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This new collection is the second in the Global Punk series. Following the publication of the first volume the series editors invited proposals for a second volume, and selected contributions from a range of interdisciplinary areas, including cultural studies, musicology, ethnography, art and design, history and the social sciences.
This collection extends the theme into new territories, with a particular emphasis on contemporary global punk scenes, post-2000, reflecting upon the notion of origin, music(s), identity, careers, membership and circulation.
This area of subcultural studies is far less documented than more ‘historical’ work related to earlier punk scenes and subcultures of the late 1970s and early 1980s. This new volume covers countries and regions including New Zealand, Indonesia, Cuba, Ireland, South Africa, Siberia and the Philippines, alongside thematic discussions relating to trans-global scenes, the evolution of subcultural styles, punk demographics and the notion of punk identity across cultural and geographic boundaries.
The book series adopts an essentially analytical perspective, raising questions over the dissemination of punk scenes and their form, structure and contemporary cultural significance in the daily lives of an increasing number of people around the world.
This book has a genuine crossover market, being designed in such a way that it can be adopted as an undergraduate student textbook while at the same time having important currency as a key resource for established academics, postdoctoral researchers and PhD students.
In terms of the undergraduate market for the book, it is likely that it will be adopted by convenors of courses on popular music, youth culture and in discipline areas such as sociology, popular music studies, urban/cultural geography, political history, heritage studies, media and cultural studies.
'Comprising scholarly articles that incorporate subjects and contributors from across six continents, Trans-Global Punk Scenes: The Punk Reader Vol. 2 outdoes its 2019 predecessor in its geographical scope, even as it narrows its focus mostly to punk scenes in the twenty-first century. [...] And while the fifteen chapters they have brought together here are varied in their subject-matter and methods, they are unified in demonstrating how punk music, aesthetics, attitudes and do-it-yourself (DIY) strategies are being both ‘adopted’ and ‘adapted’ across the globe, taking on ‘aspects of local traditions, language, and practice to create a new scene and a range of culturally specific new styles’ (13). [...] Russ Bestley’s analysis of UK punk in the context of the ‘revival’ and festival circuits digs into the often-overlooked labour and intergenerational cooperation required in their creation. In this chapter, Bestley laments that most punk scholarship dwells on the ‘spectacular’ rather than ‘the ordinary’ (183), and where this volume focuses on the latter its greatest strengths are apparent.'
Reviews of the first volume in the series
'This edited volume collects essays thematically tied to punk’s global influence outside the US and UK, which argue against the notion that global punk continues to model itself after Western definitions of punk. At its heart, the text explores seemingly disparate and international punk scenes to discuss concepts of authenticity, identity, and production, highlighting “the emergence of punk rock in both a contemporary and global sense” (p. 18). Content includes discussing punk scenes in countries not previously or extensively studied, such as Iran, Portugal, and Malaysia. Each chapter begins with the author’s abstract, keywords, and a brief biography. While a general audience can be included in its readership, the consistent use of scholarly terms makes this volume most favorable for graduate research or a professional audience in the areas of ethnomusicology and musicology. Of note are the detailed references provided at the end of each chapter, the copious footnotes, and the extensive index at the end of the book. Altogether, this scholarly collection effectively presents a cohesive look at a post-2000s global punk culture... Highly recommended.'
- Jocson-Singh, CHOICE
'The Punk Reader is a collection of academic essays examining punk scene outside of the US and how the cross pollination of sound and ideals made available through the grassroots network of fanzines and touring helped them develop culturally. The examination of the scene in Groningen, Holland and their hunger for everything from Extreme Noise Terror to Dead Moon was an absorbing and refreshing read, as were the histories of scenes in Iran and Indonesia, too young to be infiltrated by scene politics.'
Tony Rettman, The Wire
'An insightful book. To understand what it is to be punk in the 21st century, one has to become comfortable with double vision, looking at global cultural exchange while digging into local contexts. A group of scholars who, by and large, also identify as punks, have gathered their research into a book that embraces this double vision. [...] Given the diversity of chapters and topics, it could prove a valuable reference for anyone looking for granular details on certain scenes. Within its 300-plus pages, insights from many of the authors and their subjects reveal punk to be a constellation of values and trends that arises from many uneasy histories. [...] The Punk Reader encourages prudence on the part of the reader when it comes to evaluating a scene and offers many instances where there are multiple sides to the subculture’s story.'
Layla Fassa, Hyperallergic
Introduction
1. Yes, But Is It Punk?
Mark Edward Achtermann
2. Re-thinking punk discourse and purpose: A case study of Muslim Punk in Java
Elise Papineau
3. 'Mutants of the 67th parallel north': Punk performance and the transformation of everyday life
Hilary Pilkington
4. Looking beyond music: Curating and narrating punk subculture in Singapore
Kai Khiun Liew and J. Patrick Williams
5. Taurunga music sux! DIY punk culture in Aotearoa
Kyle Barrett and Wairehu Grant
6. Filipino-American punk
Junior Tidal
7. Punk space in Bandung, Indonesia: Evasion and confrontation
Jim Donaghey and Frans Ari Prasetyo
8. Welcome to the 'modern age': The imagery of punk from the 1970s in the redefinition of the New York music scene of the 2000s and beyond
Paula Guerra and Thiago Pereira Alberto
9. Going through the motions: Punk nostalgia and conformity
Russ Bestley
10. Always now: Punk in Washington, DC, 2010–19
John R. Davis
11. Punk's not dead but its organs are being harvested in Ireland
Michael Mary Murphy
12. From punk rock to Prabhupāda: Locating the musical, philosophical and spiritual journey of contemporary Krishnacore
Mike Dines
13. Gore, absurdity and injustice: Narco aesthetics as local transgressions in grind and power violence: A perspective from Mexico's musical subcultures
José Omar González Hernández
14. Fuck off! Fokofpolisiekar's Afrikaans punk in the postcolony
Schalk D. van der Merwe
15. So far, so close: Contemporary faces of Portugese and Brazilian punk scenes
Paula Guerra and Pedro Menezes
Author Biographies
Index