“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance of convention, which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What…mehr
“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance of convention, which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or—perish the thought—Marxist? When all’s said and done, does punk simply suck? These obvious questions only scratch the surface of punk’s philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume. Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk’s essence, or perhaps they end up demonstrating that it has no essence. You decide. Among the nail-biting questions addressed in this book: ● Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk? ● How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse? ● Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves? ● How close is the message of Jesus of Nazareth to the message of punk? ● Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism? ● In its rejection of the traditional aesthetic of order and complexity, did punk point the way to “aesthetic anarchy,” based on simplicity and chaos? ● By becoming commercially successful, did punk fail by its very success? ● Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life?Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
JOSHUA HETER is a contributing editor and author of philosophical works. Other writing credits include Westworld & Philosophy: Mind Equals Blown, and The Man in High Castle & Philosophy: Subversive Reports from another Reality, both from Open Court Publishing. Joshua is currently an Assistant Professor of Philosophy at Jefferson College in Hillsboro, MO.
Inhaltsangabe
Table of Contents Part I The Nature of Punk Rock 1. Can Punk Be Mature? Rebellion, Nihilism, and Liberation Thomas Meagher This chapter addresses whether it is possible for punk to be mature (given its nature). Essential to its doing so is a particular notion of nihilism. 2. The Essence of Punk Timothy M. Kwiatek Considers whether anything can satisfactorily answer the question: what is the essence of punk? Ultimately it rejects the question, and considers some worries about the very attempt (such as gatekeeping). 3. The Unlikely Traditionalism of Punk Rock (or Why Sting Is More Punk than You) Brian Harding Looks at (1) punk’s initial rejection of canonized artists (The Beatles, Elvis Presley) and (2) the fact that certain bands (The Ramones, The Clash, The Sex Pistols) have subsequently been canonized. the result is a somewhat scathing attack on the notion of punk cred and its related concepts (not-selling out, not being a poser, and all that crap). 4. The Spectacle of Society, The Society of Failure and the Authentication of Punk; Or, Elvis is Dead Michael Stock This chapter begins by considering the question of whether punk ultimately fails. It subsequently explores the intimate relationship between punk and failure. 5. Punk as Praxis Nicholas H. Smith Argues that punk is best characterized as a form of praxis. Different conceptions of praxis are considered and applied to punk. Part II Punk Values 6. Post-Punk and the Struggle for Authenticity Markus Kohl Examines the forms of authenticity that were available in post-punk (after the late 1970s and early 1980s) culture. Inward vs. outward models of authenticity are considered. The former wins out. 7. The Paradox of the Poseur Peter Brian Barry This chapter considers what the author calls “the paradox of the poseur.” The paradox of the poseur can be motivated by asking some pretty simple questions. If punk is about individual expression and the rejection of conformity, how can the poseur be a fake? Can punks both reject conformity while complaining that poseurs fail to conform? 8. Doing Better—Hardcore Punk, Straight Edge and How to Live the Good Life Molly Tie Examines what punks have to say about living the good life. Takes a particularly close look at the admonitions of the Straight-Edge movement. 9. To Resist Despair: The Metaphysics of Punk Bailie Peterson This paper examines the metaphysics of punk, by attempting to identify the minimal set of necessary characteristics for something being punk. This is accomplished by focusing on punk virtues. 10. I Am a Poser and I Don’t Care Jesse Prinz Takes a look at a different paradox of the poser: everyone how comes to punk is in some sense unoriginal (with the exception of the very first punks), so everyone pretty much is a poser. This paradox is helpful for learning about that nature of punk, and has implications for philosophical issues pertaining to personal identity. Part III The History of Philosophy and Punk 11. A Punk by any Other Name would Smell as Rotten Gwenda-lin Grewal Examines punk as a movement. It draws parallels between punk and a number of historical philosophers—most notably Diogenes and Socrates. 12. Revolting Punks Christopher M. Innes This chapter examines punk-motivated revolt. It draws heavily on the works of Diogenes. 