By the end of the concert, the stage is completely filled with people dancing to La Polla Records' last song. On the inner pages, Cañas continues to describe the events at Casa de Campo.
In Their Own Words: Punks Talking About Punk
In the specific case of Spain, the band Sin Dios would be a good example of the anarcho-punk movement, and within Spanish street punk we could mention Kaos Urbano or Non Servium.48. 47 As part of the complex multiperspectivism of punk and punk studies, many people would consider The Exploited not as street punk, but as UK82 (which is a more historical classification), hardcore punk or speed metal (a category based on their musical style). ), and more.
Punkademics
In the case of Britain, for example, it is common for punk singers to have a strong, working-class cockney accent – as I briefly mentioned earlier with Sham 69's song, 'If the kids are united'. In the case of Spain, things like contracting words – “pal” instead of “para el”, etc. – or shortening participles – “acabao” instead of “acabado”, etc. – are common practices. In this sense, he states that “rhythm in heavy metal often seems very simple; it only seems to generate physical energy and encourage collective participation in the heavy metal version of dancing, headbanging” (n.p.) In the case of punk, the 1-1-1-1, constant pulse, does not result in any rhythmic way of dancing.
Punk in Spain: A Methodological Proposal
As part of these negotiations, a struggle arose to determine the type of democracy Spain should adopt among the leading political figures of the time. Transición is the dominant culture imposed by the ruling class of Transición to naturalize their way of seeing the new democratic Spain. By denying the kind of democracy that was being established by the reformists, punk contributed to the existence of rupturist views and the rise of other new ones.
Juan Porras focuses on punk as negation in the case of the Basques in his work Negación punk en Euskal Herria. Such a combination allows for a better arrangement of the things they oppose in verses and. 92 police checkpoints in the middle of the city, pits in blue want to get us out.
The Movida Madrileña
Movida was strongly influenced by two previous movements: the counterculture movement articulated around the Spanish "prensa marginal"96 in the early 1970s, and the glam, new-wave, proto-punk, and punk subcultural movements that developed in the United States and the United Kingdom between the sixties and seventies. However, despite these early influences, the development of movida was shaped by the specific socio-political context of Spain, and it soon acquired its own distinct character. Fouce identifies three main defining features in the movement: “a) Rechazo de la ideología de izquierdas y del compromiso político.
Regarding the first characteristic, movida established itself as a rejection of the Francoist and anti-Francoist movements, which tended to politicize most cultural manifestations. As far as the media and culture industry is concerned, it is important to point out again. an institutional support that mobida benefited from and in which punk bands rarely ever had a place. In 2016, El País published an interview with Alaska, a classic icon of the Movida Madrileña, who is still active today as the singer of the group Fangoria.100 In addition to the Alaska interview.
Spanish punk culture
At the same time, and without belittling the rest of the scenes, they all agree in highlighting the crucial role of Basque punk in the development of Spanish punk culture. Other popular bands formed in the Basque Country in the 1980s were R.I.P, Kortatu, Basura, Las Vulpess or Cicatriz. This was crucial for the development of alternative and counter-informational print and radio media in the Basque Country.
The political context in the Basque Country was also significantly different from other parts of the state, and this greatly influenced the character of Basque punk. In addition, this scenario was also aggravated by the European Union (EU) requirement of efficiency in the economic field for Spain to be accepted as part of the union. It is for this reason that these years in the Basque Country were marked by huge demonstrations and.
Fanzines
As we can see, the content of the fanzine is mostly extremely absurd—. On the cover of the first issue (1981) we find a picture of The Clash together with the following anonymous quote: “¿No nos han mandado a hundirnos en la mierda. Estaremos allí para recordárselo…”127 Furthermore, in the editorial note we read that Javi, the author of the fanzine, “decidi[ó] sacar este primer número de DESTRUYE!!.
The content of the text talks about the different places you can go and experience Swiss punk in Switzerland. The tone of the text is kind of silly and as if the writer wanted to be funny. The author of the article begins with a long list of various Swiss punk bands.
