Punk Productions: Unfinished BusinessStacy 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. |
Contents
Lets Make a Scene | 9 |
THE NEW YORK SCENE | 10 |
THE ENGLISH SCENE | 17 |
THE CALIFORNIA HARDCORE SCENE | 32 |
THE WASHINGTON DC HARDCORE SCENE FIRST WAVE STRAIGHT EDGE | 42 |
THE NEW YORK HARDCORE SCENE SECOND WAVE STRAIGHT EDGE | 53 |
THE RIOT GRRRL SCENE | 58 |
THE BERKELEYLOOKOUT POPPUNK SCENE | 71 |
VIVA LA VINYL | 130 |
DISPLACED LABOR | 133 |
THE GOOD SIDE OF THE COMMODITY | 134 |
Market Failure Punk Economics Early and Late | 139 |
EARLY PUNK ECONOMICS | 141 |
LATE PUNK ECONOMICS | 143 |
DISCHORD RECORDS AND FUGAZI | 145 |
LOOKOUT RECORDS | 147 |
CONCLUSIONS | 77 |
Punk Aesthetics and the Poverty of the Commodity | 81 |
CRASS COMMODITIES | 83 |
A PROFANE EXISTENCE | 92 |
AESTHETIC PROFANITY | 94 |
ECONOMIC PROFANITY | 103 |
CRIMETHINC | 108 |
FROM CRASS TO PROFANE EXISTENCE TO CRIMETHINC AND BEYOND | 115 |
Punk Economics and the Shame of Exchangeability | 119 |
THE TWO POLES OF THE COMMODITY | 120 |
COLLECTING PUNKPUNK COLLECTING | 124 |
THE FAILURESUCCESS OF DISCHORD FUGAZI AND LOOKOUT | 149 |
Screening Punk | 159 |
WHATS SHOWING? | 161 |
RUDE BOY | 164 |
FIGHT CLUB | 168 |
DÉNOUEMENT | 176 |
Beyond Punk | 177 |
Notes | 181 |
193 | |
203 | |
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Common terms and phrases
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 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 Hardcore Scene independent indie labor logic Lookout MacKaye major labels male material Maximum RockNRoll means of production mediation Minor Threat music industry musicians negation NYHC PE's performers play political Pop-Punk possibility Profane Existence punk bands punk cinema punk collecting punk commodities punk economics Punk Planet punk products punk rock punk scene punk zines punk's Ramones record label released resist Rimbaud Riot Grrrl San Francisco Sex Pistols sexuality social songs specific spectacle Straight Edge Straight Edge Scene subgenres tion Wave Straight Edge Yohannon York Scene