MOTHER'S DAY SPECIALS! SHOW ME MORE
Russ Bestley is a designer and writer, specializing in graphic design, punk and humour. He has co-authored a number of publications, including Action Time Vision: Punk & Post Punk 7” Record Sleeves (2016), The Art of Punk (2012), Visual Research (2004, 2011, 2015) and Up Against the Wall (2002). He has contributed articles to Punk & Post-Punk, Eye, Zed, Emigré, Street Sounds and Vive Le Rock, curated exhibitions in London, Southampton, Blackpool, Leeds, Birmingham and Newcastle, and designed books, posters and other material for the Punk Scholars Network, Active Distribution, PM Press, Viral Age Records and other independent labels and publishers. He is editor of the journal Punk & Post-Punk and leads the Graphic Subcultures Research Hub at the London College of Communication. Mike Dines is a British musician, writer, scholar and publisher. He founded Itchy Monkey Press (http://itchymonkeypress.com) with the publication of the anarcho-punk novella the darkening light (2014), followed by Tales From the Punkside (2014), Some of Us Scream, Some of Us Shout (2016) and And All Around Was Darkness (2017) with Greg Bull. As a scholar he has written widely on subcultures and popular music, co-editing The Aesthetics of Our Anger: Anarcho-Punk, Politics, Music (Autonomedia/Minor Compositions, 2016), Punk Pedagogies: Music, Culture and Learning (Routledge, 2017), The Punk Reader: Research Transmissions from the Local and the Global (Intellect, 2019), Punk Now!! Contemporary Perspectives on Punk (Intellect, 2020), Trans-Global Punk Scenes: The Punk Reader Vol. 2 (Intellect, 2020) and Punk Identities, Punk Utopias: Global Punk and Media (Intellect 2021). His current writing takes him in the direction of punk and spirituality with the co-edited collection Exploring the Spiritual in Popular Music: Beatified Beats (Bloomsbury, 2021). He is currently a lecturer of music at Middlesex University and is an avid supporter of Portsmouth Football Club. ORCID: https://orcid.org/0000-0001-9706-979X Paula Guerra holds a PhD in Sociology from the University of Porto. She is Professor in the Department of Sociology at FLUP and Researcher at the Institute of Sociology of the same University (IS-UP), where she currently coordinates the subgroup Artistic Creation, Practices and Cultural Policies. Member of the Scientific Committee of the Master in Sociology at the University of Porto. She is Adjunct Associate Professor of the Griffith Centre for Social and Cultural Research (GCSCR). She is the founder and coordinator of the All Arts Network, Luso-Afro-Brazilian Network of Sociology of Culture and Arts. Paula coordinates and participates in various national and international research projects in the field of youth cultures and the sociology of art and culture. She is also supervisor of several master's, doctoral and post-doctoral projects in those thematic areas. She is coordinator and founder of the KISMIF Conference/projetct. She is founder and director of the scientific journal All the Arts. Lusophone Journal of Art and Culture. She is the author (with Bennett) of the edited book DIY Cultures and Underground Music Scenes (Oxford: Routledge, 2019), (with Dines, Gordon and Bestley) The Punk Reader 1 and 2 (Bristol: Intellect, 2019, 2021), and (with Quintela) of the edited book Punk, Fanzines and DIY Cultures in a Global World (London: Palgrave, 2020). She has published 55 book chapters (40 in international publishing houses – UK, EUA, Canada, Germany and Brazil) and 87 articles in peer-reviewed periodicals – 55 of them in international journals, including WOS-Q1 journals such as Cultural Trends, Journal of Sociology, Popular Music and Society, European Journal of Cultural Studies, Critical Arts, Portuguese Journal of Social Sciences, Cultural Sociology and Young.
'Comprising scholarly articles that incorporate subjects and contributors from across six continents, Trans-Global Punk Scenes: The Punk Reader Vol. 2 outdoes its 2019 predecessor in its geographical scope, even as it narrows its focus mostly to punk scenes in the twenty-first century. [...] And while the fifteen chapters they have brought together here are varied in their subject-matter and methods, they are unified in demonstrating how punk music, aesthetics, attitudes and do-it-yourself (DIY) strategies are being both ‘adopted’ and ‘adapted’ across the globe, taking on ‘aspects of local traditions, language, and practice to create a new scene and a range of culturally specific new styles’ (13). [...] Russ Bestley’s analysis of UK punk in the context of the ‘revival’ and festival circuits digs into the often-overlooked labour and intergenerational cooperation required in their creation. In this chapter, Bestley laments that most punk scholarship dwells on the ‘spectacular’ rather than ‘the ordinary’ (183), and where this volume focuses on the latter its greatest strengths are apparent.' -- Maria Elena Buszek, Punk & Post-Punk
Conform To Deform
The Weird And Wonderful World Of...
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Punk Pedagogies in Practice
Disruptions and Connections
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