Abstract: “Bad Boy Boogie is the first biography to focus on Bon's remarkable gifts as a lyricist, frontman and rascal. In short, the real Bon Scott.” (Source: Allen & Unwin)

Abstract: The Sex Pistols’ 1976 anthem, “Anarchy in the UK,” memorialized an ongoing relationship between anarchism and punk rock music. Although scholars of punk music have long documented the relationship between leftist or progressive politics in punk music scenes, they have not interrogated the content and sources of anarchist politics, often taking for granted the relationship between anarchism and punk. This dissertation examines the anarchist politics of a particular genre of punk, called “crust punk,” which is a blend of punk and heavy metal. Like most music subcultures, the crust punk scene is much more than musical sounds; it is associated with a particular lifestyle as well. Crust punks’ choices to drop out of society and live in squats or on the streets, I argue, are political. This dissertation combines ethnomusicological methods with a field of study called “political epistemology” from political science that seeks to understand the origins and composition of political ideas. I combine these two approaches to examine crust punk political ideas: where they come from, how they are shared within the scene, and in what ways they can be considered “anarchist.” I conclude that crust punk represents a form of what I theorize as “vernacular anarchism” that arises from precarious forms of existence, is formulated in everyday life experiences, and is given substance through affective and emotional responses to the poetics of crust punk song texts.

Abstract: This study has been oriented, to identify the benefits of the qualitative method of the theory built on the different aspects of feeling and thinking of the Metaleros1 in the city of Lima, in order to analyze their impersonal relations with society. In this sense the following objective was proposed: to understand why the social life individualization, the cultural commodification and the music fetishism is reproduced in the feeling and thinking of Lima’s metaleros. An in-depth interview was conducted with 23 young adults and metaleros between aged 14 to 48 years old as a range or limit, which resulted in a non-probabilistic sample. Two conceptual categories were identified: Rockandad and Metaldad, which serve to give interpretation to the problematic raised. In addition, a conceptual theoretical instrument called pyramidal dialectic was elaborated, to give way to the explanation of the research carried out.

Abstract: This dissertation chronicles the cultural, musical and performative fronts during two centuries of struggle and negotiation between Mapuche and Chilean societies. The perspective is mainly ethnomusicological, including two years of fieldwork in the Araucanía region, concerning new genres of Mapuche fusion music such as rock and hip-hop. This writing demonstrates how Mapuche expressions and representations accrued various forms of value during Chile's modernization—including colonization, nation building, the emergence of modern social movements, and the implementation of neoliberal policies—and how artists contend with and subvert those values today.
The opening chapters are historical. Following the invasion of Araucanía in the 1880s, Mapuche political activism eventually gained traction by carefully managing a relationship with the Chilean political establishment, while also cultivating a unique approach to political processes that incorporated preexisting rituals. Concurrently, the Mapuche transitioned from adversaries to objects of study, while concepts such as folklore took root in Chilean society. As popular culture took note of Mapuche sounds and symbols toward the mid-twentieth century, non-Mapuche artists and activists codified their progressive ideologies through their embrace of indigeneity, exemplified in art music, and most famously, nueva canción.
Based directly on fieldwork, the second half of the thesis discusses how Mapuche cultural continuity has involved both the recovery of traditions and the incorporation of non-traditional elements. I describe the conversion of a mingako ritual into a festival of music and poetry in the Mapuche comunidad of Saltapura. This transfer from agriculture to expressive culture demonstrates the diminishing value of Mapuche lands, parallel with the increasing value of their expressions, under neoliberal multiculturalism. Meanwhile, Mapuche heavy metal and hip-hop groups such as Pewmayén and Weichafe Newen build their music around ancestral principles of sound, ritual and language, raising the question as to whether Mapuche musical elements thus become ingredients of popular music, or whether popular music becomes Mapuche for incorporating these elements. Through detailed discussions of this music and its broader contexts, this dissertation issues a critique of the culture concept underpinning neoliberal multiculturalism, inherited from the investigations of the Mapuche during the early republican period.