13. The Will to Raw Power: Nietzsche, Early Punk Rock, and the Lion-Child Casey Rentmeester This chapter examines early punk rock (and immediate predecessors such as Iggy Pop) from a Nietzschean perspective. It turns out that there is something of a Dionysian spirit to punk. 14. Title TBD Randall E. Auxier Considers the question of whether punk rock sucks. The answer is to be found in the writings of Arthur Schopenhauer. Part IV Punk Politics 15. Punk Political Philosophy Marty Sulak Looks at punk as expressing a coherent political philosophy (the realization that every regime, every ideology, every power structure is entropic by nature, and eventually becomes antithetical to life). The author uses this to elaborate on the role of punk. 16. Wartime Propaganda as Punk Critique in Julian Temple’s Punk Can Take It Karen Founier Looks at the punk film Punk Can Take It as it draws from an earlier file London Can Take It!, which was a piece of wartime propaganda. Parallels are drawn between punk music and punk film as both “call out” the promises of post-war Britain. 17. Punk Politics Jesse Prinz This chapter raises and addresses the question “Does punk rock have an inherent political ideology? If so, what is it (Is it anarchism, nihilism, nationalism, or something else entirely)? 18. Nazi Punks F*ck Off!: The Battle for the Soul of Punk Rock Ryan Falcioni Punk rockers are often accused of “gatekeeping”: telling others what does and does not count as punk. One subculture of punk that throws the whole issue into a bit of chaos involves neo-Nazis. This chapter raises the (perhaps uncomfortable) question of the place of so called “Nazi Punks” in punk as a whole. 19. “Which Side Are You On?”: The Class Consciousness of Punk Tiffany Montoya Raises the question of what punk has to say about class warfare. Drawing parallels between punk’s DIY ethic and movements like Marxism, this paper explains what punk can teach us about class consciousness as a whole. Part V Punk and the Culture at Large 20. Remenbering the Punk Movement: Why Erasure of Women Does a Disservice to the Movement as a Whole Georgina H. Mills This chapter argues that if we remember the punk movement only by the men who were a part of it, we not only do a disservice to the female artists who were part of the scene, but we undermine the features of the punk movement that are essential to it. 21. Punk Rock Saves Lives R.W. Main “Punk is a celebration of the weird, rejected, othered and outcast, and often endorses the most rejected and reviled ideas and practices.” This chapter outlines how this importantly includes the LGBTQ+ community and how both cultures have been important to one another. 22. Are Punk and Christianity Compatible? Josh Cangelosi There are many bands that claim to be Christian punk bands. This—at first glance—may seem curious to some. This chapter raises the question whether Christianity and punk rock (and all that it entails) are actually compatible. 23. The Deviance It Deserves: On Punk Rock, Public Harassment, and Pissing People Off Juneko J. Robinson, AKA Gitte Syndrome There is much about punk rock that some find offensive, and to be fair, some punk lyrics are arguably offensive. However, there are also those that seem to be offended by punk rock dress or the music itself (sans lyrics). This chapter addresses the question of why that is. 24. Close Your Eyes, Breathe, and Stick It to the Man Seth M. Walker Draws a number of parallels between punk rock and Buddhism and shows that Buddhism and punk rock are not only compatible, but complimentary. 25. Punk and Disgust Sara M. Bergstresser Many punk rock shows include shocking and controversial displays involving bodily transgression. Examines how these acts can be seen as a mechanism of protest and refusal of social norms. Part VI Aesthetics 26. Anarchy in Aesthetics S. Evan Kreider Raises a fairly simple question: does punk rock (successfully) challenge the idea that art is aimed inherently at beauty? 27. Rebel Girl: Riot Grrrl Punk as Feminist Aesthetic Creation Patrick D. Anderson Outlines how the Riot Grrrl movement was heavily influenced by feminist aesthetic traditions. 28. The Filth and the Fury: Why Do We Listen to Such Dark Punk Songs? Greg Littmann Raises a question that borders on the line between philosophy and psychology. Many punk songs can be described as dark (or nihilistic, depressing). So, why does anyone listen to them? 29. “Be Like Johnny”: The Ramones, the Philosophy of Work, and DIY George A. Dunn Examines the issue of how the DIY ethic of punks can teach us about the nature and value of work. Part VII Punk Ethics 30. Sometimes Good Guys Don’t Wear White: DIY Virtue, Principled Hostility, and Genuine Moral Growth Lindsey J. Schwartz Looks at punk rock through the lens of virtue ethics. Argues that at the core of punk rock are some identifiable and important Aristotelian virtues. 31. “Out of Step with the World”: On the Ethical Value of Cultural Nonconformity Getty L. Lustila and Johan Olsthoorn Punk Rock—by its very nature—has quite a bit to do and say about nonconformity. This chapter raises and addresses the question: what (if any) is the ethical value in pursuing cultural nonconformity (or cultural rebellion)?
