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“Lo Llaman Democracia Y No Lo Es”: a Cultural Interpretation of the Politics of Punk in Spain

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“Lo Llaman Democracia Y No Lo Es”: a Cultural Interpretation of the Politics of Punk in Spain “LO LLAMAN DEMOCRACIA Y NO LO ES”: A CULTURAL INTERPRETATION OF THE POLITICS OF PUNK IN SPAIN By David Vila Diéguez Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Spanish May 10, 2019 Nashville, Tennessee Approved: Andrés Zamora, Ph.D. Edward H. Friedman, Ph.D. N. Michelle Murray, Ph.D. Luis Martín-Cabrera, Ph.D. Iros todos a la mierda, de uno en uno o en mogollón. Todos a la puta mierda, valientemente y con decisión. Iros todos a la mierda, estamos hartos de corrupción. Todos a la puta mierda, estamos hartos, ¡me cago en dios! “Iros todos a la mierda” La Polla Acabar con lo establecido, poner fin a la disciplina, borrar más de mil normas sin sentido, caminar sin dueños ni policía. Rechazar cualquier forma de estado ejércitos, jerarquías y mandos, romper las barreras que han puesto en tu vida, y quitarnos el peso de su justicia. “Que deje de ser una utopía” Disidencia ii ACKNOWLEDGEMENTS This work would not have been possible if my grandfather Antonio (a.k.a. “o Limiao”) had been killed while serving in the Spanish Civil War. It would have probably also not been possible had the Guardia Civil caught him smuggling nuts, coffee, and different essential goods through the Galicia-Portugal border in Tamaguelos (Ourense) in the years following the Civil War. If it wasn’t for my grandmother, Clotilde, who raised nine children and moved to the Basque Country with Antonio to work there for years, this work would have never happened. Do mesmo jeito, se meu avô Luis não tivesse trabalhado cerca de dez anos na Alemanha enquanto minha avó Camila criava seus seis filhos em Quintela, Junqueira de Ambia (Ourense), esta tese nunca teria existido. Junto com isto, se meu pai, Benjamin, não tivesse emigrado ao País Basco e trabalhado na indústria metalúrgica oito horas ao dia durante quase 40 anos, este trabalho não teria sido possível. E por último, se minha mãe, Mari Carmen, não tivesse trabalhado outros mais de 40 anos numa linha de montagem a fazer sargentos em Eibar, esta tese nunca teria sido escrita. Agradeço a todos eles, e especialmente aos meus pais, que tenham dedicado toda sua vida a que eu pudesse seguir meus sonhos musicais, literários, culturais, e artísticos em geral. Agradezco también a mi hermano, Óscar, que, aunque en la distancia, siempre estemos ahí. Matiena eta Euskal Herriko lagun guztioi ere, eskerrik asko. Faltan botatzen zaituztet egunero. Ez dut izenik emango, zuek badakizue nortzuk zareten. Thanks to all my mates from the U.K. too. Many of the things I learnt about music I learnt them from you. Também, e de jeito muito especial, obrigado a Kadiri e Galega por serem minha família e por me darem um apoio e ajuda constante e incondicional em absolutamente tudo o que faço. Só espero poder reciprocar isso durante o resto das nossas vidas. Thanks to all my iii friends in Nashville for making me feel at home ever since I moved here and thanks to The Rumba Madre for making my life in Nashville more meaningful. Muchas gracias también a Andrés por su ayuda y apoyo con todo mi trabajo académico desde que llegué a Vanderbilt University y por haber dirigido esta tesis. Su honestidad y hacer intelectual carente de egocentrismos son un ejemplo de lo que un verdadero académico debería ser. Thanks to Jon Andoni Franco Elorza for helping me put up with all the bullshit surrounding academia. Thanks to Steve Wenz for having helped me edit the text before its final submission and thanks to all my friends from the department of Spanish and Portuguese at Vanderbilt Unviersity for all the time we spent together. Also, thanks so much to Edward Friedman, Neica Michelle Murray, and Luis Martin Cabrera for having been part of my dissertation committee and for all their generous feedback. Finally, thanks to you reading these lines too in case I forgot your name. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.................................................................................................iii LIST OF FIGURES ...……………..………………………………………………….......vi INTRODUCTION ....………………………………………………………………...........1 Chapter I. MAKING SENSE OF SPANISH PUNK ……….…………………………………......11 1. In Their Own Words: Punks Talking About Punk ............................................11 2. Punkademics ......................................................................................................20 3. Punk in Spain: A Methodological Proposal ......................................................56 II. THE MOVIDA MADRILEÑA VS SPANISH PUNK CULTURE ……….