Russ Bestley – författare

The definitive illustrated chronicle on the graphic art of punk style, from period concert posters and flyers to fanzines and record sleeves, and much more, with over 900 images Celebrating a wide range of punk design in vinyl cover art, posters, flyers, fanzines, and other ephemera, The Art of Punk highlights the movement primarily within graphic design and print, while also considering its impact on wider popular culture. Punk was based on immediacy—an often-inspired amateurism and underground, close-knit communities that burned brightly but were not intended to extend beyond the gig, the event, the scene, the moment. Punk songs by such legendary bands as the Sex Pistols, the Ramones, the Damned, the New York Dolls, the Germs, and the Clash tended to be short, fast, and aggressive, and the oft-repeated credo “If it can’t be said in three minutes, it’s not worth saying” was adopted as standard practice, extending in turn to an entire ethos for the whole subculture. The Art of Punk is arranged chronologically, and by genre, and features more than 900 visual examples both by uncredited artists and internationally renowned designers and design groups, alongside interviews with, and commentary by, many of the artists concerned.

Turning revolt into style: The process and practice of punk graphic designis a comprehensive analysis of punk aesthetics and the subculture’s key watchwords of do-it-yourself, autonomy, and authenticity in relation to the professional practices and technological conventions of the graphic design and print industries in the late 1970s and early 1980s.A groundbreaking analysis of the complex relationship between punk visual aesthetics and the graphic design and print professions, from the innovation of punk DIY pioneers to radical changes in the commercial design industry. These changes reflected not just the influence of an emerging cohort of young designers who aligned themselves with the new subculture but also the advent of new technologies, particularly in the printing industry during the early days of photocomposition and digital reproduction.Drawing on interviews with leading punk and post punk designers including Malcolm Garrett, Bill Smith, Chris Morton, Steve Averill, Mike Coles, Bob Last, Rob O'Connor, Jill Mumford and Neville Bordy along with detailed archival and historical research, this book reveals the implicit tensions between a new creative vanguard and the design establishment, together with the opportunities offered by new technologies and dramatic parallel changes in labour relations and working practices.Along with a close analysis of punk and post punk record covers, fanzines and other artefacts, Turning revolt into style charts the story of a seismic cultural shift thar was to have a lasting impact for decades to come. The text centres on two key questions: how did a new generation of young, punk inspired graphic designers navigates the music graphics profession the lates 1970s and early 1980s? And how did significant changes in printing technology, labour relations and working practices in the design profession impact their work during that period?

Turning revolt into style: The process and practice of punk graphic designis a comprehensive analysis of punk aesthetics and the subculture’s key watchwords of do-it-yourself, autonomy, and authenticity in relation to the professional practices and technological conventions of the graphic design and print industries in the late 1970s and early 1980s.A groundbreaking analysis of the complex relationship between punk visual aesthetics and the graphic design and print professions, from the innovation of punk DIY pioneers to radical changes in the commercial design industry. These changes reflected not just the influence of an emerging cohort of young designers who aligned themselves with the new subculture but also the advent of new technologies, particularly in the printing industry during the early days of photocomposition and digital reproduction.Drawing on interviews with leading punk and post punk designers including Malcolm Garrett, Bill Smith, Chris Morton, Steve Averill, Mike Coles, Bob Last, Rob O'Connor, Jill Mumford and Neville Bordy along with detailed archival and historical research, this book reveals the implicit tensions between a new creative vanguard and the design establishment, together with the opportunities offered by new technologies and dramatic parallel changes in labour relations and working practices.Along with a close analysis of punk and post punk record covers, fanzines and other artefacts, Turning revolt into style charts the story of a seismic cultural shift thar was to have a lasting impact for decades to come. The text centres on two key questions: how did a new generation of young, punk inspired graphic designers navigates the music graphics profession the lates 1970s and early 1980s? And how did significant changes in printing technology, labour relations and working practices in the design profession impact their work during that period?

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.

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.