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Books on the topic 'Punk rock movement'

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Published: 4 June 2025
Last updated: 23 June 2025

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1

Turcotte, Bryan Ray. Fucked up + photocopied: Instant art of the punk rock movement. Gingko Press Inc., 1999.

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2

T, Miller Christopher, ed. Fucked up [plus] photocopied: Instant art of the Punk Rock movement. Gingko Press, 1999.

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3

Turcotte, Bryan Ray. Fucked up and photocopied: Instant art of the punk rock movement. Ginko Press Inc, 1999.

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4

Records, Candy-Ass. She eats it up. Candy-Ass Records, 1996.

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5

Truncali, Jes. I stopped talking an hour ago. The authors, 2008.

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6

Friedman, Glen E. Fuck you heroes: Glen E. Friedman photographs, 1976-1991, with annotated index. Burning Flags Press, 1997.

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7

Tolokonnikova, Nadezhda. Pussy Riot: Chto ėto bylo? Algoritm, 2012.

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8

Vania, Andrea. Madonna, liberaci da Putin: Le Pussy Riot scuotono la Russia (e non solo). Vololibero, 2014.

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9

1957-, Galenza Ronald, and Havemeister Heinz 1958-, eds. Wir wollen immer artig sein--: Punk, New Wave, HipHop und Independent-Szene in der DDR 1980-1990. Schwarzkopf & Schwarzkopf, 2005.

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10

Pulliam, June Michele. Listen to Punk Rock! Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9798400679834.

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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.
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11

Miller, Christopher T., and Bryan Ray Turcotte. Fucked Up & Photocopied: Instant Art of the Punk Rock Movement. Gingko Press, 2001.

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12

Fucked Up + Photocopied : Instant Art of the Punk Rock Movement: 20th Anniversary Edition. Gingko Press Inc., 2020.

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13

Chica = Tonta, Chica = Mala, Chica = Débil. Orciny Press, 2022.

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14

Kemper, Bryan. Pro-Life Is the New Punk Rock: A History of the Pro-Life Youth Movement. Priests For Life, 2021.

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15

Patton, Raymond A. Punk Crisis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872359.001.0001.

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This book tells the story of punk rock as a global movement that spanned the boundaries of the Cold War world, focusing on examples in Poland and elsewhere in Eastern and Central Europe, the United States, the United Kingdom, and their connections with the Third World. Drawing on archival documents, ’zines, mainstream publications, and other sources, it closely examines the appeal of punk to its practitioners and the reactions of each society to the rise of punk. It argues that punk grew out of and contributed to the global transition from the late Cold War era to the era of neoliberal/neoconservative globalization. Punk arose among individuals and scenes communicating across the Iron Curtain at a moment characterized by transnational crisis, globalization, postmodernism, and an aesthetic/cultural turn in sociopolitics. Through the culture wars it helped provoke in the First World and Second World alike, punk contributed to a global realignment from the sociopolitically, ideologically oriented world of the Cold War to the subsequent era, oriented primarily around culture and identity. Through the example of punk, it challenges the resistance-centric framework of Cold War era cultural studies, presenting an alternative model for how culture is intertwined with politics that accounts for its significance as a major sociopolitical force.
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16

Gonzales, Michelle Cruz, and Mimi Thi Nguyen. Spitboy Rule: Tales of a Xicana in a Female Punk Band. PM Press, 2016.

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17

author, Stampton Eddie, ed. The white nationalist skinhead movement: UK & USA, 1979-1993. 2015.

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18

Buffalo: An excerpt from the soon-to-be-published novel Grrrl. Jennifer Whiteford, 2005.

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19

Hayton, Jeff. Culture from the Slums. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198866183.001.0001.

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Culture from the Slums explores the history of punk rock in East and West Germany during the 1970s and 1980s. These decades witnessed an explosion of alternative culture across divided Germany, and punk was a critical constituent of this movement. For young Germans at the time, punk appealed to those gravitating toward individual and cultural experimentation rooted in notions of authenticity—endeavors considered to be more “real” and “genuine.” Adopting musical subculture from abroad and rearticulating the genre locally, punk gave individuals uncomfortable with their societies the opportunity to create alternative worlds. Examining how youths mobilized music to build alternative communities and identities during the Cold War, Culture from the Slums details how punk became the site of historical change during this era: in the West, concerning national identity, commercialism, and politicization; while in the East, over repression, resistance, and collaboration. But on either side of the Iron Curtain, punks’ struggles for individuality and independence forced their societies to come to terms with their political, social, and aesthetic challenges, confrontations which pluralized both states, a surprising similarity connecting democratic, capitalist West Germany with socialist, authoritarian East Germany. In this manner, Culture from the Slums suggests that the ideas, practices, and communities which youths called into being transformed both German societies along more diverse and ultimately democratic lines. Using a wealth of previously untapped archival documentation, Culture from the Slums reorients German and European history during this period by integrating alternative culture and music subculture into broader narratives of postwar inquiry and explains how punk rock shaped divided Germany in the 1970s and 1980s.
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20

Girls to the front: The true story of the Riot grrrl revolution. HarperPerennial, 2010.

