The chief argument of this work rests on the idea that culture-blindness—especially White ethnic-cultural blindness—contributed as much as issues of race to the heavily documented social rift between predominantly Chicanx, Eastside punk and the mostly-White, Westside punk rock communities of Los Angeles, 1976-1981. To date, historical blame for the divide has centered on racism, including racist intent. The second area of analysis directly relates to the first in that it demonstrates the inextricable link between cultural and spatial identity formation and assignment among the various scenes. This aspect of the study evaluates the complaints of some Eastside acts who have contended that based on racist attitude(s), they were prohibited from playing in Westside venues, thereby limiting their opportunities for gaining notoriety in the industry overall. This evaluation attempts to weigh the validity of that complaint against other determinative, influential aspects of the entire punk phenomenon. Lastly, through historically tracking the remnants of cultural Chicanismo clear into L.A.’s first and succeeding punk waves, this work analyzes the art of protest, and the protest in art as applied to that city’s diverse punk aesthetics.

This thesis deals with the thematic definition of subgenres of punk music and their comparison. Theoretical part consists of the definition of the concept of culture and several other selected terms. A subculture will be defined as a theoretical unit, which is followed by a historical basis for the punk subculture itself. In addition, the theoretical part deals with the relationship of punk music to left-wing extremism and outlines the beginnings of punk music in Czechoslovakia and the Czech Republic. The practical part is based on interviews with interpreters, of which three selected interviews are presented. The thesis also defines the subgenres themselves and defines their thematic content. These subgenres are then compared at their thematic level and the themes common to all sub-genres are defined.

Desde su surgimiento a mediados del siglo XX el rock ha sido de especial interés para las ciencias sociales a partir el binomio de juventud y música. El presente trabajo es un estudio de caso sobre los discursos y las prácticas de los nuevos punks de Lima en el siglo XXI. Los rockeros subterráneos de los 80 bautizaron a estos jóvenes despectivamente como “chikipunks” por romper con los paradigmas que instauró el punk en el contexto nacional de los 80. Sin embargo, desde una profunda reflexividad y un inmenso acceso a información gracias al Internet, estos nuevos punks desarrollaron nuevas rebeldías frente a la hegemonía que nos ayudan a pensar en categorías como subcultura, tribu urbana y escena. Usando una metodología cuantitativa y de enfoque microsocial, esta investigación nos muestra a través de los conciertos los cambios y permanencias del género que sigue vigente con sus crecientes festivales que llegan a cifras de asistencia nunca antes vistas en el rock nacional. / Tesis

