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Punk Fanzines in Portugal (1978-2013).Pdf First Published January 2016 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Porto, Portugal Printed by Instituto Politécnico de Tomar [Polytechnic Institute of Tomar] Cover image: Júlio Dolbeth Design: Tânia Moreira Credits Photos (Introduction and Theme Tune 1-8): Vera Marmelo and Rui Oliveira ISBN 978-989-8648-63-1 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Contents INTRODUCTION ______________________________________________________________________________________ 7 Why is important crossing borders of underground music scenes? ____________________________________________ 9 Paula Guerra Tânia Moreira THEME TUNE 1 | MUSIC SCENES, WIDE WORLDS AND MULTIPLE HORIZONS: FROM UNDERGROUND MUSIC TO MAINSTREAM ______________________________________________________________________________________ 13 1.1. The folk underground music as culture revivalism: mixing the sundanese traditional musical instruments and underground music as the struggle for culture sovereignty _____________________________________________ 15 Yusar Muljadji 1.2. When underground becomes (alter) mainstream: the commercial as transgression __________________________ 23 Ion Andoni del Amo 1.3. “God Save the Queen”. Media coverage of the punk music in the United Kingdom in the late 1970s. _________ 31 Martin Husak 1.4. Memories of an underground scene at the Southern Brazil: between descriptions and meanings about one subterraneous past ______________________________________________________________________________ 39 Daniel Ribeiro Medeiros Isabel Porto Nogueira 1.5. The emergence of Neue Deutsche Welle – a sociological study on an efficacious practice ascending from underground music to everyday culture. ________________________________________________________________________ 49 Franka Schäfer Anna Daniel THEME TUNE 2 | PORTO CALLING AGAIN: THE EVER CHANGING FEATURES OF PUNK AND POST PUNK IN LATE MODERNITY _______________________________________________________________________________________ 57 2.1. Punk fanzines in Portugal (1978-2013): a mapping exercise ____________________________________________ 59 Pedro Quintela Paula Guerra 2.2. Locked because of a look. The different risks you take when you look like a punk in West and East Germany (1977- 1982) _________________________________________________________________________________________ 69 Pierre Raboud 2.3. Punk representations in advertising: impurity, stigma and deviance ______________________________________ 75 Cláudia Pereira 2.4. You can’t blow up a symbolic relationship: spectacular and physical resistance of punk _____________________ 81 Donal Fullam 2.5. Boots, braces and baseball bats: right-wing skinheads in the Czech Republic (1985-2015) ___________________ 85 Jan Charvát 2.6. Peripheral subcultures. The first appropriations of punk in Germany and Italy ______________________________ 93 Mara Persello 2.7. Punk and New wave: destruction or doorway into Europe for the former socialist countries __________________ 99 Yvetta Kajanová THEME TUNE 3 | EVER FALLEN IN THE CITY: PERFORMING SCENES, PERFORMANCE SPACES, PERFORMING IMAGES 107 3.1. Performance art in Portugal in the mid-1980s? A drift towards music? __________________________________ 109 Cláudia Madeira 3.2. Transforming the city: shaping urban public space through collective street art initiatives. __________________ 117 Ágata Sequeira THEME TUNE 4 | UNDER CONSTRUCTION: TOWARDS A FRAMEWORK OF YOUTH SUBCULTURES, TRIBES, NEOTRIBES AND BANDS ______________________________________________________________________________________ 129 4.1. Cattivi guagliuni: the identity politics of 99 Posse ____________________________________________________ 131 Marcello Messina 4.2. Contemporary art and construction gender equality __________________________________________________ 137 Fellipe Eloy Teixeira Albuquerque 4.3. A possible herstory _____________________________________________________________________________ 145 Carla Genchi 4.4. Resistance? Through Rituals: politics and rock culture during the last military dictatorship in Argentina (1976- 1983)________________________________________________________________________________________ 151 Julián Delgado 4.5. Problematizing the idea of subculture: a collective theoretical and practical approach ______________________ 157 Fernando García Naharro José Emilio Pérez Martínez 4.6. Retaking the tragedy: Creative practices and meanings of politics in the Bogotá hardcore __________________ 165 Iñaki Zárate Cantor 4.7. “I hope I die before I get old”, an approach to British cinema and youth subcultures ______________________ 171 José Emilio Pérez Martínez THEME TUNE 5 | DIY, ENTREPRENEURSHIP, SOCIAL