PunkClassUDM

[punkudm]

"To celebrate a success in the world's eyes, no matter how small, would mean to accept the world as it is, which would amount to profound betrayal of punk's commitment to aesthetic negation and to a world qualitatively different from this one." #aesthetic #punk #commitment Punk Productions p. 119 -Stacy Thompson Deshayla Wright

[punkudm]

The commodity occupies a privileged place in punk, because it mediates between aesthetics and economics, punk and capitalism. It is in the form of the commodity that punks' cultural products must circulate, meaning that the commodity is simultaneously aesthetic and economic in nature.

- Thompson p.120, Punk Productions   

Craigen Z. Oster

[punkudm]

"For most punks, independent punk labels stand as the last bastions and protectors of affect, which punks read as proof of authenticity, in opposition to the labels' attention to profit."

Thompson p.123, Punk Productions 

Patrick Redigan

[punkudm]

punk 'DIY indies' produce punk commodities not within the register of affect (love or emotional instinct) but within that of economics and necessity (exchange).

Stacey Thompson 122 Punk Productions

-Vinnie Gianino

[punkudm]

“The important point here is that, according to punk reasoning as exemplified by Al, even a love for punk does not fully justify the pressing of thousands of identical LPs or 7”s or the burning of thousands of identical CDs in order to make a living from punk.”

Punk Productions 

pg 122 

Nicole Coleman 

[punkudm]

The California Hardcore Scene inherited the remains of the New York and English scenes and redirected some of those scenes' desires, revivifying them in new forms in San Francisco and L.A. Each scene learns from past scenes and attempts to avoid their capitulations to commercialism. In California, the punk scene melded together desires from the two earlier scenes to create new strains, more resistant hybrids.

Stacy Thompson, Punk Productions, p. 41

- Joe Gifford

[punkudm]

"In the shadow of the major label spectacles, Black Flag offered its fans a space in which they could affect and be affected by mass culture in material ways -- through physical contact, through shouting and being shouted at."

Punk Productions   pg. 37

#independentlabels      #massculture       #smallspaces

Vicki Bernieri

[punkudm]

"In the summer of 1981, Black Flag recorded their first LP, Damaged, and Gregg Ginn, the band's guitarist and founder, made a deal with Unicorn Records to distribute it. MCA then became interested in Black Flag and agreed to release the album under its name and logo; However, after the album was released in 1982 and the MCA employees in charge of the deal heard it, they withdrew from their deal with the band, claiming that the album was 'anti-parent'. Unicorn did not pay the band for the album, and the band attempted to terminate its deal with the company, but Unicorn sued the band and the judge issued an injunction against them that barred them from releasing records on their own" - Punk Productions, page 35 "And although Biafra's protest songs employ irony and bitterness in places, they are never ironic about the possibility that music can wield political influence by binding people together around percieved problems" - Punk Productions, pg 39 Jasmine Elizabeth Davis

[punkudm]

"Punk was about more than just starting a band, it was about starting a label, it was about touring, it was about taking control. It was like songwriting: you just do it. You want a record, you pay the pressing plant."

Gina Arnold Interview with Mike Watt Punk Productions p. 35

- Jack Walsworth

[punkudm]

In their desire to resist commercialization, seize control over the means of production, foster collectivity, and enter into History, punks breathe new life into historical practices of refusal, negation, renewal, and utopian thought, all in opposition to capitalism as they understand it.

Punk Productions, p. 137

Maeve Nichols

[punkudm]

Before entering new 7"s or LPs into the library, Yohannon always reinforced the record sleeves' borders with green electrical tape, thereby partially destroying their exchange-value, emphasizing their use-value, and marking them as MRR's communal property. --N.Rombes

Punk Productions, p. 124

[punkudm]

Commercialism/Black Flag

"Each scene learns from past scenes and attempts to avoid their capitulations to commercialism." (p. 41, Punk Productions, Stacy Thompson)

"The aesthetics of Black Flag's music and of their behavior (the band members understood attacking the audience sonically or physically as constitutive of their music's force) prevented most labels from considering them seriously and led MCA to drop them quickly after it released their first full-length album." (p. 35, Punk Productions, Stacy Thompson)

[Natalie Lichtman]

[punkudm]

"The punk scene advanced a desire to return to the possibility of a material reality that can be represented and addressed culturally and politically. Although this desire originated in California, it became more salient in later scenes." p. 40 in Punk Productions #Californiascene #punk #productions #politics Deshayla Wright

[punkudm]

The band's aggressive tactics testify to a desire not unlike the Sex Pistol's need to expose the rock spectacle for what it was, to reveal the lack behind it, but, unlike the Pistols, Black Flag did not try for hyper spectacle; instead, the band attempted to draw meaning, in the pure form of the body, back in to the space that the spectacle, as pure appearance, left unoccupied.

Punk Productions p. 37

Maeve Nichols

[punkudm]

"Elizabeth Roudinesco, a historian of psychoanalysis, has linked Surrealists' veneration of hysterics to their advocacy of female criminals sch as the Papin sisters or Violetts Nozieres. The latter has been the focus of considerable interest in France in 1934, having poisoned both of her parents and proved spectacularly deranged in the subsequent trial. In applauding such women, Roudinesco sees the Surrealists endorsing a dangerous, subversive femininity which was the precursor of a specifically modern form of liberated female consciousness." - Dada and Surrealism by David Hopkins pg. 126 Anna Slowik

[punkudm]

If there's nothing more poisonous than bigotry, there's nothing more pathetic than liberal guilt.

The White Noise Supremacists, Lester Bangs

[punkudm]

Took me a long time to find it out, but those words are LETHAL, man, and you shouldn't just go slinging them around for effect. This seems almost too simple and obvious to say, but maybe it's good to have something simple and obvious stated once in a while, especially in this citadel of journalistic overthink.

Lester Bangs, The White Noise Supremacists, p. 277

- Joe Gifford