Punk Productions: Unfinished BusinessState University of New York Press, 1 feb 2012 - 228 páginas Stacy Thompson's Punk Productions offers a concise history of punk music and combines concepts from Marxism to psychoanalysis to identify the shared desires that punk expresses through its material productions and social relations. Thompson explores all of the major punk scenes in detail, from the early days in New York and England, through California Hardcore and the Riot Grrrls, and thoroughly examines punk record collecting, the history of the Dischord and Lookout! record labels, and 'zines produced to chronicle the various scenes over the years. While most analyses of punk address it in terms of style, Thompson grounds its aesthetics, and particularly its most combative elements, in a materialist theory of punk economics situated within the broader fields of the music industry, the commodity form, and contemporary capitalism. While punk's ultimate goal of abolishing capitalism has not been met, the punk enterprise that stands opposed to the music industry is still flourishing. Punks continue to create aesthetics that cannot be readily commodified or rendered profitable by major record labels, and punks remain committed to transforming consumers into producers, in opposition to the global economy's increasingly rapid shift toward oligopoly and monopoly. |
Índice
1 | |
1 Lets Make a Scene | 9 |
2 Punk Aesthetics and the Poverty of the Commodity | 81 |
3 Punk Economics and the Shame of Exchangeability | 119 |
Punk Economics Early and Late | 139 |
5 Screening Punk | 159 |
Epilogue Beyond Punk | 177 |
Notes | 181 |
193 | |
203 | |
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Términos y frases comunes
aesthetic and economic album Anarcho-Punk attempt audience band members band’s become Biafra Big Six Bikini Kill Black Flag California Hardcore capitalism CBGBs chapter collective’s collector commercial music commodification commodity market Crass CrimethInc crust cultural D.C. Scene Dead Kennedys desire Dischord Records distribution early punk emerged English punk English Scene exchange exchange-value Fight Club film film’s Frith Fugazi guitar Hanna Hardcore Scene independent Kathleen Hanna labor logic Lookout MacKaye major labels male material means of production mediation Minor Threat modity music industry musicians negation NYHC PE’s performers play political Pop-Punk possibility Profane Existence punk bands punk cinema punk collecting punk commodity punk economics punk products punk rock punk scene punk zines punk’s Ramones record label relations released resist Rimbaud Riot Grrrl Sex Pistols sexuality signified social songs specific spectacle Straight Edge Straight Edge Scene subgenres tion Wave Straight Edge York Scene