...Deborah R. Vargas 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...

... with freestyle. Instead, it offers a poetic snapshot of those feelings and material ornaments borne and worn by those of us who came of age in immigration’s centers — a hairstyle worn with a teja, webbed Florsheim loafers, fanned bangs, gold hoops, Jean Naté...

...-­Vincent tracks a particular style of recondite male affect through the postpunk musical style of emo, fol- lowing its transnational migrations in the globalized present. Deborah R. Vargas explores the Tejas punk of the bands Girl in a Coma and Piñata Protest to argue punk’s afterlife is a punk puro...

... feelings of marginal- ity during the 1989 – 90 school year, that in so many respects, for José I embodied privilege. Aside from being told that I had horns a few times while growing up, and beyond my identification with, if not Mexico then my native land of Tejas, I, unlike José, was relatively...

... of this work at the University of Iowa and the Columbia University seminar in South Asian Studies gave me valuable feedback, as did the comments of Meg McLagan, Teja Ganti, Birgit Meyer, Rafael Sanchez, Sudeep Dasgupta, and the editorial...