Punk Record Labels And The Struggle For Autonomy

This book describes the emergence of DIY punk record labels in the early 1980s. Based on interviews with sixty-one labels, including four in Spain and four in Canada, it describes the social background of those who run these labels. Using the ideas of French sociologist Pierre Bourdieu, this book shows how the field of record labels operates. The choice of independent or corporate distribution is a major dilemma. Other tensions are about signing bands to contracts, expectations of extensive touring, and use of professional promotion. There are often rivalries between big and small labels over bands that have become popular and have to decide whether to move to a more commercial record label. Unlike approaches to punk that consider it a subcultural style, this book breaks new ground by describing punk as a social activity. One of the surprising findings is how many parents actually support their children's participation in the scene. Rather than attempting to define punk as resistance or commercial culture, this book shows the dilemmas that actual punks struggle with as they attempt to live up to what the scene means for them. Book jacket.

Punk Rock examines the history of punk rock in its totality. Punk became a way of thinking about the role of culture and community in modern life. Punks forged real alternatives to producing popular music and built community around their music. This punk counterpublic, forged in the late Cold War period, spanned the globe and has provided a viable cultural alternative to alienated young people over the years. This book starts with the rise of modernity and places the emergence of punk as a musical subculture into that longer historical narrative. It also reveals how punk itself became a contested terrain, as participants sought to imbue the production of music with greater meaning. It highlights all styles of punk and its wide variety of creators around the world, including from the LGBTQ+, feminist, and alternative communities. Punk was and remains a transnational phenomenon that influences music production and shapes our understanding of culture’s role in community building.

A transnational historical and ethnographic work that makes an interesting intervention into the field of subculture studies by emphasizing the seriousness, outreach, and attraction of these unique, yet similar Polish and Silesian punk communities since the late 1970s. Combines the methods of oral history and ethnography to create compact sections assignable as reading to graduate students enrolled in courses in cultural studies, Polish studies, social history of central Europe, anthropology, political studies, and others.

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.

The only encyclopedic and definitive book on American indie metal! If all you know about metal music was what was heard on commercial radio, then you don’t know metal at all. Heroes of the Underground profiles 600 American bands from every town and city in the United States who ever released a record. Metal bands exploded during the 1980s. Influenced by the heavy sounds coming out of Britain via Judas Priest and Iron Maiden, young guitar shredders turned the amps up and played harder and faster. American record companies scooped up a few bands and signed them to major label recording deals (Metallica, Slayer, Anthrax), but that left hundreds of bands—and their fans—trying to get their songs heard. These intrepid metal bands borrowed a page from punk’s DIY handbook and did it themselves. Regional favorites. Hometown heroes. Tour van veterans. Bands who invested their life savings into recording and pressing their songs onto albums for a shot at immortality on vinyl. Fans remember these bands with joy. Collectors seek these records like the Holy Grail. And in Heroes of the Metal Underground, author Alex Anesiadis compiles the details of these bands and their records. Whether you’re a true or baby metalhead, Heroes of the Metal Underground will become your guide to all things metal.

The concept of everyday struggles can enliven our understanding of the lives of young people and how social class is made and remade. This book invokes a Bourdieusian spirit to think about the ways young people are pushed and pulled by the normative demands directed at them from an early age, whilst they reflexively understand that allegedly available incentives for making the ‘right’ choices and working hard – financial and familial security, social status and job satisfaction – are a declining prospect. In Youth, Class and Everyday Struggles, the figures of those classed as 'hipsters' and 'bogans' are used to analyse how representation works to form a symbolic and moral economy that produces and polices fuzzy class boundaries. Further to this, the practices of young people around DIY cultures are analysed to illustrate struggles to create a satisfying and meaningful existence while negotiating between study, work and creative passions. By thinking through different modalities of struggles, which revolve around meaning making and identity, creativity and authenticity, Threadgold brings Bourdieu’s sociological practice together with theories of affect, emotion, morals and values to broaden our understanding of how young people make choices, adapt, strategise, succeed, fail and make do. Youth, Class and Everyday Struggles will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, of fields including: Youth Studies, Class and Inequality, Work and Careers, Subcultures, Media and Creative Industries, Social Theory and Bourdieusian Theory.

This book explores for the first time the punk phenomenon in contemporary China. As China has urbanised within the context of explosive economic growth and a closed political system, urban subcultures and phenomena of alienation and anomie have emerged, and yet, the political and economic differences between China and western societies has ensured that these subcultures operate and are motivated by profoundly different structures. This book will be of interest to cultural historians, media studies and urban studies researchers, and (ex-) punk rockers.

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos—a notoriously evasive and multifaceted beast—offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk’s historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.