These were the two main books I used for reference. 'Fucked up and photocopied' looks at the graphic design and visual elements of the punk subculture. 

bibliography Derrian Bradder

Books:
Hebdige, D. (1979). Subculture, the meaning of style. London: Routledge

Ebooks:
Glasper, I. (2004).  Burning Britain: The History of UK Punk 1980-1984. n/a: Cherry Red Books

Website articles:
Youngs, I. (2002). A brief history of punk Available: http://news.bbc.co.uk/1/hi/entertainment/2601493.stm Last accessed: 2nd May 2014 

White, J. (2011). Why a History of Punk Rock Matters Available: http://www.huffingtonpost.co.uk/josh-white/punk-rock-history_b_1103667.html Last accessed: 2nd May 2014

Harris, J. (2012).  Punk rock … alive and kicking in a repressive state near you Available: http://www.theguardian.com/music/2012/mar/17/punk-rock-state-oppression-burma Last accessed: 29th April 2014

Moliterno, A. (2012) 

What Riot? Punk Rock Politics, Fascism, and Rock Against Racism Available: http://www.studentpulse.com/articles/612/what-riot-punk-rock-politics-fascism-and-rock-against-racism Last accessed: 28th April Webb, I R. (2013) The Filth and the Fury: how punk changed everything Available: http://www.independent.co.uk/life-style/fashion/features/the-filth-and-the-fury-how-punk-changed-everything-8591618.html Last accessed: 3rd May 2014 Videos:triagebarton, 2006. SLC Punk Trailer. [online]. [Accessed 25th March 2014]. Available from: https://www.youtube.com/watch?v=DILdeHgWF-U

“Punk is definitely part of my history. I'll never get rid of that,” says Dame Vivienne Westwood, before adding: “Everything has changed today, it's hard to think now that punk was shocking. Now anything goes."

http://www.independent.co.uk/life-style/fashion/features/the-filth-and-the-fury-how-punk-changed-everything-8591618.html

an article about an exhibition for punks everlasting influence on fashion. The idea of making something out of nothing and elevating an everyday object into an art form. 

http://www.studentpulse.com/articles/612/what-riot-punk-rock-politics-fascism-and-rock-against-racism

An article by Alessandro G. Moliterno of 'Student pulse'. In this article Moliterno discusses the relationship between punk and reggae which I mentioned earlier after reading about it in Hebdige's book - 'subculture, the meaning of style'. Punks championed reggae music, and took part in Rock against Racism. 

http://www.theguardian.com/music/2012/mar/17/punk-rock-state-oppression-burma

'Punk rock is ancient history here, but elsewhere disaffected young people are discovering its anarchic energy – despite the enormous risks they face from their oppressive regimes'

Roots of Punk BBC Documentary from the early years of PUNK in the UK all...

http://www.huffingtonpost.co.uk/josh-white/punk-rock-history_b_1103667.html

discussion of the true roots of punk rock, and whether it was an identifiable form of rock and roll that became punk as we know it through influential people such as Malcolm McLaren and Vivienne Westwood.

'Punk proved that you didn't need to be able to play an instrument to be in a band, you just needed to have something to say'

http://news.bbc.co.uk/1/hi/entertainment/2601493.stm - a BBC news article on a brief history of Punk music following the death of Joe Strummer. 

Punk music was full of angst, with economic and political roots. - 'England's youth were angry, rebellious and out of work. They had strong opinions and a lot of free time.' 

By the end of the 70s something had to give and it seemed that the initial thrill of the punk scene had started to die out. That is until the second wave of punk bands started to appear. Influenced by the first wave, the second wave had been inspired to pick up and instrument and learn to play, whereas the first wave were already musically accomplished and paved the way with their new sound. The second wave was much more raw and genuine - punk rock fans learning to play instruments so that they could be in punk rock bands.

"if the first wave of punk was a breath of fresh air then the second wave was like a kick in the balls" claims Karl Morris of Xtract. 

