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.

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.

‘When was the last time you heard an all-girl band on the radio? Why don’t all-girl bands get attention they deserve?’ In Women Make Noise musicians, journalists, promoters and fans excavate the hidden story of the all-girl band: from country belles of the 20s–40s and girl groups of the 60s, to prog rock goddesses, women’s liberationists and punks of the 70s–80s; from riot grrrl activists and queercore anarchists of the 90s to radical protesters Pussy Riot and the most inspiring all-girl bands today. These aren’t the manufactured acts of some pop svengali, these groups write their own songs, play their own instruments and make music together on their own terms. All-girl bands have made radical contributions to feminism, culture and politics as well as producing some unique, influential and innovative music. It’s time to celebrate the outspoken voices, creative talents and gutsy performances of the all-girl bands who demand we take notice. Including commentary from members of the original 60s girl groups and classic punk-inspired outfits like The Raincoats and The Slits, as well as contemporary Ladyfest heroines like Beth Ditto, this timely exploration shows the world that sidelining all-girl bands is a major oversight. Contributions by Victoria Yeulet, Elizabeth K.Keenan, Sini Timonen, Jackie Parsons, Deborah Withers, Jane Bradley, Rhian E.Jones, Bryony Beynon, Val Rauzier, Elizabeth K. Keenan and Sarah Dougher This book is a celebration of girl bands in all genres: girl bands who make music on their own terms. With a unique focus on the talented girl bands of the past 50 years rather than casting female musicians in the typical solo ‘singer-songwriter’ mode. New perspectives on each genre – from 1960s Motown groups to 1970s prog rock and punk to 1980s protest music, 1990s queercore, riot grrrl and beyond – written by musicians, performers, journalists, promoters and fans. Contents Introducing the All-girl Band: Finding Comfort in Contradiction | Julia Downes 1. Female Pioneers in Old-time and Country Music | Victoria Yeulet 2. Puppets on a String? Girl Groups of the 50s and 60s | Elizabeth K. Keenan 3. Truth Gotta Stand: 60s Garage, Beat and 70s Rock | Sini Timonen 4. Prog Rock: A Fortress They Call ‘The Industry’ | Jackie Parsons 5. Feminist Musical Resistance in the 70s and 80s | Deborah Withers 6. You Create, We Destroy: Punk Women |Jane Bradley 7. Post-Punk: Raw, Female Sound | Rhian E. Jones 8. Subversive Pleasure: Feminism in DIY Hardcore | Bryony Beynon 9. Queercore: Fearless Women | Val Rauzier 10. Riot Grrrl, Ladyfest and Rock Camps for Girls | Elizabeth K. Keenan and Sarah Dougher Epilogue: Pussy Riot and the Future | Julia Downes Notes Bibliography Reviews “Tales of race riots, intimidation and abuse by male music fans and management, and inspiring moments of in-your-face activism provide fascinating background to some of your favourite bands (and many you’ve never heard of). The greatest strength of Women Make Noise is that many of the contributors were themselves part of the bands they are chronicling. These women offer up inspiring, funny and enraging stories of being radical activists and prolific musicians in a world that worked constantly to push them down.” – Gender Focus “Women Make Noise is a wonderful collection of essays, taking the reader from the days of Sassy country and Western women carving out a place in a horrendously sexist fledgeling music industry, all the way up to the Riot Grrrl movement of the 90s and beyond. Each chapter is written with such boundless enthusiasm for the subject matter that it’ll keep you enthralled until you drift slowly out of your comfort zone without even realising it. Read the book cover to cover, have your eyes opened, discover your next favourite band and perhaps think about the role of Women in music a little differently from now on.” – Intuition, review by Owen Chambers “Fascinating, diverse and, most importantly, inspiring – the title alone is as much a rallying cry as a joyous statement of the truth.” – Zoe Street Howe, author of Typical Girls? The Story of The Slits, and other music titles “It’s exhilarating to learn about different generations of female musicians from such diverse, strong voices.” – Kathleen Hanna, American singer, musician, artist, feminist activist, pioneer of the feminist punk riot grrrl movement “A very important and timely contribution to the debates about “women in rock”. All-girl bands have too often been written off as novelties, and this exciting book sheds new light on an under-researched area.” – Lucy O’Brien, author of She Bop: The Definitive History of Women in Rock, Pop and Soul

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.

Away from the spotlight of the pop charts and the demands of mainstream audiences, original music is still being played and audiences continue to engage with innovative artists. This collection of fresh essays gathers together critical writing on such genres as Power Electronics, Black Metal, Neo-Folk, Martial Industrial, Hard-Core Punk and Horrorcore. The contributors report from the periphery of the music world, seeking to understand these new genres, how fans connect with artists and how artists engage with their audiences. Diverse music scenes are covered, from small-town New Zealand to Washington, D.C., and Ljubljana, Slovenia. Artists discussed include Coil, Laibach, Whitehouse, Insane Clown Posse, Wolves in the Throne Room, Turisas, Tyr, GG Allin and many others.

For more than 40 years, hardcore and punk have promised to offer an alternative to what is perceived as the norm and the mainstream. Hardcore Research: Punk, Practice, Politics provides a comprehensive insight into some of the most active, outspoken, and widely received scholarly positions in the academic discourses on hardcore and punk and combines them with a variety of new and emerging voices. The book brings together scholars with personal ties to past and present hardcore and punk scenes, who present both insightful and critical examinations of the rich and varied histories of this subcultural phenomenon and its current reverberations at the intersection of cultural practice and academic research.

Rock and roll is more than just music. Rock is a culture and an ideology, which carries its own ethos. It is forcefully countercultural and exists as a bane in the sight of dominant Western culture. As rock engages and critiques culture, it invariably encounters issues of meaning that are existential and theological. A transformational theology of rock begins with those existential and theological issues raised by and within rock music. With God On Our Side attempts to respond to these queries in a way that is faithful to the work of the kingdom of God on earth by mining our long theological tradition and seeing what cohesive responses can be made to the issues raised by rock music. At its best, rock acknowledges there is something wrong with the world, raises awareness of marginalized voices, and offers an alternative mode of existence within our present reality. By teasing out the theological issues found in rock music, this book synthesizes the findings to create a distinctive cultural theology that is sensitive to the plight of the marginalized in the West. In this way, the book offers a way forward towards a transformational theology of rock and roll.