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‘what do you do, as a Cultural Policy Studies scholar, if you don’t have a sympathetic government keen to implement your policies? Under these conditions – which have obtained throughout the English-speaking world, including Australia, for most of the past 40 years – the pragmatism of the reformers comes to seem even more na├»ve than that utopianism of the revolutionaries. For what use is a mild-mannered technocrat whose policy suggestions are entirely ignored by government? These writers are not stupid, however. In practice, it seems clear that they do not trouble themselves greatly over this issue because in fact the politics which informs their perspectives is largely hegemonic in the developed world. Although it is never specified, what is clearly implicit in the priorities and attitudes of the Cultural Policy scholars is that their politics is more-or-less that of the Third Way. That is to say; promoting a liberal cultural and social politics, and a range of state interventions which seek to mitigate the worst social effects of neoliberalism, without challenging its fundamental premises, is in fact the implicit goal of their proposals. As such, it is these so-called Cultural Policy Reformers far more than the reviled cultural populists of the 1980s who actively promote a version of cultural studies which would put it fully at the service of current ruling elites and their political projects’ (Gilbert 2008: 68).


Punk in the 21st-Century: Call for Papers

Alastair Gordon and Mike Dines are seeking contributions from the inter-disciplinary areas of cultural studies, musicology and social sciences, for an edited text on the global punk/DiY ‘scenes’ of the 2000s onwards; reflecting upon the notion of origins, music(s), identity, legacy, membership and circulation. Aiming to continue the work of George McKay – and, most notably his DiY Culture: Party and Protest in Nineties Britain (1998) – this volume will attempt to traverse the global as a means of mapping the existence of punk/DiY post-2000. As such, this volume will adopt an essentially analytical perspective so as to raise questions initially over the dissemination of the scene and subsequently over its form, structure and cultural significance beyond the 1990s. 
As such, this volume will encompass the global dissemination of a subculture/scene, with guaranteed chapters surrounding Japanese punk, Indonesian anarcho-punk and Mexican punk ethnography. 
However, this is not to say that proposals surrounding the British/American scene of the post-2000s would not be welcome. Within a truly global edition, we feel that the geographic should be one that represents a ‘level-playing field’ – and we do not wish to inadvertently discriminate between countries/cultures. 
Suggestions for chapters are invited exploring any of the following themes (this list is by no means exhaustive): 
• Origins and legacy 
• Use of new media, communications, social networking, internet 
• Ethnographic considerations of scene/space 
• Political Appropriation: re-defining of ‘anarchism’, ‘ecology’ anti-authoritarian within the punk scene 
• Notion of local/national/international ‘scene’, tribes, counterculture/subculture 
• Music and the Performer: creativity, authorship, identity, problems with definition, crossing musical boundaries, use of new media/social networking. 
• Reception: DiY culture, activism, ‘pay-no-more’ attitude at gigs, and for vinyl and tapes. 
• Lifestyle: Festival/squatting/traveller culture, vegetarianism, animal rights, ‘hunt sabbing’, straightedge, etc. 
• Gender, sexuality, class, ethnicity and identity 
• The art of the punk/DiY: use of record covers and associated merchandise to convey political/social ideals, stencils, graffiti 
Other, more general, possible categories: 
• The musical genres 
• Associated subcultures 
• Legacies 
• Intellectual debates 
• The media: reports, reception, gossip 
Proposals should be 500 words maximum and should include keywords and a brief biog of the author. Submitting a proposal implies that it only contains original, non-published material and that it is not simultaneously being submitted to another publication. The deadline for submissions is 1st Oct. A decision on inclusions will be made by 1st December 2013 and chapters will need to be finalized by June 1st 2014 to allow time for final editing. 
Proposals should be submitted electronically to: miked71uk at yahoo.co.uk We look forward to hearing from you! 
Dr. Alastair Gordon Dr. Mike Dines 
For further information, please refer to the link below: 


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helvete: a journal of black metal theory, issue 1.