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21

Patton, Raymond A. The Politics of Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872359.003.0005.

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This chapter explores punk’s intersection with politics in the East and West following its collision with the mass entertainment industry. Examining debates over punk in the Polish Communist Party and the UK Parliament, and efforts to integrate punk into Poland’s Solidarity movement, it shows how politicians struggled to accommodate punk to their worldviews, since punk defied traditional late Cold War sociopolitical categories. Instead, politicians in the First and Second Worlds alike fell back on the model of Matthew Arnold, interpreting culture in terms of “sweetness and light” versus chaos and anarchy—with punk often identified as the latter. While mainstream politicians struggled to fit punk to their worldviews, marginal voices on the Left and Right sought to integrate punk through affiliation with groups such as the Socialist Workers Party (in Rock Against Racism) and the right-wing National Front, ultimately also finding that punk fit poorly with their worldviews.
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22

Darms, Lisa, Kathleen Hanna, and Johanna Fateman. Riot Grrrl Collection. Feminist Press at The City University of New York, 2015.

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23

Darms, Lisa, Kathleen Hanna, and Johanna Fateman. Riot Grrrl Collection. Feminist Press at The City University of New York, 2015.

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24

Darms, Lisa, Kathleen Hanna, and Johanna Fateman. Riot Grrrl Collection. Feminist Press at The City University of New York, 2013.

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25

Fuck you heroes: Glen E. Friedman photographs, 1976-1991, with annotated index. Burning Flags Press, 1994.

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26

RIOT GRRRL: REVOLUTION GIRL STYLE NOW!; ED. BY NADINE KATHE MONEM. BLACK DOG, 2007.

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27

Greene Jr., James. This Music Leaves Stains. Published by Scarecrow Press, Inc., 2013. https://doi.org/10.5040/9798881819132.

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Few bands in the past three decades have proven as affecting or exciting as the Misfits, the ferocious horror punk outfit that lurked in the shadows of suburban New Jersey and released a handful of pivotal underground recordings during their brief, tumultuous time together. Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake. This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century. Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.
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28

Pearson, David. Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.001.0001.

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At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 World Trade Organization meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core; grindcore and power violence with tempos over 800 BPM, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.
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29

Rimbaud, Penny. Last of the Hippies: An Hysterical Romance. PM Press, 2015.

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30

Rimbaud, Penny. Last of the Hippies: An Hysterical Romance. PM Press, 2015.

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31

Rimbaud, Penny. Last of the Hippies: An Hysterical Romance. PM Press, 2015.

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32

Smith, Christopher J. Dancing Revolution. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.001.0001.

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This book is a social history, theorizing participatory dance in New World public spaces as a tool that has enabled subaltern communities’ political resistance to hegemonic control. Drawing upon musicology, ethnomusicology, iconography, anthropology, dance studies, and folklore, and spanning examples from the eighteenth through the twenty-first century, it identifies recurrent strategic patterns in the music, movement, and “noise” that political minorities--including persons of color, economic underclasses, women, gays, and other resistance movements--have employed to oppose, contest, and transgress dominant cultures’ social control. The book applies multidisciplinary analytical practices to movement and sound in historical idioms, little documented by period scholarship, whose data are indirect, inferential, and reconstructive. Case studies include frontier Pentecostalism; Native American resistance; Shakerism; African American communities; the English- and French-speaking Caribbean; film and theatrical dance; the Stonewall Uprising and Chicago 1968 protests; twentieth-century noise ordinances; and punk-rock, hip hop, and twenty-first-century global protest movements. Examples in diverse media, from prose description to watercolor to film, are selected in order to showcase the consistency of these political understandings across diverse situations and to demonstrate the synthesis of analytical approaches, which this topic mandates. The book argues for understanding participatory music and motion--bodies and sound interacting in contested public spaces--as a central, intentional, effective, and recurrent resistance strategy in American social history.
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33

Kimmey, Roy Albert. Johnny Rotten behind the Berlin Wall: Punk in East Germany, 1979-1989. 2009.

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34

Words Will Break Cement The Passion Of Pussy Riot. Granta Books, 2014.

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35

Mitta, Yevgeni. Act & punishment: The Pussy Riot trials. 2018.

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36

Gessen, Masha. Words Will Break Cement: The Passion of Pussy Riot. Blackstone Audio, 2014.

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37

Pussy Riot A Punk Prayer For Freedom Letters From Prison Songs Poems And Courtroom Statements Plus Tributes To The Punk Band That Shook The World. The Feminist Press, 2013.

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38

Devotos, 20 anos. Aeroplano, 2010.

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39

Worley, Matthew, and Michael Dines. The aesthetic of our anger: Anarcho-punk, politics and music. 2016.

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40

Alyokhina, Maria. Riot Days. Penguin Books, Limited, 2018.

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41

Alyokhina, Maria. Riot Days. Metropolitan Books, 2017.

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42

Alyokhina, Maria. Riot Days. Penguin Books, Limited, 2017.

