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"A great deal has been written about punk and the dramatic changes it wrought in the transatlantic world of pop music. A wave of new music that was strongly influenced by the politics and sounds of punk-but less raw, more commercially successful-followed close on punk's heels in the late 1970s. (Think Joy Division, The Raincoats, Human League, Public Image Limited, The Slits.) Post-punk has always been controversial to the influential fans of punk and rock (music writers as well as music fans): post-punk is more self-consciously "arty" and cosmopolitan, engaged with genres outside the predominantly white-identified rock family tree (particularly reggae and disco), and has always been willing to question the valuing of authenticity over artifice (and pleasure). Haddon focuses on how post-punk's push beyond the tropes of rock and punk challenged prevalent ideas about what makes pop music culturally valuable and commercially successful, showing how post-punk's emphasis on artifice, identity politics, and eclecticism opened the door to wider discussions of these topics in the context of other genres ranging from glam and New Wave to indie rock"--

Post-punk music --- History and criticism.

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"By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart. The album debuted on the now-SoundScan-driven charts; Fugazi had never been more in the public eye. Few knew how difficult it had been to make this popular breakthrough. Disappointed with the sound of the self-produced Steady Diet, the band recorded with legendary engineer Steve Albini, only to scrap the sessions and record at home in D.C. with Ted Niceley, their brilliant, under-known producer. Inadvertently, Fugazi chose an unsure moment to make In on the Kill Taker: as Nirvana and Sonic Youth were yanking the American rock underground into the media glare, and "breaking" punk in every possible meaning of the word. Despite all of this, Kill Taker is an alt-rock classic in spite of itself, even as its defiant, muscular sound stood in stark contrast to everything represented by the mainstreaming of a culture and worldview they held dear."--Bloomsbury Publishing.

Post-punk music --- Rock music --- History and criticism. --- Fugazi (Musical group).

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"No Machos or Pop Stars presents an extensive social history of the entanglement between punk rock and art college radicalism in the Northern English city of Leeds in the 1970s and 1980s. This relationship, at times critical and other times contesting, paved the way for the punk rock genre to become self-aware about the larger societal structures in which it was caught. Gavin Butt considers the ways that art school made it possible to hear the critique of ideology in music and, perhaps somewhat against the odds, paved the way for it becoming a popular sound in British and international youth culture. The book follows bands like Gang of Four, Scritti Politti, and Soft Cell to tell a different genealogy of art and music based on an exploration of the limits and possibilities of art education, especially in response to the challenges of making art after the avant-garde. Based on extensive original interviews with band members, the book pinpoints a crisis of state-funded English art education and disillusionment with the avant-garde as twin conditions for post-punk's emergence in the city."--

Punk rock music --- Post-punk music --- Punk culture --- Punk culture and art --- Art and society --- Art --- History and criticism. --- Social aspects --- History --- Study and teaching --- Social aspects.

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This volume brings together a range of writers from different academic disciplines and different locations to provide an engaging and accessible critical exploration of one of the most revered and reviled bands in the history of popular music. The essays collated here locate The Clash in their own explosive cultural moment of punk's year zero and examine how the group speaks from beyond the grave to the uncanny parallels of other moments of social and political crisis. In addition, the collection considers the impact of the band in a range of different geopolitical contexts, with various contributors exploring what the band meant in settings as diverse as Italy, England, Northern Ireland, Australia and the United States. The diverse essays gathered in Working for the clampdown cast a critical light on both the cultural legacy and contemporary resonance of one of the most influential bands ever to have graced a stage.

Punk culture. --- Music --- Music and society --- Subculture --- Cyberpunk culture --- Social aspects. --- Clash (Musical group) --- The Clash (Musical group) --- 1970s London. --- Global culture. --- Politics and music. --- Popular music. --- Punk misic. --- Punk music. --- Radical politics. --- The Clash.

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A Kiss across the Ocean examines an array of interactions and exchanges between British musicians catalyzed by the early punk movement and Latinas and Latinos in the United States. Spotlighting a host of influential performers like Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Blue Rondo A La Turk, Frankie Goes to Hollywood, Pet Shop Boys, and The Specials, Richard T. Rodríguez reframes our understanding of fandom to alternatively cast light on how U.S. Latinx culture touches and is touched by the histories and expressive work of these post-punk artists with regard to musical collaboration, personal association, cultural identification, and imaginative inspiration. By exploring the reciprocal touches of seemingly dissimilar groups, the book traces analogous and convergent networks that link working-class Latina/o/x and British youths across spatial and temporal boundaries to make sense of the way popular music established-and continues to facilitate-intimate relations across the Atlantic divide. Drawing from an innovative archive of materials while adopting memoir to capture and blend his youthful and current status as a devotee of British popular culture, Rodríguez shows how the music and styles that have come to define the 1980s hold significant sway for younger generations equally enthused by their matchlessly pleasurable and political reverberations.--

Hispanic American gays --- Hispanic American youth --- Popular music --- Post-punk music --- Youth --- Social life and customs --- Social aspects --- Latin American influences. --- Rodríguez, Richard T., --- Hispanic American gay people