Outside of London it was Bristol who boasted the most signed punk bands in any one city, due in part to the presence of the Riot City label, and the various areas of squalor. 

http://www.amazon.co.uk/Burning-Britain-History-Punk-1980-1984/dp/1901447243

Bibliography Sam Douglas

Jacob T. Levy (2007) Remember, remember, By now you've heard [online] Available: http://jacobtlevy.blogspot.co.uk/2007/11/remember-remember-by-now-youve-heard.html [05/05/2014]

Brian L. Ott (2010) The Visceral Politics of V for Vendetta: On Political Effect on the Cinema [online] Available: http://www.academia.edu/701993/The_Visceral_Politics_of_V_for_Vendetta_On_Political_Affect_in_Cinema [05/05/2014]

Hannah Hickman (2011) Women in Punk: An Essay [online] Available: http://visualvitriol.wordpress.com/women-in-punk-an-essay-punk-aesthetic-uses-to-question-and-reclaim-the-female-gender/ [04/05/2014]

National Library Board Singapore (2012) Anarchy in the Uk [online] Available: http://www.nlb.gov.sg/blogs/libraryesplanade/music/anarchy-in-the-uk-the-explosive-emergence-of-punk-rock-and-its-aftermath/ [04/05/2014]

Nicholas Morine (2009) Philosophy Subcultures, Aesthetics , Punk Rock [online] Available: https://suite.io/nicholas-morine/25y62dq [04/05/2014]

Peter Bright (2011) Anonymous Speaks: The inside story of the HBGary Hack [online] Available: http://arstechnica.com/tech-policy/2011/02/anonymous-speaks-the-inside-story-of-the-hbgary-hack/ [01/05/2014]

 Quinn Norton (2012) How Anonymous picks targets, Launches Attacks, and Takes Powerfull Orginizations Down [online] Available: http://www.wired.com/2012/07/ff_anonymous/ [01/05/2014]

Rosie Waites (2011)  V for Vendetta Masks: Who’s Behind Them? [online] Available: http://www.bbc.co.uk/news/magazine-15359735 [01/05/2014]

Xen0nymous (2012) Anonymous: Code of Conduct [online] Available: http://www.youtube.com/watch?v=qIaLdMqMRh8 [29/04/2014]

 Anonymous (2013) Guy Fawks: The history behind the mask, and tits… [online] Available: http://anoninsiders.net/the-mask-46/ [29/04/2014]

Tedx Talks (2012)  TEDxSalford - John Robb - Punk Rock and DIY Creativity [online] Available: http://www.youtube.com/watch?v=meHrnHjRRu8 [29/04/2014]

Tedx Youth (2013) Pressure, Power, Punk Rock: Emma Simons-Araya at TEDxYouth@BommerCanyon [online] Available: http://www.youtube.com/watch?v=ZSwSQE32Ek8 [29/04/2014]

Ryan Moore (2004) Postmodernism and Punk Subculture:

Cultures of Authenticity and Deconstruction [online] Available: http://www.stevenlaurie.com/wp-content/uploads/2012/01/moore-punkauthenticity.pdf [29/04/2014]

“Zoe” (2013) Is Fashion Self-Destructive [online] Available: mystylepsyche.blogspot.com/2013/08/is-fashion-self-destructive.html [29/04/2014]

Bibliography Subcultures Adam Peel

Bibliography       Subcultures       Adam Peel

Cole Stryker (2011) How to Write a Book About Anonymous, [online],
Available: http://www.huffingtonpost.com/cole-stryker/4chan-book_b_962543.html [10 March 14].

Dylan Clark (2003) The Death and Life of Punk, The Last Subculture, [online],
Available: www.academia.edu/156134/The_Death_and_Life_of_Punk_The_Last_Subculture [10 Mar 2014]

Daily Mail Reporter (2013) A masked Russell Brand leads Anonymous march against austerity cuts: Funnyman-turned-activist joins protesters as they aim fireworks at Buckingham Palace, [online],
Available: http://www.dailymail.co.uk/news/article-2488128/Russell-Brand-joins-Anonymous-protesters-fireworks-fired-Buckingham-Palace.html [25 Mar 14]

RT (2013) 'We are legion!' Anonymous allies stand up against corruption in global march, [online],
Available: http://rt.com/news/anonymous-million-mask-march-225/ [25 Mar 14]

