Pura ira y “Pura ira”: Un planteamiento an(árquico) y esquizoanalítico de Leopoldo María Panero

Johnny Lydon, el músico y cantante del grupo punk Sex Pistols, ha dicho que “la ira es una forma de energía”; y si para Lydon, nada fue sagrado, tampoco lo fue para Leopoldo María Panero. Desde el principio, Panero logró ensamblar su rebelión vital (en contra de la triangulación de Edipo, y de la “santísima familia” burguesa) con su rebeldía poética. Por lo tanto, su an(arquía) es más existencial que política. La traducción de El Anti Edipo al castellano (por Paco Monge) le dio la oportunidad de explorar la teoría esquizoanalítica de Gilles Deleuze y Félix Guattari, y adaptarla tanto a su vida como a su obra. Este ensayo, entonces, emprenderá un planteamiento esquizoanalítico de Panero, tomando en cuenta la ira/“ira” como formas de energía fisiológica y “performativa”. Así, según la tesis de este ensayo, Panero logró producir un gran corpus poético, porque fue capaz de acceder a lo que Deleuze y Guattari llaman el “proceso esquizoanalítico”, y transgredir la estructura edípica vis-à-vis con su propia “producción deseante”. Desde tal perspectiva es que se puede entender gran parte de la poética de Panero

Punk and the White Atlantic

Punk emerged as a fully formed and recognizable style in the mid-1970s in the United Kingdom, primarily in London, and in the United States, primarily in New York and Los Angeles. British punk musicians such as the Damned, the Clash, and the Sex Pistols during this period put together elements from American punk and its precedents, including elements that were previously heard in distinction from each other, such as the riff-based blues of the Stooges and back-to-basics rock and roll songs of the Ramones. Although this period is marked by a preoccupation with whether punk was “invented” in the US or UK, in fact, punk is a product of exchanges between musicians across the Atlantic, with much of the music continuing a long history of white people using a vocabulary of Black musical resources, including blues and reggae, to explore identity, class distinctions, and the nature of whiteness itself. These exchanges in punk are comparable to the so-called “British Invasion” of the prior decade. The discourse of making the mid-1970s UK a starting point for punk also appears to be an idea that American musicians were primarily invested in, and an idea that further dissociated punk from its basis in Black American music.

Art School Manifestos, Classical Music, and Industrial Abjection: Tracing the Artistic, Political, and Musical Antecedents of Punk

This chapter charts and explores the complex cultural origins of punk in Britain through three different case studies, beginning with an exploration of the influence of the Situationist International (SI) on the punk ethos and aesthetic around the Sex Pistols. Second, it looks at the musical and artistic trajectory of the anarcho-punk band Crass and, in particular, the contemporary classical music tradition that informed the work of Penny Rimbaud et al., from the late 1960s to the formation of Crass in the 1970s. Third, the chapter turns to the artistic influences of Neil Megson, later to be known as Genesis P-Orridge. Here, emphasis is placed on a timeline of artistic and political activities by P-Orridge, from his time in school, through his forming of COUM Transmissions in the early 1970s, to the early days of the innovative musical ensemble Throbbing Gristle (TG), formed in 1975. The case studies contribute to a wider understanding of the richer cultural references, practices, and traditions that early punk drew on.

The Punk Worlds of Liverpool and Manchester, 1975–1980

Accounts of the origins of UK punk invariably focus upon bands and events in London, particularly the early exploits of the Sex Pistols. However, punk did not remain concentrated in the capital for long. Bigger towns and cities across the UK quickly spawned their own local punk “worlds.” This chapter maps two of these worlds: Liverpool and Manchester. It is divided between a historical reconstruction, which tracks the movement of punk from London to Manchester and Liverpool, discussing early developments, protagonists, and institutions in the two northern cities, and a brief dissection, drawing upon the techniques of social network analysis (SNA), of the networks constitutive in some part of these two seminal UK punk worlds. In addition, the chapter offers a brief discussion of “music worlds,” a concept coined by the author in an effort to make sociological sense of punk and similar hives of musical activity.

Sex Pistols: The End is Near, 25.12.77, Kevin Cummins (2020)

Review of: Sex Pistols: The End is Near 25.12.77, Kevin Cummins (2020)New York: ACC Art Books, 176 pp.,ISBN 978-1-78884-061-3, h/bk, £30

Ensaio sobre o campo artístico contemporâneo. Johnny Rotten VS John Lydon = KO

One of the figures that stood out the most in the British punk counterculture scene, from 1976 to 1978, was the charismatic vocalist of Sex Pistols, Johnny Rotten, who shouted "Anarchy in the United Kingdom" or "There is no Future". As soon as the musical project devised by the late Malcom McLaren ended in 1978, Johnny Rotten returns to his baptismal name, John Lydon, and starts the experimental musical project Public Image Ltd, better known as PIL.Meanwhile, after about forty-one years of PIL's existence, John Lydon, residing in Los Angeles, USA, in 2020, made public his opinions about former American President Donald Trump, which were a reason for scandal and shock, especially among punk aficionados, most of whom are anti-racists and of left-wing political tendencies.Through this text and the caricatures we can observe a decadent trajectory of a musician who, apparently, is located in the antipodes of 1977. However, this turning point is legitimized by the political and cultural “gaps” of Democracy, a system that is always in danger precisely for its openness to different political views and to the continuous dialogue between ideological forces, often opposed. By using an “anarchy-fascism” dialectic, the author's points of view, based on films, songs and thinkers, evolve throughout her analysis. The aim is to open doors for broader analyzes in relation to democracy that do not contemplate the “black and white” view of the majorities in relation to current politics.

Prophets of Postmodern Provocation

This chapter situates the rise of punk in the avant-garde artistic networks that spanned the First, Second, and Third Worlds of the Cold War era. It examines the roles of UK punk impresario Malcolm McLaren, who launched the Sex Pistols, and Polish punk impresario Henryk Gajewski, and the mutual interest between burgeoning punks and international art circles involved in avant-garde art movements such as Pop Art and Fluxus. It shows how punk evolved in dialogue with the wider phenomenon of postmodernism, challenging conventional metanarratives structuring the social order, blurring genres, and striking down the boundaries between art and everyday life.