Alastair Gordon – författare

Forty years after its inception, punk has gone global. The founding scenes in the United Kingdom and United States now have counterparts all around the world. Most, if not all, cities on the planet now have some variation of punk existing in their respective undergrounds, and long-standing scenes can be found in China, Japan, India, Africa, Southeast Asia and the Middle East. Each scene, rather than adopting traditional interpretations of the punk filter, reflects national, regional and local identities. The first offering in Intellect’s new Global Punk series, The Punk Reader: Research Transmissions from the Local and the Global is the first edited volume to explore and critically interrogate punk culture in relation to contemporary, radicalized globalization. Documenting disparate international punk scenes, including Mexico, China, Malaysia and Iran, The Punk Reader is a long-overdue addition to punk studies and a valuable resource for readers seeking to know more about the global influence of punk beyond the 1970s.

Forty years after its inception, punk has gone global. The founding scenes in the United Kingdom and United States now have counterparts all around the world. Most, if not all, cities on the planet now have some variation of punk existing in their respective undergrounds, and long-standing scenes can be found in China, Japan, India, Africa, Southeast Asia and the Middle East. Each scene, rather than adopting traditional interpretations of the punk filter, reflects national, regional and local identities. The first offering in Intellect’s new Global Punk series, The Punk Reader: Research Transmissions from the Local and the Global is the first edited volume to explore and critically interrogate punk culture in relation to contemporary, radicalized globalization. Documenting disparate international punk scenes, including Mexico, China, Malaysia and Iran, The Punk Reader is a long-overdue addition to punk studies and a valuable resource for readers seeking to know more about the global influence of punk beyond the 1970s.

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.

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.