Andrew Roth (2014) Russian Punk Group Ends Protest Tour of Sochi, [online],
Available: http://www.nytimes.com/2014/02/21/world/europe/russian-punk-group-ends-protest-tour-of-sochi.html?_r=0 [25 Mar 14]

Kelly MacMullen (2013) Youth as the Counterculture (60's and 70's protests) By: Kelly MacMullen and Dannie McLaren, [online],
Available: http://prezi.com/sa94tpqtwd0s [25 Mar 14]

The Only Ones (1978) Another Planet, [online],
Available: https://www.youtube.com/watch?v=lKuc3faQAEs [25 Mar 14]

The Ramones (1976) Blitzkrieg Bop, [online],
Available: https://www.youtube.com/watch?v=K56soYl0U1w [25 Mar 14]

Lily Altavena (2012) Punk Heroes Fight the Power – and Go to Prison, [online],
Available: http://gokicker.com/2012/08/03/punk-heroes-fight-the-power-and-go-to-prison/#!BpIAS [25 Mar 14]

Joe Coen (2012) Punk Feminism – Up the Punks!, [online],
Available: http://www.huckmagazine.com/perspectives/reportage-2/punk-feminism/ [25 Mar 14]

Henry Langston (2102) The Frustrated Punks of Burma, [online],
Available: http://www.vice.com/en_uk/read/the-frustrated-punks-of-burma [2 May 14]

Asia Calling (2013) Burmese Punks "Rebel Riot" Rocking Against the System, [online],
Available: https://www.youtube.com/watch?v=PHCck9AtNrg [2 May 14]

SLC Punk Trailer

'The perverse and abnormal were valued intrinsically.'

The punks took the iconic use of sexual fetishism and used it to their full advantage to get the desired effect. Shock tactics.

'Rapist masks and rubber wear, leather bodices and fishnet stockings, pointed stiletto heel shoes, the entire paraphernalia of bondage - belts, straps and chains - were exhumed from the boudoir, closet and the pornographic film and placed on the street where they retained their forbidden connotations'

'I speak through my clothes' - Eco, 1973

The clothes they wore showed genuine signs of aggression and angst; rips, tears and tight fitting. Although they constructed this look within their own language it was also a language that was ‘current’ and spoke to people. Hebdige says that this accounts ‘first, for the appropriateness of the punk metaphor for both the members of the subculture and its opponents and, second, for the success of the punk subculture as spectacle: its ability to symptomatise a whole cluster of contemporary problems.’  They served as a sign of something undesirable; a ‘symptom’ as it were of ‘Broken Britain’. 

Punks took everyday objects and turned them into something else, a symbol of the subculture. Uninteresting and unremarkable Items such a s safety pins were taken from being used as a household utility and used as decorations as it were - shoved through cheeks, ears, lips etc. Even lavatory chains made their way into the punks wardrobe, draped across chests and hanging from ripped trousers etc. Although the clothes themselves were destined to be offensive (swear words, slogans etc) they punks made it so even their 'ornaments' were offensive. They wore cheap materials like pvc and plastic,; they wanted to look trashy hence the regular appearance of mock leopard print and 'nasty' colours.

The idea that make-up was a feminine luxury was also discarded; despite advice from several women's magazines make-up was worn to be seen by both females and males. 'Faces became abstract portraits: sharply observed and meticulously executed studies in alienation'. Hair was dyed crazy colours, bleached, spiked into mohicans, coloured tufts and featuring question marks.

't-shirts and trousers told the story of their own construction with multiple zips and outside seams clearly displayed. The perverse and the abnormal were valued intrinsically.' 

 “The punks were not only responding to increasing joblessness , changing moral standards, the rediscovery of poverty, the Depression, etc, they were dramatising what had come to be called ‘Britain’s decline’ by constructing a language which was, in contrast to the prevailing rhetoric of the Rock Establishment, unmistakably relevant and dow to earth (hence the swearing, the references to ‘fat hippies’, the rags, the lumpen poses)”

What Hebdige is saying is that the Punks took the doom and gloom that was filling the airwaves and magazines/editorials at the time and made it into something visible - they personified the misery and decline by presenting themselves as degenerates. They made themselves into the living embodiment of broken Britain.