Table of Contents Part I The Nature of Punk Rock 1. Can Punk Be Mature? Rebellion, Nihilism, and Liberation Thomas Meagher This chapter addresses whether it is possible for punk to be mature (given its nature). Essential to its doing so is a particular notion of nihilism. 2. The Essence of Punk Timothy M. Kwiatek Considers whether anything can satisfactorily answer the question: what is the essence of punk? Ultimately it rejects the question, and considers some worries about the very attempt (such as gatekeeping). 3. The Unlikely Traditionalism of Punk Rock (or Why Sting Is More Punk than You) Brian Harding Looks at (1) punk’s initial rejection of canonized artists (The Beatles, Elvis Presley) and (2) the fact that certain bands (The Ramones, The Clash, The Sex Pistols) have subsequently been canonized. the result is a somewhat scathing attack on the notion of punk cred and its related concepts (not-selling out, not being a poser, and all that crap). 4. The Spectacle of Society, The Society of Failure and the Authentication of Punk; Or, Elvis is Dead Michael Stock This chapter begins by considering the question of whether punk ultimately fails. It subsequently explores the intimate relationship between punk and failure. 5. Punk as Praxis Nicholas H. Smith Argues that punk is best characterized as a form of praxis. Different conceptions of praxis are considered and applied to punk. Part II Punk Values 6. Post-Punk and the Struggle for Authenticity Markus Kohl Examines the forms of authenticity that were available in post-punk (after the late 1970s and early 1980s) culture. Inward vs. outward models of authenticity are considered. The former wins out. 7. The Paradox of the Poseur Peter Brian Barry This chapter considers what the author calls “the paradox of the poseur.” The paradox of the poseur can be motivated by asking some pretty simple questions. If punk is about individual expression and the rejection of conformity, how can the poseur be a fake? Can punks both reject conformity while complaining that poseurs fail to conform? 8. Doing Better—Hardcore Punk, Straight Edge and How to Live the Good Life Molly Tie Examines what punks have to say about living the good life. Takes a particularly close look at the admonitions of the Straight-Edge movement. 9. To Resist Despair: The Metaphysics of Punk Bailie Peterson This paper examines the metaphysics of punk, by attempting to identify the minimal set of necessary characteristics for something being punk. This is accomplished by focusing on punk virtues. 10. I Am a Poser and I Don’t Care Jesse Prinz Takes a look at a different paradox of the poser: everyone how comes to punk is in some sense unoriginal (with the exception of the very first punks), so everyone pretty much is a poser. This paradox is helpful for learning about that nature of punk, and has implications for philosophical issues pertaining to personal identity. Part III The History of Philosophy and Punk 11. A Punk by any Other Name would Smell as Rotten Gwenda-lin Grewal Examines punk as a movement. It draws parallels between punk and a number of historical philosophers—most notably Diogenes and Socrates. 12. Revolting Punks Christopher M. Innes This chapter examines punk-motivated revolt. It draws heavily on the works of Diogenes. 13. The Will to Raw Power: Nietzsche, Early Punk Rock, and the Lion-Child Casey Rentmeester This chapter examines early punk rock (and immediate predecessors such as Iggy Pop) from a Nietzschean perspective. It turns out that there is something of a Dionysian spirit to punk. 14. Title TBD Randall E. Auxier Considers the question of whether punk rock sucks. The answer is to be found in the writings of Arthur Schopenhauer. Part IV Punk Politics 15. Punk Political Philosophy Marty Sulak Looks at punk as expressing a coherent political philosophy (the realization that every regime, every ideology, every power structure is entropic by nature, and eventually becomes antithetical to life). The author uses this to elaborate on the role of punk. 16. Wartime Propaganda as Punk Critique in Julian Temple’s Punk Can Take It Karen Founier Looks at the punk film Punk Can Take It as it draws from an earlier file London Can Take It!, which was a piece of wartime propaganda. Parallels are drawn between punk music and punk film as both “call out” the promises of post-war Britain. 