…….........70 1. The Movida Madrileña ......................................................................................70 2. Spanish Punk Culture ........................................................................................75 3. Fanzines .............................................................................................................84 4. Music .................................................................................................................97 5. Spanish Punk and the Movida Madrileña as Subcultures ................................106 III. 1ST NEGATIONIST TOPOS: PUNK AS ANTI-TRANSICIÓN .....………….........112 1. Spanish Punk’s Rupturist Discourse ...............................................................116 2. Spanish Punk and its Politics of Memory .......................................................140 IV. 2ND NEGATIONIST TOPOS: PUNK AS ANTI-CAPITALISM & ANTI-NEOLIBERALISM ...............................................................................................164 1. DIY Punk in Spain ..........................................................................................171 2. DIY as a Fluid Spectrum .................................................................................205 V. FINAL CONSIDERATIONS ….…………………………………………………....208 1. Punk, Social Movements, and Anti-Establishment Identities in Spain ...........208 2. Conclusions .....................................................................................................222 v LIST OF FIGURES Figure Page 1. El País 5/14/86 cover about La Polla Records’ show during San Isidro ...…...........5 2. Cover of Punk by Salvador Costa ………………………………………………...16 3. Punk wearing a coverall in the inner pages of Punk ……………………………...16 4. “This is a chord. This is another. This is a third. Now form a band.” Sideburns…46 5. “Las aventuras de Mari-Tacones.” Second issue of the fanzine Kaka de Luxe…...86 6. Ruletto, el caballero más romántico del espacio 1………………………………...88 7. Ruletto, el caballero más romántico del espacio 2………………………………...88 8. Ruletto, el caballero más romántico del espacio 3………………………………...89 9. Ruletto, el caballero más romántico del espacio 4………………………………...89 10. Cover of sixth issue of Penetración……………………………………………...91 11. Cover of first issue of N.D.F.......…………………………………………….......93 12. Cover of Kortatu………………………………………………………………..117 13. Cover of El estado de las cosas……………………………………………........122 14. Inner booklet of El estado de las cosas................................................................123 15. Cover of Unzensuriert..........................................................................................124 16. Cover of Que pagui Pujol.....................................................................................128 17. “Los cuatro generales” in Madrí, qué bien resistes!.............................................147 18. El periódico de Catalunya cover about squatting in 1984....................................164 19. Pro-squat concert poster........................................................................................166 vi 20. Diario 16 article on squat in Madrid.....................................................................170 21. Cover of the manual Hazlo tú mismo: recupera tu vida.......................................172 22. List of fanzines from second issue of Penetración...............................................176 23. Distribuciones N.D.F............................................................................................177 24. Danontzat Gaztetxea schedule..............................................................................194 25. How to make a fake metro ticket..........................................................................204 26. 15-M Madrid.........................................................................................................208 27. Cover of Rock Anti Mili........................................................................................212 28. Cover of Insumisión..............................................................................................212 29. Inner booklet of Kaña al 92..................................................................................213 30. Cover of NOveintaidos92......................................................................................214 31. Cover of Cinta antifascista....................................................................................215 32. Cover of Cinta antirracista...................................................................................215 33. Eskorbuto graffiti in anti-G20 riots in Hamburg in 2017......................................217 34. Madrid 15-M camping plan...................................................................................220 vii INTRODUCTION May 12, 1986. Madrid is celebrating its annual San Isidro festivities. As part of this year’s program, there is a
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