Subcultures are not privileged forms; they do not work outside the circuit of production and reproduction which link together, if only symbolically, the fragmented pieces of the social totality. Subcultures represent noise, as opposed to sound.

Stuart Hall argued that the media were responsible for the way groups and classes respond to other groups and classes by providing them with images and information of said classes, often detailing their practices and values, which then led people to form opinions on them that they might not have had previously. Hall described the media as having ‘progressively colonised the cultural and idealogical sphere’. 

Anna- Bibliography

Books

Jefferson, T, Hall, H (1993). Resistance through Rituals: Youth subcultures in post-war Britain. London: Routledge.

Haenfler, R (2014). Subcultures, the basics. London: Routledge.

Ebooks

Sagert, K (2010). Flappers : A Guide to an American Subculture. California: Greenwood Press. p1-6.

Leblanc, L (1999). Pretty in Punk : Girls' Gender Resistance in a Boys' Subculture. 2nd ed. USA: Rutgers University Press. p8.

Journal articles

Reddington, H. (2004). The Forgotten Revolution of Female Punk Musicians in the 1970s. Peace Review. Vol. 16, p439-444

Website articles

Murphy, L. (2013). The hacker teen queen of Anonymous pleads guilty in London. Available: http://www.dailydot.com/news/kayla-ryan-ackroyd-lulzsec-anonymous-guilty-plea/. Last accessed 29th Apr 2014.

Price, S. (2000). Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style. Available: http://www.metmuseum.org/toah/hd/vivw/hd_vivw.htm. Last accessed 31st Mar 2014.

Rosenberg, J. Flappers in the Roaring Twenties. Available: http://history1900s.about.com/od/1920s/a/flappers.htm. Last accessed 6th Mar 2014.

Videos

Zhoel13. 2008. Women in punk. [Online]. [Accessed 25^th March 2014]. Available from: https://www.youtube.com/watch?v=NznmF9cyFpw&feature=youtu.be

Anti Thatcherism and Guy Fawkes

Again not anonymous specifically but more v for vendetta and it's mirrors in anti Thatcherism and limited government warfare, most of which can be found in anonymous' repertoire of causes and conflicts 

http://jacobtlevy.blogspot.co.uk/2007/11/remember-remember-by-now-youve-heard.html

Not anonymous but close enough

I might com back to this but it's making my head hurt at the moment it's so academic!

But a good read, not necessarily on anonymous itself but on a lot of the symbolism it takes from the v for vendetta franchise and an observation on the cross over of their ideals. 

 http://www.academia.edu/701993/The_Visceral_Politics_of_V_for_Vendetta_On_Political_Affect_in_Cinema

An interesting cross over between Punk Fashion and Punk Femininty

http://visualvitriol.wordpress.com/women-in-punk-an-essay-punk-aesthetic-uses-to-question-and-reclaim-the-female-gender/

Punk politics

Punk rock was explicitly anti-establishment, and it articulated its opposition to socio-economic inequality not only through its songs but also through its fashion style. Punk championed a Do-It-Yourself aesthetic that involved appropriating banal objects from everyday life for outrageously bizarre purposes.

Safety pins, lavatory chains, belts and ripped clothing became ‘signs’ that alluded to the ‘bondage’ of the working class to poverty (both material and spiritual) in a decadent consumerist society. The deliberate outlandishness of punk fashion also signalled the working class’ resigned acceptance of its alienated, ‘outcast’ status in British society (Hebdige, Subculture 65-66).

(Image by Tim Schapker)

Punk was also opposed to racism, which was experiencing a revival in the 1970s. In fact, punk openly identified with the black music subculture of reggae. It admired reggae’s opposition to race and class oppression and its complete disavowal of white mainstream society (Hebdige, Subculture 63-64).

“Three-quarters of our look, that third-rate tramp thing, that wasn’t really Steve and Paul, that was poverty, really. Lack of money. When the arse of your pants falls out you just use safety pins to stick it back on. The fact that that became a fashion statement wasn’t deliberate.”
- John Lydon (aka Johnny Rotten), The Sex Pistols (Filth and the Fury 39)

“London’s burning with boredom now
London’s burning, dial 99999”
- “London’s Burning”, The Clash

“Black people gotta lot a problems
But they don’t mind throwing a brick
White people go to school
Where they teach you how to be thick”
- “White Riot”, The Clash

Punk Semiotics

Besides criticising class and race inequality, punk rock attacked the status quo on the more abstract level of language as well. In Subculture: The Meaning of Style, Dick Hebdige argues that punk fashion, by appropriating everyday objects and jumbling them together into strange combinations, challenged the conventional uses and ‘meanings’ of these objects.

