Punk's Afterlife in Cantina Time
Bibliographic Data
| ID | 2934657 |
|---|---|
| Authors | Deborah R Vargas (0000-0003-1315-5493, corresponding author) |
| Year | 2013 |
| Volume | 31 |
| Issue | 3 |
| Pages | 57-73 |
| Publication date | 2013-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Social Text (JOURNAL) |
| Journal identifiers | ISSN: 0164-2472 • E-ISSN: 1527-1951 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/01642472-2152837 |
| OpenAlex | W2039336550 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
Research Article| September 01 2013 Punk’s Afterlife in Cantina Time Deborah R. Vargas Deborah R. Vargas Search for other works by this author on: This Site Google Social Text (2013) 31 (3 (116)): 57–73. https://doi.org/10.1215/01642472-2152837 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Deborah R. Vargas; Punk’s Afterlife in Cantina Time. Social Text 1 September 2013; 31 (3 (116)): 57–73. doi: https://doi.org/10.1215/01642472-2152837 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsSocial Text Search Advanced Search This essay considers the afterlife of punk through an orientation of time and space in the spatiotemporality of the cantina (South Tejas working-class bar). With attention to the Tejas punk sounds of Piñata Protest and Girl in a Coma, I consider punk’s afterlife in the form of what I argue is punk’s puro pedo temporality. Puro pedo or the general pedo is a Spanish Tex-Mex vernacular term that has a range of meanings, translations, and utility. In general, puro pedo is understood to mean talk with no action, bullshit, “no worries,” or other significations of insouciance. Puro pedo is also a way to describe a scene or happening that symbolizes a total disregard for abiding by normative time. By extension, pedo in this essay serves to consider punk music through an alternative space-time calculation. With a focus on the Tex-Mex cultural vernacular and iconography that establishes cantina time—as musically represented by the spatiality of Girl in a Coma’s music video and Piñata Protest’s song “Cantina”—an afterlife of punk emerges. The reorganization of space-time occurs through the re-assemblage of instruments such as the Tex-Mex button accordion, Spanglish, and cantinera femininity that form a sonic bending where a slow spatiality meets extended tempo. Moreover, the dissonant scramblings of punk on cantina time unsettle the computations of globalization’s daily force to collapse space and time. The Tejas punk of Piñata Protest and Girl in a Coma establishes a puro pedo punk afterlife, a space-time where a mas antes (an earlier or past time) is right on time. The text of this article is only available as a PDF. © 2013 Duke University Press2013 You do not currently have access to this content
Afterlife · Art · Art history · Icon · Literature · Punk · Temporality · Asian Culture and Media Studies · Computer Science · History · Latin American and Latino Studies · Music History and Culture · Philosophy
| Citations per year | 0.08 |
|---|---|
| Citation span | 2014 - 2014 (1) |
| Highly cited | No |