velhas traições
e novas tradições
A fechar a trilogia de tradições-contradições-traições em comix & politics, sentimo-nos na necessidade de recuperar comparações em punx-música-BD. A relação destes é-nos uma tradição antiga, da qual o diss ao normies é apenas uma parte. Substituam anarquismo/punk como sinónimo de música e no seu lugar pensem comix: sintam as semelhanças.
comix as a weapon: the contentious symbiosis of comics and anarchism Folk punk was an accessible, cheap, self-consciously unrefined format. It’s also possible that anarchist values took root in the punk scene precisely because they were so marginalized elsewhere.
in "Music as a Weapon" 22 out 2018
Essa marginalidade uma quase-constante da história da BD, a acessibilidade parte fundamental do seu apelo e razão do seu uso como "propaganda". Weaponized comix: já o dissemos antes.
One could also argue that music that pushes aesthetic and cultural boundaries can open up listeners to a wider spectrum of possibility in other spheres of life as well.
in "Music as a Weapon" 22 out 2018
Processo que apenas funcionará por apropriação — e se nos acompanham neste espaço não vos damos novidade alguma — já que a BD rende-se ao $$$, inócua, só para os putos (*) Em escalas de idade mental., bubllegum mastiga e deita fora.
An anarchist milieu characterized by consumerism rather than initiative, a focus on identity rather than dynamic change, activities limited to the leisure time of the participants, ideological conflicts that boil down to disputes over taste, and an orientation towards youth that made the movement largely irrelevant upon the onset of adulthood: is no longer possible to depend on the punk subculture as an incubator for anarchists.
in "Music as a Weapon" 22 out 2018
Na sua génese, a BD deve a existência a triangulação de tecnologia, indústria e mercado — como o punk. Este rebela-se, mas apenas foi possível quando as condições materiais e sociais o permitiram, um paradoxo, aqui revisto.
The meaning people find in it is real enough, but it is generated through forces largely beyond their control.
in "Music as a Weapon" 22 out 2018
O punk, música e BD, "came to be cultivated by capitalists", mas em abono da última a sua corrupção é um percurso em sentido contrário onde cada vitória, por mínima que seja, será sempre uma conquista. A música é domada pela indústria porque lhe é anterior, mas os comics devem-lhe a existência, qualquer manifestação que lhe gore intenções um progresso.
Mas esta não é a traição que nos acode.
Esta é. Make punk, not... politics?! Ou, aquilo da substituição de termos: "make comics, not politics". underground ou alternativo com alguma verve? Anos idos, a fechar na década de 90 (*) Remember 1999? Quando os P+ entraram em hibernação.na melhor das hipóteses.
Punk — at least for that generation — had reached the end of its trajectory as a force for social change: a rupture had developed between the aesthetic and political elements in the subculture.
Until 1999, politicized punks tended to stick around the DIY underground, as there was usually no larger revolutionary milieu to move on to; playing music and writing zines were seen as political activity, despite the narrow horizons of the subculture. All that changed after the 1999 WTO protests, which kicked off an era of non-stop demonstrations and political organizing. Most of the people who were serious about their politics shifted focus away from the punk scene. Meanwhile, the people who were involved in punk only for music and fashion remained, and led a reaction against political engagement of all kinds. While others focused on anarchist convergences, black blocs, and accountability processes, the reactionaries were the ones still booking shows and recording albums, and they set the tone for an apolitical and musically conservative 21st century punk scene.
in "Music as a Weapon" 22 out 2018
Aqueles que estão hoje na BD parecem defender maneirismos acima de mensagens, e assim chegados ao presente: "Tecnologia, Legitimidade". A nossa guerra pelos webcomics, formato ainda desdenhado porque demasiado inovador para os cómicos do formol.
There had always been a tension in punk between the folk art aspects of the craft — three-chord musical progressions and hand-drawn layouts — and the desire to innovate and challenge. This experimentation contributed to the fragmentation of the punk subculture, as traditions were abandoned.
in "Music as a Weapon" 22 out 2018
Tech. Em digital.
One could read the rise and fall of DIY punk as the historical “hiccup” during which record-releasing and printing technology first became accessible to the general public. (...) Within a couple decades, however, this development was rendered moot by technological advances and oversaturation. Once anyone could release a record, it wasn’t meaningful anymore — it wasn’t “real” in the sense that everything on television is “real” while our lives feel unreal and insignificant.
in "Music as a Weapon" 22 out 2018
...versus materialistas agarrados do papel e livro impresso para validação.
This indicates a lingering materialism in DIY culture. Equipment conferred the legitimacy that both performers and audiences longed for. “Look,” working class dropouts could say to themselves, gesturing at a rusty van full of gear that cost them years of wages, “we’re a real band!”
in "Music as a Weapon" 22 out 2018
Webcomics, a revolução...
The punk scene had been founded on the tensions created by limited access to the musical means of production; with the arrival of technologies that extended this access to everyone, its structures collapsed. The internet replaced painstakingly built distribution networks and zine cultures with the offhand immediacy of music downloading and blogs; some of this took place in genuinely decentralized structures, but more of it was based in corporate counterfeits.
in "Music as a Weapon" 22 out 2018
...e o nosso desencanto com a BD em geral:
Once the internet made every band into its own promotions agency and youtube.com made it possible for everyone to appear on the equivalent of MTV, independent music was no less mediated than corporate music, and no less vapid. (...) The ensuing disenchantment revealed how banal the promise of rock stardom had been in the first place [and] this only drains the world of meaning even further—and pure nihilism helps maintain the status quo.
in "Music as a Weapon" 22 out 2018
E aqui terminamos equiparações do punk-música ao punk-BD: as novas tech podem/devem ser apropriadas, trazem com elas a possibilidade de uma nova (tradição em) proximidade, e essa é fundamental.
Punk offered a relatively unmediated experience: one could meet one’s favorite musicians, dance and interact outside the prescriptions of a repressive society, even form one’s own band and remake the subculture itself.
in "Music as a Weapon" 22 out 2018
O reaproximar de freaks, poucos e demasiado espalhados entre si, criam comunidades. Essas, BD, punx, OS POSITIVOS: fanzine do contra a pregar aos teens.
A sustainable space that nurtures long-term communities of resistance can ultimately contribute more to militant struggle than the sort of impatient insurrectionism that starts with confrontation rather than building to it. All the better if it is a politically diverse space in which debate and dynamic change can occur and new people can encounter radical ideas.
Social movements should be subversive while not immediately provoking repression — it’s important that the lines be drawn, but participants must have enough time to go through an evolutionary process before the police break out their batons.
This is how punk can inspire us: as a transformative outlet for rage and grief and joy, a
positivemodel for togetherness and self-determination in our social relations, an example of how the destructive urge can also be creative—and vice versa.
in "Music as a Weapon" 22 out 2018