Made available in DSpace on 2016-04-25T20:21:19Z (GMT). No. of bitstreams: 1 Walisson Pereira Fernandes.pdf: 3336996 bytes, checksum: 5e0932a05bfd9f262378354964e1b59b (MD5) Previous issue date: 2015-03-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Straight edge is the word used to describe persons who, in their everyday lives, are allied to the punk to not use substances considered addictive as alcohol, tobacco and psychoactive. Its beginnings derive from the late 1970s and early 1980s in the United States. However, the genealogical analysis of their practices through the centuries, going back to abstainers movements of the United States and England between the nineteenth and twentieth centuries and its ballast in the formation of moral, instilling in policy that determine behavior. With the emergence of punk in the 1970s as criticism of moralism, society and the state, the straight edge emerges in this context bringing a punk hygiene and, over the years, has become more violent and reductionist, emancipating itself from protoform and pouring a new ways to build and to solidify. The straight edge approached the environmental movements, looking to list anarchist aspects in their practice, but only reiterated other political forms that are linked more to progressivism that, in fact, to anarchism. In this purpose, several straight edgers who sought anarchism as a way of life, broke with the straight edge to proceed their libertarian path, and kept at the same time, the practical abstainers without the use of the nomenclature that identified previously. In Brazil, similar to what happened in the United States and Europe, the intensification of the straight edge scene brought also the anarchist cells of eruption for the construction of a group of vegan orientation appropriating an anarchist nomenclature for its consolidation among young libertarians causing not only the bedlam among their peers, but catches of anarchism and punk / Straight edge é a palavra utilizada para descrever os sujeitos que, em suas vidas cotidianas, aliam-se ao punk de modo a não utilizarem substâncias consideradas viciantes, como álcool, tabaco e psicoativos. Seus começos derivam do final da década de 1970 e começo da década de 1980 nos Estados Unidos. No entanto, a análise genealógica de suas práticas atravessa os séculos, remontando aos movimentos abstêmios dos Estados Unidos e da Inglaterra entre os séculos XIX e XX e seu lastro na formação da moral, infundindo na elaboração de políticas que determinariam condutas. Com o surgimento do punk na década de 1970 como crítica aos moralismos, à sociedade e ao Estado, o straight edge emerge neste contexto trazendo uma higienização do punk e, com o passar dos anos, se tornou mais violento e reducionista, desvinculando-se de sua protoforma e vertendo novos meios para se construir e se solidificar. O straight edge aproximou-se dos movimentos ambientalistas, procurando elencar aspectos anarquistas em sua prática, mas reiterou apenas outras formas políticas que vinculam-se mais a progressismos que, de fato, aos anarquismos. Neste intento, vários straight edgers que procuraram os anarquismos como forma de vida, romperam com o straight edge para dar prosseguimento a sua trajetória libertária, e mantiveram, ao mesmo tempo, as práticas abstêmias sem o uso da nomenclatura que os identificava anteriormente. No Brasil, semelhantemente ao ocorrido nos Estados Unidos e na Europa, a intensificação da cena straight edge trouxe, ainda, o irrompimento de células anarquistas para a construção de um grupo de orientação vegana apropriando-se de uma nomenclatura anarquista para sua consolidação entre jovens libertários, causando não apenas a balbúrdia entre seus pares, mas capturas dos anarquismos e do punk

Made available in DSpace on 2016-04-25T20:21:56Z (GMT). No. of bitstreams: 1 Aldemir Leonardo Teixiera.pdf: 8752878 bytes, checksum: 347d8c9843c7a798996900350ea66c92 (MD5) Previous issue date: 2007-11-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The Punk Movement emerged in the mid-1970s as one of the last anti-establishment movements. It started mainly as a musical phenomenon, the punk rock, anti-conformist protest adopted by part of the young American intellectuals and then by the British. In the beggining it was against the commercialism that rock music had submitted to, afterwards it expanded to a social, cultural and artistic movement of anti-establishment youthful challenge. It grew and radicalized within the working class, mainly in Britain, afterwards it spread across all over the world seen by authorities as a subversive culture movement. In Brazil it started in many metropolitan regions of São Paulo in which the most expressivity was observed in the center region emphasized by the media factor, and in the industrial part of ABC region where it obtained more expressive and radical ways where the movement was involved with the working and union fights accurred in the late 1970s and beggining of 1980s / O Movimento Punk surge em meados dos anos 70 como um dos últimos movimentos contraculturais. Se deu primeiramente como um fenômeno musical, o punk rock, música de protesto anti-conformista adotado por uma parcela de jovens intelectuais norte-americanos e depois ingleses. A princípio foi contra a comercialização à qual o rock havia se submetido, posteriormente se expandiu como um movimento social, cultural e artístico, de contestação juvenil anti-establishment. Cresceu e se radicalizou junto à classe operária, principalmente a inglesa, depois se proliferou para o mundo todo, visto pelas autoridades como um movimento de cultura subversiva . No Brasil o movimento radicou-se nas diversas regiões metropolitanas de São Paulo, tendo maior expressividade no centro da capital enfatizado pelo fator midiático e na região industrial do ABC, onde obteve formas mais expressivas e radicais, estando envolvido com as lutas operárias e sindicais ocorridas no final da década de 70 e início dos anos de 1980. Orientador: Dr. Edgard de Assis Carvalho - PUC

