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What has emerged from Krishnacore is a movement that is conscious of its own history and aesthetic. Writing in ‘The Sacralization of Straightedge Punk: Nada Brahma and the Divine Embodiment of Krishnacore,’ Mike Dines explores the link between the punk rock aesthetic of bands such as Shelter and 108 and their adherence to bhakti-yoga. ‘Existing texts on the similarities between straightedge and the Hare Krishna movement emphasise (amongst others) the shared principles of vegetarianism, the refraining from intoxicants and the disapproval of illicit sex,’ he writes. ‘Although I agree with these writers, I also highlight the importance of the devotional doctrine of bhakti-yoga within this relationship; a doctrine that was to inform further the move from straightedge punk to Hare Krishna monk.’

Dines therefore brings together rasa and the idea of Nada-Brahma to highlight the ‘unique fusion of Western popular music and the Eastern-based Indian spirituality (and lifestyle) of the Vaishnavas.’ In turning the punk aesthetic towards the devotional, and in particular the transcendental vibration of the holy name, Krishnacore became a site of expression for bhakti-yoga. Moreover, Dines believes that ‘what provides validity to the connecting of Krishnacore and Indian aesthetics lies in the placement of those band members and associates who were involved in the scene.’ He concludes, ‘Ray Cappo, Robert Fish and Vic Dicara were not mere spectators of the Hare Krishna movement, but were indeed devotees themselves, reading and studying scripture, attending lectures and practicing the lifestyle of the devotee.’