By giving these objects new meanings through incongruous juxtaposition with other objects, punk showed its audiences that these objects or ‘signs’ have no essential meanings that can’t be changed, regardless of what schools, the police, and other institutions have to say about these ‘signs’ (114-116).

In the world of punk fashion, the safety pin is no longer a functional instrument used to hold damaged clothing in place. It is a makeshift earring; a fashion accessory; a signifier of poverty; even a self-reflexive symbol of the ‘cut up’ and ‘stitch together’ collage-like aesthetic of punk fashion itself.

In Hebdige’s view, the ultimate ‘meaning’ of punk is the absence of absence of any ultimate ‘meaning’ (117). This, perhaps, is punk’s most menacing political message.

Punk Legacy

Like most other subcultures, the punk rock movement has been co-opted by the mainstream music industry, the mass media and high fashion. Vivienne Westwood, who made her name in the heyday of punk as Malcolm McLaren’s girlfriend and fashion collaborator, now sells punk fashion at prices few punks would have been able to afford in the 1970s.

A Japanese brand selling punk-inspired fashion

Although punk has gone ‘couture’ and has, like its iconic safety pin, lost its old meanings and gained some new (commercial) ones, punk’s grassroots spirit of DIY and its willingness to question and challenge our ‘normal’ way of life still remain with us today. Thanks to punk, many young musicians today form their own garage bands, perform at ‘indie’ music venues, and create music that does not follow the dictates of the mainstream music industry.

And when we listen to the old punk records again, it is clear that things haven’t changed much from the days of superficial consumerism, socio-economic inequality and social mind-control that punk rock revolted against. Perhaps it is time to take punk’s many messages seriously again, and to think about what we can do about the world we live in.

http://www.nlb.gov.sg/blogs/libraryesplanade/music/anarchy-in-the-uk-the-explosive-emergence-of-punk-rock-and-its-aftermath/

Philosophy Subcultures, Aesthetics, Punk Rock

Bricolage, when used in a discussion of philosophy and aesthetics can be used to refer to man's innate reaction to an object and, at times, the divide between the seemingly “natural order,” natural usage or placement, of an object or image and the actual usage of that entity as presented in front of him.

Bricolage can also extend to the usage of items beyond their immediate uses, the use of found objects to fulfill a role that other objects traditionally fill, or simply the juxtaposition of strange and foreign objects beside more mundane counterparts.

Aesthetically, when an item is removed from it's “natural” context or usage and adapted to another form, it presents a cognitive dissonance at the most basic level that can contribute to feelings of shock or unease. Those who might disturb the natural social order by placing an object out of place might be provocative bricoleurs – persons who use objects beyond the intentions of their natural contexts, or who are willing to juxtapose remote distant relatives in order to create new meaning.

Hebdige writes, “Together, object and meaning constitute a sign, and, within any one culture, such signs are assembled, repeatedly, into characteristic forms of discourse. However, when the bricoleur re-locates the significant object in a different position within that discourse, using the same overall repertoire of signs, or when that object is placed within a different total ensemble, a new discourse is constituted, a different message conveyed.” (pp. 104)

Examples of Punk Bricolage, Umberto Eco

The punk movement's most famous example of the use of bricolage would be the safety pin. Initially used in common context to hold together a diaper or other pieces of cloth safely without being stuck or jabbed – the safety pin emerged during the punk rock era to be an entirely different symbol. Used to pierce human lips and ears as well as to hold patches and flags onto torn “rags” - the safety pin became an icon for the fringe movement.

Punks were exemplary populist bricoleurs, removing “safe” objects from their normal context and remaking them in their own image in a form of“semiotic guerilla warfare” as posited by semiotician Umberto Eco – a transference of symbols from mundane (such as a metal comb turned honed razor) and commercial (a mod punk rocker wearing a suit and tie to a rock show) into their own altered messages in the underground community, rejecting their conventional uses and symbolism.