Made available in DSpace on 2016-04-26T14:56:41Z (GMT). No. of bitstreams: 1 Aldemir Leonardo Teixiera.pdf: 8752878 bytes, checksum: 347d8c9843c7a798996900350ea66c92 (MD5) Previous issue date: 2007-11-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The Punk Movement emerged in the mid-1970s as one of the last anti-establishment movements. It started mainly as a musical phenomenon, the punk rock, anti-conformist protest adopted by part of the young American intellectuals and then by the British. In the beggining it was against the commercialism that rock music had submitted to, afterwards it expanded to a social, cultural and artistic movement of anti-establishment youthful challenge. It grew and radicalized within the working class, mainly in Britain, afterwards it spread across all over the world seen by authorities as a subversive culture movement. In Brazil it started in many metropolitan regions of São Paulo in which the most expressivity was observed in the center region emphasized by the media factor, and in the industrial part of ABC region where it obtained more expressive and radical ways where the movement was involved with the working and union fights accurred in the late 1970s and beggining of 1980s / O Movimento Punk surge em meados dos anos 70 como um dos últimos movimentos contraculturais. Se deu primeiramente como um fenômeno musical, o punk rock, música de protesto anti-conformista adotado por uma parcela de jovens intelectuais norte-americanos e depois ingleses. A princípio foi contra a comercialização à qual o rock havia se submetido, posteriormente se expandiu como um movimento social, cultural e artístico, de contestação juvenil anti-establishment. Cresceu e se radicalizou junto à classe operária, principalmente a inglesa, depois se proliferou para o mundo todo, visto pelas autoridades como um movimento de cultura subversiva . No Brasil o movimento radicou-se nas diversas regiões metropolitanas de São Paulo, tendo maior expressividade no centro da capital enfatizado pelo fator midiático e na região industrial do ABC, onde obteve formas mais expressivas e radicais, estando envolvido com as lutas operárias e sindicais ocorridas no final da década de 70 e início dos anos de 1980. Orientador: Dr. Edgard de Assis Carvalho - PUC

Made available in DSpace on 2016-04-26T14:55:10Z (GMT). No. of bitstreams: 1 Walisson Pereira Fernandes.pdf: 3336996 bytes, checksum: 5e0932a05bfd9f262378354964e1b59b (MD5) Previous issue date: 2015-03-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Straight edge is the word used to describe persons who, in their everyday lives, are allied to the punk to not use substances considered addictive as alcohol, tobacco and psychoactive. Its beginnings derive from the late 1970s and early 1980s in the United States. However, the genealogical analysis of their practices through the centuries, going back to abstainers movements of the United States and England between the nineteenth and twentieth centuries and its ballast in the formation of moral, instilling in policy that determine behavior. With the emergence of punk in the 1970s as criticism of moralism, society and the state, the straight edge emerges in this context bringing a punk hygiene and, over the years, has become more violent and reductionist, emancipating itself from protoform and pouring a new ways to build and to solidify. The straight edge approached the environmental movements, looking to list anarchist aspects in their practice, but only reiterated other political forms that are linked more to progressivism that, in fact, to anarchism. In this purpose, several straight edgers who sought anarchism as a way of life, broke with the straight edge to proceed their libertarian path, and kept at the same time, the practical abstainers without the use of the nomenclature that identified previously. In Brazil, similar to what happened in the United States and Europe, the intensification of the straight edge scene brought also the anarchist cells of eruption for the construction of a group of vegan orientation appropriating an anarchist nomenclature for its consolidation among young libertarians causing not only the bedlam among their peers, but catches of anarchism and punk / Straight edge é a palavra utilizada para descrever os sujeitos que, em suas vidas cotidianas, aliam-se ao punk de modo a não utilizarem substâncias consideradas viciantes, como álcool, tabaco e psicoativos. Seus começos derivam do final da década de 1970 e começo da década de 1980 nos Estados Unidos. No entanto, a análise genealógica de suas práticas atravessa os séculos, remontando aos movimentos abstêmios dos Estados Unidos e da Inglaterra entre os séculos XIX e XX e seu lastro na formação da moral, infundindo na elaboração de políticas que determinariam condutas. Com o surgimento do punk na década de 1970 como crítica aos moralismos, à sociedade e ao Estado, o straight edge emerge neste contexto trazendo uma higienização do punk e, com o passar dos anos, se tornou mais violento e reducionista, desvinculando-se de sua protoforma e vertendo novos meios para se construir e se solidificar. O straight edge aproximou-se dos movimentos ambientalistas, procurando elencar aspectos anarquistas em sua prática, mas reiterou apenas outras formas políticas que vinculam-se mais a progressismos que, de fato, aos anarquismos. Neste intento, vários straight edgers que procuraram os anarquismos como forma de vida, romperam com o straight edge para dar prosseguimento a sua trajetória libertária, e mantiveram, ao mesmo tempo, as práticas abstêmias sem o uso da nomenclatura que os identificava anteriormente. No Brasil, semelhantemente ao ocorrido nos Estados Unidos e na Europa, a intensificação da cena straight edge trouxe, ainda, o irrompimento de células anarquistas para a construção de um grupo de orientação vegana apropriando-se de uma nomenclatura anarquista para sua consolidação entre jovens libertários, causando não apenas a balbúrdia entre seus pares, mas capturas dos anarquismos e do punk

