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  5. Volume 11, Issue 3, 2022

Punk & Post-Punk - Volume 11, Issue 3, 2022

Volume 11, Issue 3

Volume 11, Issue 3, 2022

Language: English
  • Articles

      • Women’s experience in Estonian punk scenes during the transition from Soviet to post-Soviet society

        https://doi.org/10.1386/punk_00145_1

        The article examines women’s experiences in the punk scenes of Tallinn (Estonia) during the late Soviet (1970s–80s) and the initial post-Soviet period (1990s–2000s). The author is interested in how women perceived their identity inside those scenes and in relation to mainstream culture, as well as in the role of Tallinn’s urban space in scene creation. The article places a particular emphasis on examining the consistency in women’s experience of those scenes in the context of a society that witnessed the crumbling of Soviet rule. Theoretical background for the article is provided by subculture and gender studies. The material for analysis is drawn primarily from in-depth interviews with members of the subcultures concerned but also includes data from participatory observation and personal experience. In interpreting the data, the author has combined qualitative content analysis and discourse analysis (including context analysis).

    • ‘What the heck: Eskorbuto for PM!’: Eskorbuto’s punk music and anarchist ideology

      https://doi.org/10.1386/punk_00147_1

      Eskorbuto was one of the most important Spanish-speaking punk bands and the most extreme among those belonging to the ‘Basque Radical Rock’ movement in the 1980s. This article aims to analyse the ideological components of Eskorbuto’s discourse in relation to the political philosophy of anarchism. More specifically, the objective is to ascertain whether Eskorbuto’s music represents key anarchist values, and whether their discourse may be characterized as anarcho-punk. The study focuses on a context-sensitive discourse analysis of Eskorbuto’s lyrics. Results indicate that, through punk music, Eskorbuto’s discourse was linked to anarchism, to the extent that the Basque band was energized by punk’s anti-establishment attitude. However, results also reveal that the socially constructive values of anarchism – such as the belief in a natural order, or the vision of a self-managed collectivist economy – were not clearly conveyed in the band’s nihilistic lyrics. The scope and limits of Eskorbuto’s anarcho-punk characteristics are considered, before discussing the relationship of the band’s raw and confrontational message with the concept of punk-anarchism.

    • The rhetoric of recovery in Social Distortion’s

      https://doi.org/10.1386/punk_00129_1

      Social Distortion’s 1996 album is a concept album reflecting the recovery in Alcoholics Anonymous (AA) of lead singer and songwriter Mike Ness: twelve songs, with each of the songs describing Ness’s experience of the corresponding step in AA’s twelve-step programme. The rhetoric of recovery in the song lyrics has an intertextual relationship to Alcoholics Anonymous (the ‘Big Book’), with Ness’s lyrics quoting directly from the programme of recovery outlined in the basic text of AA. Though the rhetoric of recovery in the album reflects Ness’s own experience, it also demonstrates how individual authentic experience is constructed interdiscursively through broader cultural trends, both within the Lou Reed-inflected rockist history of guitars, drugs and confessional authenticity and, more broadly, how the rhetoric of recovery has permeated other genres of American popular music and culture.

    • Just a noisy hall, where there’s a nightly brawl, and all that punk: The problematic union of craft beer and punk

      https://doi.org/10.1386/punk_00160_1

      It has been claimed that craft beer and punk are bedfellows. There are large numbers of Millennials among drinkers of craft beer and fans of punk, and each can play a significant role in drinkers’ and fans’ identities. Communities are built around the appreciation of each, and precision is important. Subtle distinctions between different craft beers are magnified to craft beer drinkers; subtle differences in sound between different punk bands are magnified to committed punk fans. Obscure craft beers manufactured in low numbers reflect the limited run of 100 units of an album pressed on vinyl by an obscure punk band. These similarities have not gone unnoticed by craft breweries or punk bands. Scottish brewery BrewDog uses the word ‘punk’ in its products and literature; US brewery Stone Brewing partnered with US punk band NOFX to produce a NOFX-branded craft beer. However, both breweries have suffered as a consequence. This article reflects on both breweries’ appropriation of punk and considers factors that contributed to problems that they subsequently encountered. In both cases, though in different ways, conceptions of punk that are lazy, platitudinous or both have contributed towards the issues suffered.

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