Today, the words ‘indie’ and ‘independence’ are commonly taken only to be connotative of a musical style, yet during an earlier punk/post-punk period they were used to denote a specific economic separateness from the major labels. This article examines the development of the indie sector in this earlier period, challenging a tendency to reify certain proponents of punk’s DIY principle (Buzzcocks’ Spiral Scratch EP, Desperate Bicycles) by noting some significant antecedents and continuations of the indie ‘Do It Yourself’ impetus. Contrasting the Rough Trade label against anarcho-punks Crass, the article also highlights the ‘cutie’ or ‘C86’ period in which indie is sometimes said to have become more about music and less about politics. The significance of MySpace and other recent technological developments are also considered. In conclusion, the article interrogates the political efficacy of the ‘anyone can do it’ principle associated with punk/indie’s DIY ethic.
Although working-class boys' disengagement with education continues to be a major public concern, the focus of educational research has been on anti-school, hyper-masculine so-called laddish masculinities and their salience within learner identities. What tend to be forgotten are the areas in which low-achieving boys actively engage and succeed in their learning and what these successes mean for their identity construction. This article shows how learning practices manifest themselves in extracurricular peer subcultures by presenting the findings of two related musical activities, DJ-ing and MC-ing. In this music-making, secondary school boys in the Northeast of England showed themselves to be capable of high levels of engagement, enthusiasm and success despite generally being considered low achieving and highly disaffected. This small case study based on semistructured interviews aimed to explore how boys aged 14-16 years enact their passion through creative agency and expressive cultural processes.
Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”
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