<p>The purpose of this essay is to investigate what it means to be a punk in Linköping, Sweden today. This is done by interviewing four informants on a number of topics. The topics being discussed are appearance and values. The topics “values” contains a number of sub-topics, but the emphasis is put on D.I.Y-ideals and equality.</p><p>D.I.Y-ideals (Do It Yourself-ideals) are important. The informants are more or less involved in the D.I.Y-networks in which record labels, bands, fanzines and other things are a part.</p><p>This and other things being discussed shows an image of punks that is different from the traditional image. The informants are of the opinion that the general image of punks is wrong.</p> / <p>Syftet med denna uppsats är att utröna vad det innebär att vara punkare i Linköping, Sverige idag. Detta har gjorts med utgångspunkt i intervjuer med informanter om ett antal ämnen. De ämnen som behandlas är utseende och värderingar. Ämnet ”värderingar” är omfattande, men är främst inriktat på D.I.Y-ideal och tankar om jämställdhet.</p><p>D.I.Y-idealen (dvs. gör det själv-idealen) är viktiga. Informanterna är mer eller mindre involverade i de nätverk i vilka skivbolag, band, publikationer i form av fanzines och annat ingår.</p><p>Detta och annat som tas upp visar på en bild av punkare som inte överensstämmer med den traditionella bilden. Informanterna anser inte själva att de är och ser ut som de tror att andra anser att punkare ska vara och se ut. Den vanliga bilden av punkare är felaktig.</p>

Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education. / Typescript. Includes bibliographical references (leaves 127-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946

The purpose of this essay is to investigate what it means to be a punk in Linköping, Sweden today. This is done by interviewing four informants on a number of topics. The topics being discussed are appearance and values. The topics “values” contains a number of sub-topics, but the emphasis is put on D.I.Y-ideals and equality. D.I.Y-ideals (Do It Yourself-ideals) are important. The informants are more or less involved in the D.I.Y-networks in which record labels, bands, fanzines and other things are a part. This and other things being discussed shows an image of punks that is different from the traditional image. The informants are of the opinion that the general image of punks is wrong. / Syftet med denna uppsats är att utröna vad det innebär att vara punkare i Linköping, Sverige idag. Detta har gjorts med utgångspunkt i intervjuer med informanter om ett antal ämnen. De ämnen som behandlas är utseende och värderingar. Ämnet ”värderingar” är omfattande, men är främst inriktat på D.I.Y-ideal och tankar om jämställdhet. D.I.Y-idealen (dvs. gör det själv-idealen) är viktiga. Informanterna är mer eller mindre involverade i de nätverk i vilka skivbolag, band, publikationer i form av fanzines och annat ingår. Detta och annat som tas upp visar på en bild av punkare som inte överensstämmer med den traditionella bilden. Informanterna anser inte själva att de är och ser ut som de tror att andra anser att punkare ska vara och se ut. Den vanliga bilden av punkare är felaktig.

The main focus of this thesis is to understand the myriad ways in which crust punk as an expressive cultural form creates meaning, forms the basis for social formation (or music scene), and informs the ways in which its participants both interact with and understand the world around them. Fieldwork for this research was conducted during the summer of 2012 in Austin, Texas. Primary methodology included participant observation, semi-structured interviews, and online ethnography. Additional research data was collected over the last five years through my own personal involvement with the crust punk music scene. The first section examines the ways in which crust punk as a genre both continues to evolve by avoiding and disavowing genre definitions and boundaries. The second section addresses my particular experiences with the Austin, Texas crust punk scene. I separate and examine the differences within the scene among and between differing levels of participation in various scene practices. These practices include the everyday practices necessary to maintain the music scene, as well as “anarchist” practices such as squatting, train hopping, transiency, and refusal to work. In the final section, I argue that in the crust punk scene dystopian performatives enable an apocalyptic and dystopic view of the world, building upon Jill Dolan’s theory of utopian performatives. I also outline my theory on how dystopian performatives and apocalyptic rhetoric work together to inflect crust punk structures of feelings and social imaginaries.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265).

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-14T10:40:51Z No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-15T08:16:56Z (GMT) No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-15T08:16:56Z (GMT). No. of bitstreams: 2 Dissertação - Luiz Eduardo de Jesus Fleury - 2015.pdf: 5232611 bytes, checksum: f0875fd33a3477b1f3f3836b3e737234 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-27 / This thesis aims to discuss the Hardcore, here understood as an offshoot of the punk movement in the early 1980. The punk movement has its origins recognized in the United States and England, headed by small portions of youth in these countries and, in a sense, represents an important manifestation of counter-cultural nature. Not limited to their places of origin, we intend to trace how this movement arrives in Brazil, and especially as it is constituted in the city of Goiânia, which was chosen as the main cutting of this work. In this city, the first manifestations linked to Hardcore and Punk only happened in the late 1980s, when a number of situations that had great importance for this ideological and musical movement serve as expression of the revolt of certain local youth installment. In the subsequent decade, we will see a significant expansion of the movement in the city, as we have a great number of individuals participating in cultural activities and artistic productions linked to it. Seeking recognize the consolidation of this scene in Goiânia, this text will examine the materials produced during the 2000s, understood here as registering a memory of events that occurred in the previous two decades. / O presente trabalho tem como objetivo discutir do Hardcore, aqui entendido como um desdobramento do movimento punk, no início dos anos 1980. O movimento punk tem suas origens reconhecidas nos Estados Unidos e na Inglaterra, sendo capitaneado por pequenas parcelas da juventude desses países e, em certo sentido, representando uma importante manifestação de natureza contracultural. Não se restringindo aos seus locais de origem, pretendemos traçar como tal movimento chega ao Brasil e, principalmente, como se constitui na cidade de Goiânia, que foi escolhida como o recorte principal desse trabalho. Nesta cidade, as primeiras manifestações ligadas ao Hardcore e ao Punk só se deram no final da década de 1980, momento em que uma série de situações foi importante para que esse movimento ideológico e musical servisse de expressão da revolta de certas parcelas da juventude local. Na década subsequente, observaremos uma expansão significativa do movimento na cidade, na medida em que temos uma expressiva quantidade de indivíduos participando de ações culturais e produções artísticas vinculadas ao movimento. Buscando reconhecer a consolidação desta cena em Goiânia, o presente trabalho analisará os materiais produzidos ao longo dos anos 2000, entendidos aqui como registro de uma memória das manifestações ocorridas nas duas décadas anteriores.