VALUES AND MUSIC SCENES _____________________________ 179 5.1. The (pop)rock singer: a self-taught or skilled artist ___________________________________________________ 181 Samuel Tome ček 5.2. The Cyber-guitar system: nuance in instrumental practice as a motivation for immediacy within gestural controllers ____________________________________________________________________________________ 187 Jonathan Crossley 5.3. Social and generational inclusion: the “Social Crochet Program”, from Coimbra __________________________ 195 Marcia Regina Medeiros Veiga 5.4. The theatre in the places of social exclusion: preliminary analysis of the Pele - Espaço de Contacto Social e Cultural association activities ____________________________________________________________________________ 203 Irene Serafino THEME TUNE 6 | UNDERGROUND MUSIC SCENES, FRAGMENTATION, BORDERS AND DIASPORAS ______________ 209 6.1. Breaking the Electronic Sprawl ___________________________________________________________________ 211 Hillegonda C Rietveld 6.2. Black Metal: history, trace of character and archetype ________________________________________________ 215 José Filipe P. M. Silva 6.3. Avant-garde rock, or the defiance of traditional musical domains _______________________________________ 221 Jacopo Costa 6.4. "We're from Switzerland, that's a chocolate island in Sweden": understanding the situation of Swiss bands with regard to the indie rock rhizome _________________________________________________________________ 227 Loïc Riom 6.5. Mapping sounds in Porto Alegre: initial notes on the independent authorial music scene ___________________ 235 Belisa Zoehler Giorgis THEME TUNE 7 | MUSIC AND PLEASURES, MEDIATION AND AUDIENCES ____________________________________ 245 7.1. Street musicians: the strategies of mastering the social space of St. Petersburg ___________________________ 247 Aleksandra Kozyr 7.2. DIY in Morocco from the mid 90’s to 2015: back to the roots? ________________________________________ 255 Dominique Caubet 7.3. Deciphering the “alternative”: some preliminary contributions from the analysis of the audiences of a performing arts venue ____________________________________________________________________________________ 263 Pedro Costa Margarida Perestrelo Giles Teixeira THEME TUNE 8 | MEDIATION, ARTIFACTS AND INDEPENDENT MUSIC AND ARTISTIC PRODUCTIONS _____________ 273 8.1. Freak encounters in the free press: sharing spaces in 1960s Los Angeles _________________________________ 275 Andre Mount 8.2. Nakedness, gender and print culture: bodies in the magazine “La Luna de Madrid” _______________________ 283 Fernando García Naharro 8.3. Online dimensions of Russian subcultural scene: Padonki Community. ___________________________________ 291 Elena Bulatova 2.1. Punk fanzines in Portugal (1978-2013): a mapping exercise Pedro Quintela 1 Paula Guerra2 Abstract With the emergence of punk in the UK and USA, in the 1970s, the production, distribution and consumption of fanzines became relevant, as an area of freedom of thought and creativity, and as an alternative to conventional media. Since then the fanzines scene clearly expanded, at different levels. In this paper we discuss preliminary results of an ongoing research on the emergence, development and transformation of punk movement in Portugal, from 1978 until nowadays, in which the fanzines and, more recently, e-zines are interesting examples. Looking at a broad set of Portuguese punk fanzines and e-zines, produced over the past decades, we’ll try to analyse major trends and changes in their graphic and editorial contents and also understand their relevance inside the punk ‘scenes’. Finally, we’ ll discuss the convergences that, despite the existing diversity, allow us to speak of a do-it-yourself ethic associated this kind of cultural objects. Keywords: fanzines, do-it-yourself, punk. Introduction This paper focuses on the analysis of Portuguese punk fanzines and e-zines that has been carried out in a research project entitled “ Keep it simple, make it fast! Prolegomenons and punk scenes, a road to portuguese contemporaneity (1977-2012)”, which is funded the Portuguese Foundation for Science and Te chnology, and involves several researchers and research institutions from Portugal, Australia and Spain. This project is led by the Institute of Sociology from the Faculty of Arts of the University of Porto and developed in partnership with the Griffith Centre for Cultural Research and the University of the University of Lleida. Also the following institutions participate in this research: Faculty of Economics of the University of Porto, Faculty of Psychology and Education Sciences of the University of Porto, Faculty of Economics
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