In Punk and Revolution Shane Greene radically uproots punk from its iconic place in First World urban culture, Anglo popular music, and the Euro-American avant-garde, situating it instead as a crucial element in Peru's culture of subversive militancy and political violence. Inspired by José Carlos Mariátegui's Seven Interpretive Essays on Peruvian Reality, Greene explores punk's political aspirations and subcultural possibilities while complicating the dominant narratives of the war between the Shining Path and the Peruvian state. In these seven essays, Greene experiments with style and content, bends the ethnographic genre, and juxtaposes the textual and visual. He theorizes punk in Lima as a mode of aesthetic and material underproduction, rants at canonical cultural studies for its failure to acknowledge punk's potential for generating revolutionary politics, and uncovers the intersections of gender, ethnicity, class, and authenticity in the Lima punk scene. Following the theoretical interventions of Debord, Benjamin, and Bakhtin, Greene fundamentally redefines how we might think about the creative contours of punk subculture and the politics of anarchist praxis.

This is the most wide-ranging and provocative look at punk rock as a social change movement over the past forty-five years, told through first-hand accounts of roughly 250 musicians and activists. John Malkin brings together punk’s most famous figures as well as underground voices, creating a new and insightful history of punk throughout the ages.

For punk rockers, music and art have often been used as tools for resisting and accommodating the interests of society's dominant classes. During the late 1970s, a predominantly white, male working/middle-class counterculture began to develop what is now known as punk rock. This book shows how punk rock serves to both subvert and accommodate the interest of late-capitalist American society by looking at the trends in the ideas, values, and beliefs transmitted through punk lyrical messages, specifically through the content of three punk record labels and how they have evolved over time. The impact of punk will continue because it is a product of the changing face of alternative cultural spaces - spaces that impact and are impacted by increasingly hostile and exploitive relationships between and within oppressor and oppressed groups.

In March 1977, John "Johnny Rotten" Lydon of the punk band the Sex Pistols looked over the Berlin wall onto the grey, militarized landscape of East Berlin, which reminded him of home in London. Lydon went up to the wall and extended his middle finger. He didn't know it at the time, but the Sex Pistols' reputation had preceded his gesture, as young people in the "Second World" busily appropriated news reports on degenerate Western culture as punk instruction manuals. Soon after, burgeoning Polish punk impresario Henryk Gajewski brought the London punk band the Raincoats to perform at his art gallery and student club-the epicenter for Warsaw's nascent punk scene. When the Raincoats returned to England, they found London erupting at the Rock Against Racism concert, which brought together 100,000 "First World" UK punks and "Third World" Caribbean immigrants who contributed their cultures of reggae and Rastafarianism. Punk had formed networks reaching across all three of the Cold War's "worlds". The first global narrative of punk, Punk Crisis examines how transnational punk movements challenged the global order of the Cold War, blurring the boundaries between East and West, North and South, communism and capitalism through performances of creative dissent. As author Raymond A. Patton argues, punk eroded the boundaries and political categories that defined the Cold War Era, replacing them with a new framework based on identity as conservative or progressive. Through this paradigm shift, punk unwittingly ushered in a new era of global neoliberalism.

With its own fashion, culture, and chaotic energy, punk rock boasted a do-it-yourself ethos that allowed anyone to take part. Vibrant and volatile, the punk scene left an extraordinary legacy of music and cultural change. John Robb talks to many of those who cultivated the movement, such as John Lydon, Lemmy, Siouxsie Sioux, Mick Jones, Chrissie Hynde, Malcolm McLaren, Henry Rollins, and Glen Matlock, weaving together their accounts to create a raw and unprecedented oral history of UK punk. All the main players are here: from The Clash to Crass, from The Sex Pistols to the Stranglers, from the UK Subs to Buzzcocks—over 150 interviews capture the excitement of the most thrilling wave of rock ’n’ roll pop culture ever. Ranging from its widely debated roots in the late 1960s to its enduring influence on the bands, fashion, and culture of today, this history brings to life the energy and the anarchy as no other book has done.

Listen to Punk Rock! Exploring a Musical Genre discusses the evolution of punk from its inception in 1975 to the present, delving into the lasting impact of the genre throughout society today. Listen to Punk Rock! provides readers with a fuller picture of punk rock as an inclusive genre with continuing relevance. Organized in a roughly chronological manner, it starts with an introduction that explains the musical and cultural forces that shaped the punk genre. Next, 50 entries cover important punk bands and subgenres, noting female punk bands as well as bands of color. The final part of the book discusses how punk has influenced other musical genres and popular culture. The book will give those new to the genre an overview of important bands and products related to the movement in music, including publications, fashion, and films about punk rock. Notably, it pays special attention to diversity within the genre, discussing bands often overlooked or mentioned only in passing in most histories of the movement, which focus mainly on The Sex Pistols, The Clash, and The Ramones as the pioneers of punk.

Grunge has been perceived as the music that defined 'Generation X'. Twenty years after the height of the movement there is still considerable interest in its rise and fall, and its main figures such as Kurt Cobain and Courtney Love. As a form of 'retro' music it is even experiencing a resurgence, and Cobain remains an icon to many young music fans today. But what was grunge, and what has it become? This book explores how grunge has been remembered by the fans that grew up with it, and asks how memory is both formed by and forms popular culture. It looks at the relationship between media, memory and music fans and demonstrates how different groups can use and shape memory as part of an ongoing struggle for power in society. Grunge was the site of such a struggle, as popular music so often is, with the young people of the time asking questions about their place in the world and the way society is organized. This book examines what these questions were, and what has happened to them over time. It shows that although grunge challenged many social structures, the way it, and youth itself, are remembered often work to reinforce the status quo.