17. Punk Politics Jesse Prinz This chapter raises and addresses the question “Does punk rock have an inherent political ideology? If so, what is it (Is it anarchism, nihilism, nationalism, or something else entirely)? 18. Nazi Punks F*ck Off!: The Battle for the Soul of Punk Rock Ryan Falcioni Punk rockers are often accused of “gatekeeping”: telling others what does and does not count as punk. One subculture of punk that throws the whole issue into a bit of chaos involves neo-Nazis. This chapter raises the (perhaps uncomfortable) question of the place of so called “Nazi Punks” in punk as a whole. 19. “Which Side Are You On?”: The Class Consciousness of Punk Tiffany Montoya Raises the question of what punk has to say about class warfare. Drawing parallels between punk’s DIY ethic and movements like Marxism, this paper explains what punk can teach us about class consciousness as a whole. Part V Punk and the Culture at Large 20. Remenbering the Punk Movement: Why Erasure of Women Does a Disservice to the Movement as a Whole Georgina H. Mills This chapter argues that if we remember the punk movement only by the men who were a part of it, we not only do a disservice to the female artists who were part of the scene, but we undermine the features of the punk movement that are essential to it. 21. Punk Rock Saves Lives R.W. Main “Punk is a celebration of the weird, rejected, othered and outcast, and often endorses the most rejected and reviled ideas and practices.” This chapter outlines how this importantly includes the LGBTQ+ community and how both cultures have been important to one another. 22. Are Punk and Christianity Compatible? Josh Cangelosi There are many bands that claim to be Christian punk bands. This—at first glance—may seem curious to some. This chapter raises the question whether Christianity and punk rock (and all that it entails) are actually compatible. 23. The Deviance It Deserves: On Punk Rock, Public Harassment, and Pissing People Off Juneko J. Robinson, AKA Gitte Syndrome There is much about punk rock that some find offensive, and to be fair, some punk lyrics are arguably offensive. However, there are also those that seem to be offended by punk rock dress or the music itself (sans lyrics). This chapter addresses the question of why that is. 24. Close Your Eyes, Breathe, and Stick It to the Man Seth M. Walker Draws a number of parallels between punk rock and Buddhism and shows that Buddhism and punk rock are not only compatible, but complimentary. 25. Punk and Disgust Sara M. Bergstresser Many punk rock shows include shocking and controversial displays involving bodily transgression. Examines how these acts can be seen as a mechanism of protest and refusal of social norms. Part VI Aesthetics 26. Anarchy in Aesthetics S. Evan Kreider Raises a fairly simple question: does punk rock (successfully) challenge the idea that art is aimed inherently at beauty? 27. Rebel Girl: Riot Grrrl Punk as Feminist Aesthetic Creation Patrick D. Anderson Outlines how the Riot Grrrl movement was heavily influenced by feminist aesthetic traditions. 28. The Filth and the Fury: Why Do We Listen to Such Dark Punk Songs? Greg Littmann Raises a question that borders on the line between philosophy and psychology. Many punk songs can be described as dark (or nihilistic, depressing). So, why does anyone listen to them? 29. “Be Like Johnny”: The Ramones, the Philosophy of Work, and DIY George A. Dunn Examines the issue of how the DIY ethic of punks can teach us about the nature and value of work. Part VII Punk Ethics 30. Sometimes Good Guys Don’t Wear White: DIY Virtue, Principled Hostility, and Genuine Moral Growth Lindsey J. Schwartz Looks at punk rock through the lens of virtue ethics. Argues that at the core of punk rock are some identifiable and important Aristotelian virtues. 31. “Out of Step with the World”: On the Ethical Value of Cultural Nonconformity Getty L. Lustila and Johan Olsthoorn Punk Rock—by its very nature—has quite a bit to do and say about nonconformity. This chapter raises and addresses the question: what (if any) is the ethical value in pursuing cultural nonconformity (or cultural rebellion)?
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