Paula Guerra – författare

This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes.

The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place.

Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes.

The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place.

Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

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.

Punk Identities, Punk Utopias: Global Punk and Media seeks to unpack and illuminate punk as a trajectory of ‘timelesness…as a set of diverse but confluent values and appropriations’ that have both reflected and informed an increasingly complex, indefinable social, political and economic setting. Whereas the first two volumes in the series were broadly focused on local punk ‘scenes’ in a disparate range of countries and regions around the world, Punk Identities, Punk Utopias extends that critical enquiry to reflect broader social, political and technological concerns impacting punk scenes around the world, from digital technology and new media to gender, ethnicity, identity and representation. This new volume therefore draws upon the interdisciplinary areas of cultural studies, musicology and social sciences to present an edited text on the notion of identities, ideologies and cultural discourse surrounding contemporary global punk scenes. It is hoped that the books in the Global Punk series will add to the academic discussion of contemporary popular culture, particularly in relation to punk and the critical understanding of transnational and cross-cultural dialogue.

Punk is a global phenomenon and the Global Punk series aims to reflect contemporary scenes around the world since the millennium. Punk and its subsequent variants, from hardcore to post-punk, have always crossed borders and become assimilated within countercultural practices with local, national and regional variations.

Produced in collaboration between the Punk Scholars Network and Intellect Books, the Global Punk book series focuses on the development of contemporary global punk (c. 2000 onwards), reflecting upon its origins, aesthetics, identity, legacy, membership and circulation. Critical approaches draw upon the interdisciplinary areas of (among others) cultural studies, art and design, sociology, musicology and social sciences in order to develop a broad and inclusive picture of punk and punk-inspired subcultural developments around the globe. The series adopts an essentially analytical perspective, raising questions about the dissemination of punk scenes and subcultures 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 appealed. It will be a key resource for established academics, postdoctoral researchers and Ph.D. students, as well as being suitable for adoption as an undergraduate student textbook. Suitable courses will include those in the fields of popular music, youth culture, sociology, urban/cultural geography, political history, heritage studies, media and cultural studies.

Punk Identities, Punk Utopias: Global Punk and Media seeks to unpack and illuminate punk as a trajectory of ‘timelesness…as a set of diverse but confluent values and appropriations’ that have both reflected and informed an increasingly complex, indefinable social, political and economic setting. Whereas the first two volumes in the series were broadly focused on local punk ‘scenes’ in a disparate range of countries and regions around the world, Punk Identities, Punk Utopias extends that critical enquiry to reflect broader social, political and technological concerns impacting punk scenes around the world, from digital technology and new media to gender, ethnicity, identity and representation. This new volume therefore draws upon the interdisciplinary areas of cultural studies, musicology and social sciences to present an edited text on the notion of identities, ideologies and cultural discourse surrounding contemporary global punk scenes. It is hoped that the books in the Global Punk series will add to the academic discussion of contemporary popular culture, particularly in relation to punk and the critical understanding of transnational and cross-cultural dialogue.

Punk is a global phenomenon and the Global Punk series aims to reflect contemporary scenes around the world since the millennium. Punk and its subsequent variants, from hardcore to post-punk, have always crossed borders and become assimilated within countercultural practices with local, national and regional variations.

Produced in collaboration between the Punk Scholars Network and Intellect Books, the Global Punk book series focuses on the development of contemporary global punk (c. 2000 onwards), reflecting upon its origins, aesthetics, identity, legacy, membership and circulation. Critical approaches draw upon the interdisciplinary areas of (among others) cultural studies, art and design, sociology, musicology and social sciences in order to develop a broad and inclusive picture of punk and punk-inspired subcultural developments around the globe. The series adopts an essentially analytical perspective, raising questions about the dissemination of punk scenes and subcultures 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 appealed. It will be a key resource for established academics, postdoctoral researchers and Ph.D. students, as well as being suitable for adoption as an undergraduate student textbook. Suitable courses will include those in the fields of popular music, youth culture, sociology, urban/cultural geography, political history, heritage studies, media and cultural studies.