Music
Among the most important differences, we could highlight the general "good" sound of the music from movida. In the case of the Basque punk band RIP, we find a combination of fast hardcore songs and other slower ones. The song's lyrics talk about a person sitting in prison waiting to be executed.
This song begins with a repeating bass line in a minor key that they continue to play throughout most of the song. The next song, "Policía no" (No Police), is one of the strongest tracks. Moreover, most of the music produced within the movida was very pleasant when compared to the arrhythmic and unstable rhythm of punk music.
Spanish Punk and the Movida Madrileña as Subcultures
After this support, movida madrileña became part of the CT and the dominant culture and is therefore no longer a subculture. He lived all his life in Santurtzi, on the left bank of the Nervión River, in an industrial and one of the poorest working-class areas of metropolitan Bilbao. In El mono del desencanto, Teresa Vilarós seeks an explanation for the supposed depoliticization and disenchantment of the Spanish population after Franco's death.
145 I want to suggest enslavement as a metaphor for the more or less Marxist utopia that has nourished the Spanish left since the end of the Civil War. With this in mind, Vilarós portrays the movida madrileña as the cultural proof of the end of all grand narratives and utopias and the shift to hedonism and enjoyment of the present. At the same time, she explains that the movida is not simply the result of a non-materialized utopia, but also the youth's rejection of the grand narratives in which an older generation that grew up against Francoism believed.
Spanish Punk’s Rupturist Discourse
Finally, the song "Sospechosos" refers to the ZEN plan implemented by the PSOE Minister of the Interior, José Barrionuevo. The cover and the inside booklet of the album are just as important as the songs. The first is by participating in a semantic battle in which the Basque band and the CT define the.
As was the case with Kortatu, L'odi Social's rupturist discourse provides an alternative narrative of Transición that contests CT's definition of it as one. Alongside this we also find songs where the band talks about the Canary Islands as a Spanish colony. But who is the "we" he is referring to? independent attitude, they refer to the colonized citizens of the Canary Islands.
Spanish Punk and its Politics of Memory
Through the addition of bagpipes, La Polla Records identifies itself as part of the Spanish lower classes. In other words, La Polla Records claims that Francoism still prevails in the new governments of the Transición. What Habeas Corpus states here is that those who killed the most people in the world – equating this with Benjamin's idea of the “victorious” and “barbaric” in history –.
In addition, Habeas Corpus also composed songs about the republicans and other victims of the Francoist regime and the Civil War as a way to contribute to their memory. In addition, the album contains the. documentary La tierra está sorda, in which the members of the group visit Zafra. We can say that the documentary shows an example of the outreach that the group did with the unplugged tour.
DIY Punk in Spain
Propaganda
Despite everything, some could argue that Canteca de Macao moved away from the pure DIY ethos by participating in the music industry and the capitalist system, as there were concerts, merchandising and other things that benefited the major labels. In the documentary 10 años de autogestión (Ten years of self-financing), Canino, the drummer of Sin Dios, speaks in the following way. It is true that they did this mainly through independent record labels rather than major labels, but nevertheless through labels that profited from their participation in the music industry.
In doing so, he is not claiming that there is a particular quality standard that must be adhered to, but rather he is claiming that there is revolutionary potential in the literary aspect of the work as well. Among these elements, there is one related to the importance of DIY as a direct intervention in. When Sin Dios refuse to sign with producers or record labels that would profit from their albums, they are effecting a change in the capitalist modes of production that rule the music industry.
Vivienda
230 The favorable moment, that is, when the benefit of the real estate operation is most profitable. It contains two sections describing how to behave when dealing with the police or the building owner and a specific section explaining relevant information about the Spanish Criminal Code. 232 It is always important to remember that a large percentage of people who occupy abandoned buildings still have a home they pay for and live in.
Furthermore, if the owner of the building is the council or any other institution, they may even propose an agreement to legalize squatting. The political modality, in turn, would be that of the squatters who occupy buildings as a way of confronting the state and the capitalist system and which under no. Therefore, just as in the case of the DIY distribution network in the previous section, we must understand the independence of the capitalist system and the institutions not as the goal or a requirement, but simply as a mindset that allows punks to move forward even when there are no means.
