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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.

Critical engagement with local, national and trans-global contemporary punk scenes across countries and regions including New Zealand, Indonesia, South Africa, Siberia and the Philippines. Includes thematic discussions on the evolution and adaptation of subcultural styles, punk demographics and the notion of punk identity. 50 b/w illus.

This new volume in the acclaimed Global Punk series extends the critical enquiry to reflect broader social, political and technological concerns impacting punk scenes around the world, with international contributors, ranging through topics from digital technology and new media to gender, ethnicity, identity and representation. 50 b/w photographs.

A critical refashioning of punk to suggest it emerges from within the long-term historical experience of las Americas in all their plurality. A collage-like juxtaposition of punk perspectives from across the entire hemisphere and via divergent contributions. 71 b/w illus.

Art school Britain in the 1960s and 1970s - a hotbed of experimental DIY creativity blurring the lines between art and music. In Blank Canvas, multi-genre musician turned university lecturer Simon Strange paints a picture of the diverse range of people who broke down the barriers between art, life and the creative self. Tracing lines from the Bauhaus 'blank slate' through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across music, gender and race spectrums, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. Illustrated is a picture of two decades erupting in a devastatingly diverse flow of outspoken originality as an eclectic range of musical styles and cultures fused. Does modern day music education suffocate the soul and inhibit the impact of the bohemian artist?This book asks questions of today's artists, musicians, and educators, looking for the essence of creativity and suggests how lessons learnt in and around art school education show a path for the cultural evolution of both musicians and artists hoping to create the future. Audience will include university students at all levels in popular music, popular culture and creative arts education. Academics, educators and researchers working in popular culture and creativity. May also appeal to a more general reader interested in popular culture and creativity. With a Blank Canvas, anything is possible...

The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border, and released on a tiny independent record label, became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this 'socialist' country have one of the most vibrant punk scenes in the world?Gloucester, England, 1981; multi-racial, teenage street-punk band, Demob, recorded and released what would become their best known and most enduring song, No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived, punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set, the lyrics were either a howl of rage at the injustice, a wail at the loss, or a love-song to an era. More than three decades later, the author - and Demob's bass player in 1981 - set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era, through the disintegration and wars, forced displacements and permanent exiles, to today's turbulent 'reconstruction. Who were 'Tito's punks' and who are they now?An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present, seen through the unlikely lens of punk and punk rockers. Part travelogue, part history the book is both, and neither, of those things. Rather, it is a mural and soundtrack of a journey through a time and place which no longer exists. The latest addition to the Global Punk series from Intellect.

What does a hemispheric Americas look like when done through the lens of punk music, visuals and literature? That is the core premise of this book, presented through a collage of analytical, aesthetic and experiential takes on punk across the continent. This book challenges the dominant vision of punk ‿ particularly its white masculine protagonists and deep Anglocentrism ‿ by analysing punk as a critical lens into the disputed territories of 'America', a term that hides the heterogeneous struggles, global histories, hopes and despairs of late twentieth and early twenty-first century experience. Compiling academic essays and punk paraphernalia (interviews, zines, poetry and visual segments) into a single volume, the book seeks to explore punk life through its multiple registers, through vivid musical dialogues, excessive visual displays and underground literary expression. The kaleidoscopic accounts include everything from sustained academic inquiry and photo portraits to anarchist manifestos and interview excerpts with notable punk figures. The result is a radically heterogenous mixture that seeks to reposition punk and las Américas as intrinsically bound up in each other‿s history: for better and for worse. Out of critical pasts, within an urgent present and toward many different possible futures. This volume critically refashions punk to suggest it emerges from within the long-term historical experience of las Américas in all their plurality and is useful as a mode of critique towards the hegemonic dimensions of America in its imperial singularity. The book is rooted in a theory of 'radical heterogeneity' and thus represents a collage-like juxtaposition of punk perspectives from across the entire hemisphere and via divergent contributions: academic, experiential and aesthetic. Readership for this collection will include both academic and general readers. Primary readership will be academic. It will appeal to researchers, scholars, educators and students in the following fields: American studies, Latin American studies, media and communication, cultural studies, sociology, history, music, ethnomusicology, anthropology, art, literature. General readership will be among those interested in the following areas - anarchism, music, subculture, literature, independent publishing, photography.