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43

Smith-Lahrman, Matthew. Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke! The Rowman & Littlefield Publishing Group, 2014. https://doi.org/10.5040/9798881816148.

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In The Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke!, Matthew Smith-Lahrman sheds light on the words of Curt Kirkwood, founding member and songwriter of the Meat Puppets, a pioneering rock ’n’ roll band of the last forty years. Smith-Lahrman covers Kirkwood’s lyrics on nine albums, from 1983 to 1995, when he wrote virtually every lyric for the band. A lyricist whom Rolling Stone writer Kurt Loder once rated alongside Bob Dylan, Kirkwood remains an important, yet overlooked songwriter. The original Meat Puppets spent their early career releasing albums on the seminal indie rock label SST Records, moving on to the major label London Records in the early 1990s. Along the way they forged a unique blend of punk, country, psychedelic, and hard rock that paved the way for the grunge and alternative movements. As a lyricist, Kirkwood commonly addresses the individual psyche and behavioral expectations, drug use, mental illness, and Christianity. As the original Meat Puppets began to dissolve, Kirkwood turned to writing about personal issues: his frustrations with the major label industry, the death of his mother, the addictions of his brother, and the demise of the band itself. The Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke! is the perfect work for Meat Puppets fans worldwide.
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44

Alekhina, Marii︠a︡. Riot days. 2017.

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45

Sagert, Kelly Boyer. The 1970s. Greenwood, 2007. http://dx.doi.org/10.5040/9798400605642.

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Few conventions were left unchallenged in the 1970s as Americans witnessed a decade of sweeping social, cultural, economic, and political upheavals. The fresh anguish of the Vietnam War, the disillusionment of Watergate, the recession, and the oil embargo all contributed to an era of social movements, political mistrust, and not surprisingly, rich cultural diversity. It was the Me Decade, a reaction against 60s radicalism reflected in fashion, film, the arts, and music. Songs of the Ramones, the Sex Pistols, and Patti Smith brought the aggressive punk-rock music into the mainstream, introducing teenagers to rebellious punk fashions. It was also the decade of disco: Who can forget the image of John Travolta as Tony Manero inSaturday Night Feverdecked out in a three-piece white leisure suit with his shirt collar open, his hand points towards the heavens as the lighted disco floor glares defiantly below him? While the turbulent decade ushered inMs. magazine, Mood rings, Studio 54, Stephen King horror novels, and granola, it was also the decade in which over 25 million video game systems made their way into our homes, allowing Asteroids and Pac-Man games to be played out on televisions in living rooms throughout the country. Whether it was the boom of environmentalism or the bust of the Nixon administration and public life as we knew it, the era represented a profound shift in American society and culture.
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46

Goodyer, Ian. Crisis Music: Cultural Politics Rock A. Manchester University Press, 2019.

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47

Risch, William Jay. Youth and Rock in the Soviet Bloc. The Rowman & Littlefield Publishing Group, 2014. https://doi.org/10.5040/9781978740150.

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Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union’s capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union’s collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.
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48

Die Zürcher Prozesse: Theater Neumarkt Zürich, 3.5. Mai 2013. Verbrecher Verlag, 2014.

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49

Phull, Hardeep. Story behind the Protest Song. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798216019213.

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Protest songs are united by the fact they all have something to say, something to dispute, or something to rile against, whether it be political, social, or personal.Story Behind the Protest Songfeatures 50 of the most influential musical protests and statements recorded to date, providing pop-culture viewpoints on some of the most tumultuous times in modern history. Among the featured: songs about the Vietnam War, the civil rights movement, the most recent upheaval over policy in the Middle East, as well as teenage rebellion, animal rights, criticisms of mass media, and even protest songs that lambaste other protest songs. This indispensable guide tackles it all: the behind-the-scenes stories of the most influential protest songs in American popular culture, examining the subjects they address, the legacy they left, and the fabric of the songs themselves. Chronically arranged entries cover nearly 70 years of music and offer an expansive range of genres, including rock, punk, pop, soul, hip-hop, country, folk, indie, heavy metal, and more. Each entry discusses the songwriter(s); the inspiration behind the song; and the social, cultural, and political context in which the song was released. Following a detailed musical and lyrical analysis, the entries explain the songs' impact and relevance today. Among the featured: • The Unknown Soldier (The Doors) • Masters of War (Bob Dylan) • Say It Loud-I'm Black and I'm Proud (James Brown) • Get Up, Stand Up (The Wailers) • Big Yellow Taxi (Joni Mitchell) • Their Law (Prodigy) • American Idiot (Green Day) • Sweet Home Alabama (Lynrd Skynrd) • Born in the USA (Bruce Springsteen) • Southern Man (Neil Young) Entries are accompanied by further readings and a select discographies as well as a comprehensive resource guide at the end of the book. A must-read for students of music, history, and politics, this volume offers a unique reflection on the most significant and moving protest songs in American history.
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50

Goodyer, Ian. Crisis Music: The Cultural Politics of Rock Against Racism. Manchester University Press, 2013.

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