Keep it Simple, Make it Fast! An approach to underground music scenes Volume 1 Paula Guerra and Tânia Moreira (editors) First Published May 2015 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Porto, Portugal Cover image: Júlio Dolbeth Design: Rita Araújo and Tânia Moreira Credits Photos (Part 1-7): Ana da Silva, Hugo Ramone, Bárbara Cabral, Cristina Sousa, Frágil, Nito Gonçalves, Nito Gonçalves e Víctor Torpedo ISBN 978-989-8648-49-5 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Contents INTRODUCTION _______________________________________________________________ 9 Underground music scenes and DIY cultures ______________________________________ 11 Paula Guerra Tânia Moreira PART 1 | MUSIC AND DIY CULTURES: DIY OR DIE! _________________________________ 15 1.1. Circuit-bending and DIY culture _____________________________________________ 17 Alexandre Marino Fernandez Fernando Iazzetta 1.2. DIY culture and youth struggles for autonomy in Switzerland: distortion of the punk scene ________________________________________________________________________ 29 Pierre Raboud 1.3. The street as canvas: street art and the construction of artistic careers _____________ 37 Ágata Dourado Sequeira 1.4. “Do it yourself”: Daniel Johnston’s demon _________________________________ 49 Fabrício Silveira Marcelo Bergamin Conter 1.5. Empowerment through design-doing experiences: workshops on nurturing creative makers for sustainability ___________________________________________________ 59 Nicholas Torretta Hessam Pakbeen PART 2 | PORTO CALLING: MEANINGS, DYNAMICS, ARTIFACTS AND IDENTITIES IN TODAY'S PUNK SCENES ________________________________________________________________ 77 2.1. Punk comix: a journey through the “flirting” of BD and punk in Portugal _________ 79 Marcos Farrajota 2.2. What does the Balaclava stand for? Pussy Riot: just some stupid girls or punk with substance?_______________________________________________________________ 87 Alexandre M. da Fonseca 2.3. Aesthetics, anti-aesthetics and “bad taste”: a brief journey through Portuguese punk record covers (1977-1998) _________________________________________________ 99 Afonso Cortez Pinto ________________________________________________________________ 99 2.4. I’ve got straight edge: discussions on aging and gender in an underground musical scene __________________________________________________________________ 121 Jhessica Reia 2.5. Between drums and drones: the urban experience in São Paulo's punk music ______ 131 Débora Gomes dos Santos 2.6. What is punk rock? What is DIY? Masculinities and politics between l'art pour l'art and l'art pour la révolution ____________________________________________________ 143 Martin Winter 2.7. “Fallen fallen is Babylon”. Polish punk rock scene in the 1980s ________________ 155 Piotr Zanko PART 3 | MUSIC SCENES, POLITICS AND IDEOLOGY: SOCIAL-HISTORICAL MEMORIES AND CONTEMPORARY PRACTICES __________________________________________________ 163 3.1. Independence or death: alternative music in the Brazilian 80's ___________________ 165 Tereza Virginia de Almeida 3.2. Underground politics: “I am sure they know we are not the devil’s son and that metal is against corruption” – heavy metal as (sub-) cultural expressions in authoritarian regimes ________________________________________________________________ 173 André Epp 3.3. Before the DIY: Jovem Guarda and youth culture in Brazil (65-68) ________________ 183 Marcelo Garson 3.4. Rock in Portugal: effects of the rock music in the Portuguese youth (1960 vs. 2014) 197 Ana Martins 3.5."The Garage were I was born": Coimbra ́s musical scene in the 1990 ́s ____________ 209 Pedro Emanuel Almeida Martins 3.6. Underground music in America’s heartland: “Rising Appalachia” and traditional folk/pop as social protest __________________________________________________ 217 Michael Saffle Jordan Laney 3.7. The influence of punk in the social movements _______________________________ 227 Liljana Siljanovska Vlera Ejupi PART 4 | CONTEMPORARY UNDERGROUND CULTURES’ AESTHETICS: BETWEEN THE DIGITAL, THE RETRO AND THE NOSTALGIA ______________________________________ 231 4.1. uTubo — development and application of an alternative digital musical instrument __ 233 Tiago Ângelo Óscar Rodrigues Nuno Peixoto de Pinho José Alberto Gomes 4.2. One is the loneliest number: “one-man bands” and doing-it-yourselves versus doing- it-alone ________________________________________________________________ 249 Matt Brennan 4.3. “We like raves, but...” Shituationism as a way out of the dilemma of hedonism __ 261 Benjamin Conti Lukas Fakegruber 4.4. A survey on graphic communication and publishing practices in the Portuguese independent music scene _________________________________________________ 265 Manuel Oliveira Garcia João Cordeiro 4.5. The subcultural scene economy of the Berlin techno scene ______________________ 277 Jan-Michael Kühn