from those who were ‘there’ and from those who have
personal accounts to convey. Too often a ‘scene’ such as
anarcho-punk becomes defined by its canon, its key
players. In this case, they are often (amongst others)
Crass, Conflict, Rudimentary Peni, the Subhumans and
Flux of Pink Indians (of which, ironically, the editors
would like to thank for the title of this book). The editors
do not wish to detract from their stories but merely
add to them, to document those who were inspired by
the music, those who (in their own ways) further contributed
to the scene.”
Mike Dines
“A Gurt Lush book containing lots of great flyers, interesting memories, recollections, essays and personal opinions. Every anarcho-punk should own a copy. It’s a great companion read to Not Just Bits of Paper. Lovely”
Greg Bull
This article addresses how manifestos came to be used in post-punk. Using as a starting point Julia Downes’ description of musical manifestos in riot grrl as a ‘key way to define…ideological, aesthetic and political goals.’ A series of chronological case studies investigate the key components and aesthetics of the post-punk manifesto, which include the use of lists, itemisation and direct, second-person address.