Anyone Can Do It: Empowerment, Tradition and the Punk Underground

So close yet so far: DIY cultures in Portugal and Brazil

“…According to Dale's (2016) perspective, there is no zero year for the spirit of DIY. What we can find is a long period of construction, due to a culture of resistance and desire for other types of music.…”

“…But this creates certain problems: when amateurism is the most important thing, when any form of professionalization is despised, how is a punk band supposed to survive? That is why Dale (2016) maintains that punk's aspirations to completely disentangle itself from the mainstream economy are always bound to fail. This happened in the 1990s, a decade crucial for the development of DIY culture, which ceased to be purely an underground niche and became professionalized.…”

What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation

“…DIY (as in ‘do-it-yourself’) is a musical culture that emerged from first-wave US and UK punk in the late 1970s; while it still retains a close association with that genre, principles of DIY music-making have also moved beyond these generic ties to denote a means of organising musical practice and an accompanying set of ethical norms (Dale, 2012; Downes et al, 2013). The core tenets of DIY music might be summarised by the chorus of a 1978 single by UK band The Desperate Bicycles: ‘It was easy, it was cheap – go and do it ’ (The Desperate Bicycles, 1978).…”

Paul Edwards, Elodie Grossi & Paul Schor (dir.), Disorder. Histoire sociale des mouvements punk & post-punk

“…Cette « deuxième vague » internationale, que l'on observe depuis les années 2010, suscite un phénomène saillant qui tient autant à l'investissement progressif des popular music studies par les jeunes chercheurs et chercheuses qu'à l'infiltration progressive de punks dans le champ académique -ces punkademics 4 , pour certains réunis au sein du « Punk Scholars Network » 5 , contribuant ainsi directement à cette punkademia 6 . Si des publications notoires paraissent régulièrement depuis 7 ,Düsseldorf,Torino and Tampere de Giacomo Bottà 8 , d'autres initiatives importantes témoignent de cette effervescence en contribuant à appréhender de manière plus approfondie et diversifiée ces mouvements musicaux et sociaux, comme la série de colloques internationaux sur le DIY initiée par Paula Guerra au Portugal depuis 2014 ou le projet ANR PIND fondé par Luc Robène et Solveig Serre en 2016.…”