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.

A leur apparition, à la fin des années 1970 et au début des années 1980, le rap, le ragga et le punk français se distinguent substantiellement de la tradition de la chanson française qui demeure intimement liée à la tradition musicale occidentale et au chant. En particulier, l’expression vocale y est plus proche de la parole que du chant, et s'y révèle plus rythmique que mélodique. Cette singularité rend difficile toute analyse musicologique traditionnelle, et les analyses existantes se fondent davantage sur l’analyse du texte et le contexte social que sur la réalisation sonore. L’objet de notre thèse est de proposer une méthode d'analyse musicale assistée par ordinateur de la prosodie musicale à l’œuvre dans ces styles de musiques populaires, et ce, à partir de l’analyse automatique du son. L’extraction automatique des structures rythmiques de la voix à partir de l’analyse du son devrait permettre d’objectiver les propriétés rythmiques de la musique populaire. L’ensemble des analyses permettra d'observer précisément les relations rythmiques qu'entretiennent la voix et la musique, dans le but de caractériser et de différencier des styles de musique populaire. La période choisie (1977-1992) correspond à la sortie des premiers albums de punk en langue française et se clôt avec celle du premier album du groupe Massilia Sound System, pionniers du ragga marseillais. Quinze morceaux ont été choisis, cinq par style, pour leur représentativité de la diversité des premières productions en langue française dans chaque style. La présentation et l'application de notre méthode à des styles différents permettront d'initier l'étude approfondie de la prosodie musicale au sein de musiques vocales dans lesquelles le jeu rythmique prime sur la mélodicité. / At their appearance in the late 1970s and early 1980s, rap, ragga and punk french differ substantially from the tradition of French song which remains closely tied to the occidental musical tradition and singing. In particular, the vocal expression is closer to the word of the song, and it reveals more rhythmic than melodic. This uniqueness makes it difficult for traditional musicological analysis, and existing analyzes are based more on the analysis of the text and the social context that the sound production. The purpose of our work is to propose a method of computer-aided musical analysis of musical prosody at work in these popular styles of music, and this, from the automatic analysis of sound. Automatic extraction of rhythmic structures of the voice from the sound analysis should objectify the rhythmic properties of popular music. The analyzes will observe precisely the rhythmic relationship between voice and music, in order to characterize and differentiate the styles of popular music. The chosen period (1977-1992) corresponds to the output of the first punk albums in French and ends with that of the first album of Massilia Sound System, ragga pioneers of Marseilles. Fifteen songs were chosen by five style, for they represent the diversity of the first French-language productions in each style. The presentation and application of our method to different styles will initiate a comprehensive study of the musical prosody in vocal music in which the rhythm bonus game on the mélodicity.

In 1920s Sweden the concept of Folkhemmet was born and described as a concept and an idea of the modern Swedish well-fare state where the nation was considered a family. Through governmental founding, a new modern Sweden was planned. The first suburbs was introduced in 1930 and the 1950s the next project was finished, the so-called ABC-staden (ABC-town in English). One of the suburbs belonging to the ABC-town project was Rågsved, a place which is associated with the Swedish punk movement and the cultural association of Oasen. In 1965 the next building project was introduced, now called Miljonprogrammet. Miljonprogrammet became criticized for being a constant working place and isolating citizens in the suburbs, leading to segregation. A furthermore consequence of the segregation was when working-class families got a better economy and left the traditional apartment housing for newly produced town halls it opened for low-income families to move in. Meanwhile, the media framing of the suburb also began to change. The narrative of the suburb had previously been a hope for a bright better future for families to live in, but it later changed to be a place for criminality, under-employment, alcoholism, and substance abuse. Teenagers and young adults stuck at the bottom of the economic chain were affected worst by this change. This also occurred with the oil crisis in the late 1970s, making the end of the Swedish record years. The Swedish punk movement was introduced in 1976 inspired by the British and American punk scene. The movement established itself in the suburbs among young adults who did not feel like they were heard. The movement was, in difference to previous youth cultures, political which affected the message of the movement. In the capital of Stockholm, punk rockers found themselves wanting something more, a place outside the centre of the city where they all could have a place to be. This project later resulted in the cultural association of Oasen in Rågsved. In 1979 after the city council of Vantör decided to throw out the association they answered by occupying the locale. They demanded a place to feel at home in the suburb they lived in. This thesis is discussing the modern Swedish suburb using the Swedish punk movement as a historic example. The thesis’s theoretical framework focuses on intersectionality, place, space, and journalistic framing.

Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.