Style as aesthetic expression was one of the most influencial subtexts of the punk movement, as well as a continued movement in contemporary subculture. Succintly described by Eco in Hebdige'sSubculture: The Meaning of Style, saying, “I speak through my clothes.” 

https://suite.io/nicholas-morine/25y62dq

V for Vendetta SYMBOLISM adopted by anonymous

The comic by Alan Moore and David Lloyd "V for vendetta" is based and was produced when Margaret Thatcher was in her third run as prime minister.

"The Guy Fawkes-style mask worn by the character V was first used by Anonymous as way to publicly protest what they saw as the harmful indoctrination of Scientology, but has since evolved to encompass an entire movement that is as seemingly diverse as it is secretive."

Read More: ‘V for Vendetta’ Inspires Anonymous, Creator David Lloyd Responds | http://comicsalliance.com/v-for-vendetta-anonymous-david-lloyd/?trackback=tsmclip

Rebel Riot rock against the system

https://www.youtube.com/watch?v=PHCck9AtNrg

THE FRUSTRATED PUNKS OF BURMA

Before it loosened its grip a couple of years back, a military junta had been ruling Burma for almost 50 years. So, when you think of Burmese people (which I'm sure you do at least a dozen times every day), you probably still imagine a race of steely faced, government-bred tin soldiers, marching rank and file through the streets to clock in for another day of payless munitions factory psycho-torture. Or maybe you don't. Maybe when you think of Burma, you think of young men who look like Rufio from Hook if he'd grown up and started a Casualties tribute band. In 2010, the junta allowed some elections to be held, and although they were widely considered to be fraudulent by the international community, they cleared the way for reforms that included the release of Aung San Suu Kyi, the opposition leader who had been under house arrest for 15 years. The years before this shift towards relative liberalism saw the blossoming of an underground subculture of punks and metalheads in the city of Rangoon. It started when some guys and girls there get their hands on tapes and CDs brought in by merchant ships visiting the country. Slowly, a scene formed, and bands began to play small shows whilst avoiding the gaze of the notorious Burmese police. Thai photographer Ko Gyi spent two years in Burma when the junta was still officially in charge (in the reforms that were made, they ensured that former junta generals would cling on to a lot of power). Ko photographed the punk shows and the community that supports them, so I got in touch to ask him a few questions. VICE: Hey Ko, how did you first get in touch with these kids? Ko Gyi: I've always been interested in sub-subcultures, particularly youth sub-cultures, and even before I went out to Rangoon I had it in my mind that I'd like to photograph a more creative and rebellious side of Burma than is usually portrayed. I didn't really have any idea what alternative cultures existed but it wasn't too long after I'd arrived that I heard about a punk concert in one of the parks there. It was the first time I'd really seen any openly alternative fashion. I shot some photos and chatted to people about the bands. They were pretty welcoming. A few days later, I met the guitarist from one of the bands for coffee. I showed him my photos and gradually I got more embedded in the scene. Would you say these bands are more influenced by the UK or US version of what punk and metal is? In terms of music and fashion. There's a lot of musical influence from both the UK and the US, but the UK stuff is mainly classic punk: the Sex Pistols, the Clash, the Buzzcocks. So, most of the contemporary influences seem to be American, especially for the hardcore and metal bands. But you find a huge diversity in what people listen to. Style-wise, again there's a divide between the punks on one hand and the metal and hardcore fans on the other. A lot of the punks consider their fashion and the way they act to be part of the scene, and they're very clearly influenced by Johnny Rotten, Sid Vicious and the Ramones – there are loads of studded jackets, mohawks and heavy boots. But the metalheads and hardcore bands seem less interested in any particular style. For them, just jeans and a band T-shirt will generally suffice. What are these bands singing about? What are they angry about? There are many answers to that, and it's important to distinguish between the different motives for becoming involved in the scene. Obviously, there are those who try to make a political statement, rebelling against what remains an oppressive state, and that is reflected in the things they sing about and the way they act. But at the same time there are many who are just interested in the music or the style – non-political anarchism. The one thing which links them all, though, is a frustration that all their material has to pass through the government censorship board, which means that even the more politically-minded bands are limited in what they can say. Really? Don't they worry about getting it in the neck from the authorities? I don't think that "worried" is the right term – frustration is probably what they feel most. They become fairly adept at expressing themselves in metaphors and knowing how far they can push a certain subject. But still, the fact they have to submit everything to a board of censors is massively frustrating for them. Yeah, I can imagine. How many of these bands are there? How big's the scene? The numbers of bands in each genre tends to be fairly small, so when shows are put on it tends to be a mix of punk, rock, metal and hardcore. A well-known band, even an underground band, can pull in a couple of hundred fans for a show. What are the overall most popular bands in the scene? The main punk bands at the moment are No U Turn and Rebel Riot. Then there's an indie rock band called Side Effect, and Married for the Pain are big news on the Burmese experimental hardcore scene. Do they find it hard to put on shows? Yeah, this is one of the biggest difficulties, there are very few venues willing to put them on. A lot of the bands don't even have their own equipment, and it's difficult to get permission to play. I was there for a year and a half, and I saw less than ten shows. Where do they get their instruments? Instruments are generally Chinese knock-offs, which are widely available but still relatively expensive for the average Burmese. Have you been to any shows that were busted by the cops? A lot of shows, especially those held outdoors, have a pretty strong security and police presence, but I've only ever seen them busted if there was violence in the crowd, and I doubt that would be different for any other type of event. The shows are allowed to continue once those causing trouble have been taken away. Do you know of any band members getting arrested and imprisoned? Not because they were punks, but for other reasons, yes. I've heard stories about some of the guys, particularly those who wear the full punk fashion, getting harassment from the police but it seems to be much less common than it used to be. There are a lot of stories of punks in the past being arrested and having their heads shaved – similar to what still happens in Indonesia – but in my experience, that doesn't seem to happen any more. Not in Rangoon, at least. Do you have any plans to go back? Yes, I'll be back now and again to see friends. I now run an organisation in Chiang Mai called Documentary Arts Asia, which supports documentary photographers and filmmakers. We have a gallery, library, training centre and theatre for screening documentary work and the plan is to do the same thing in Rangoon, but it might be a few years before the country is open enough.