O advento do punk assinalou um ponto de inflexão dentro do universo cultural pop. A música punk, elemento centralizador da identidade do movimento, emergiu com a proposta de romper com as tradicionais premissas de aptidão e técnica cada vez mais presentes na música de meados da década de 1970. O retorno a um desenho musical simples e visceral somado à valorização de uma realidade cotidiana ordinária trouxe para o centro da composição tanto sonoridades características das grandes cidades quanto narrativas relativas à vida no âmbito da metrópole, fazendo da música punk um potente veículo de absorção e transmissão de experiências urbanas. Assim, este trabalho explora a música como elemento catalisador de formas de apropriação e ação na dimensão da cidade e a música punk enquanto lente para a análise do fenômeno urbano, em particular pela observação de quais olhares o punk brasileiro lança sobre o espaço urbano no contexto periférico da cidade de São Paulo. Na produção das bandas punks que emergiram na cidade no início da década de 1980, período fundamentalmente marcado por um truncado processo de redemocratização, observa-se uma acentuação das questões colocadas pelo punk no plano internacional. No contexto brasileiro a linguagem agressiva do punk foi superlativada pela ânsia da juventude carente em expressar a própria experiência de crise em meio à particular complexidade da metrópole paulistana. A contundência e a densidade da música punk evidenciam, portanto, as tensões e relações tacitamente presentes no espaço da cidade a partir da percepção sensível daqueles que vivenciam seus espaços, de forma a permitir uma investigação mais complexa do fenômeno urbano. / The advent of punk marked a turning point amidst the pop culture universe. Punk music, as the centralizing element of the movements identity, emerged with the proposal of breaking-up the conventions of musical expertise and technique increasingly present in rock compositions of the early 1970s. The return to a simple and visceral musical form combined with an emphasis on the dynamics of an ordinary everyday reality brought to the composition core both the particular sonorities of the great cities the general hum of the city as well as narratives of urban daily life, establishing punk music as a powerful vehicle of transmission of urban experiences. Therefore, this dissertation aims to explore music as a catalyst of different forms of urban appropriations and punk music as a specific lens for the analysis of urban phenomena, particularly by observing which questions Brazilian punk casts over the peripheral urban context of Sao Paulo, Brazil. The Brazilian punk bands that emerged in the early 1980s, a period essentially marked by an inconclusive process of political redemocratization, show a particular accent over the issues raised by international punk scenes. The Brazilian context enhanced the rudeness and aggressiveness of punk language, since it embodied an up until then unprecedented possibility for the deprived urban youth of expressing their experience of crisis amidst the complexity of São Paulos urban environment. The strength and density of punk music draw attention to the tensions and relations tacitly present in the city as they are perceived and experienced in everyday life, thus allowing a more complex investigation of the urban space.

Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.