“Make festival, not war. Soul Beat Asia. In which what doesn't exist, we recreate together.”

Join Jessica Schwartz in conversation with guest Dr. Kounosuke (Ko) Kawakami from Kurashiki University (Japan) that began as a talk, “The Punk Scene in Japan Today: Soul Beat Asia (World Music Festival Under the Bridge)” and wove its way into an inspired contemplation on belonging and misfitting, DIY punk as intergenerational practice, politics, infrastructure and importance of DIY festivals, and a host of other punk philosophical considerations vital to our local and transnational punk (and punk scholarly) communities.

Bio:

Dr. Kounosuke (Ko) Kawakami is a researcher, curator, and currently Associate Professor at the Kurashiki University of Science and the Arts in Japan. My specialty is contemporary art, curation and popular music. My publications include 'Genealogy of Punk' , "The Idea of Anarchism" and "Culture of Expression Research Lectures" 2024.

Punk Playlist, courtesy of Dr. Kawakami:

1. Isidore Isou Venom and Eternity (1951)

Guest Note: “This is a film, but the song playing in the background is a poem by Lettrism”

2. "Take the gun" by Zuno Keisatsu(Brain Police）

Guest Note: Zuno Keisatsu made their record debut in 1972, at the end of the period of intensified political movements by the New Left, Zenkyoto, and Zengakuren. Their politically radical lyrics, which challenged taboos, and radical live performances led to episodes of broadcast censorship and exclusions from concert venues. The name was taken from the title of the song "Who Are The Brain Police?" by Frank Zappa's

3. Turtle Island (2016)

Songs Used

(0:00-0:55) Order. “Neo Humanity.” Punk Navigation, Overthrow Records, 1996.

(0:00-0:44) Hi-Standard. “The Sound of Secret Minds.” Angry Fist, Fat Wreck Chords, 1997.

(0:00-0:44) Zunou Keisatsu. “銃を取れ.” 頭脳警察1, Be-Witch Record, 1975.

Recorded on February 15, 2024, this episode was part of the UCLA online course “Punk: Music, History, (Sub)culture,” open to a live student audience. It was hosted and produced by Jessica Schwartz. Bella Gerard edited the audio and the transcript.

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