http://www.vice.com/en_uk/read/the-frustrated-punks-of-burma

Pretty In Punk- ebook

Girls in male ­dominated youth subcultures such as punk continually confront ideologies of gender that remain largely invisible, perhaps even tacitly accepted, in many young women's everyday lives. Punk girls struggle to construct their gender within the confines of a highly male­ dominated and therefore "masculinist" context.

The punk subculture highly valorizes the norms of adolescent masculinity, celebrating displays of toughness, coolness, rebelliousness, and aggressiveness. Girls are present in the subculture, but the masculinity of its norms problematizes their participation. Thus, gender is problematic for punk girls in a way that it is not for punk guys, because punk girls must accommodate female gender within subcultural identities that are deliberately coded as made. How do they negotiate between these seemingly conflicting sets of norms?

This section of the book seems to suggest that in participating in the punk movement, women were pretending to be something they were not: 'rebellious', aggressive' etc. as these are natural qualities found in men, not women. I don't agree with this statement at all is it suggests that women don't have the freedom or willpower to express themselves in the same way as men. I think one of the most positive aspects of 'punk' is that gender didn't seem to be an issue, everyone seemed to dress and behave in any way that they wanted to regardless of their gender. It was just the outsiders who seemed to find this behavior more shocking and outrageous in the young girls.

Annymous Insider

http://arstechnica.com/tech-policy/2011/02/anonymous-speaks-the-inside-story-of-the-hbgary-hack/

Another interesting inside peak at the workings of Anonymous

How anonymous choose their Targets

 http://www.wired.com/2012/07/ff_anonymous/

A little insight onto the inner workings of Anonymous

More on the V for Vendetta Mask

An interesting Collection of opinions on the "V for Vendetta" mask and it's uses and symbolism for anonymous, ranging from accusing it of being symbol of active terrorism, through to it being a toy for fancy dress.

http://www.bbc.co.uk/news/magazine-15359735