punk

Punk rock's silver jubilee

From Socialist Standard June 2002

The Story of Crass & The Day The Country Died

Two complementary books revisiting the experience of anarcho-punk provide fascinating insights into the evolution and development of the movement.

Radical America #18.06: Special Issue on Culture and Youth

The WOW factor: Wollongong’s unemployed and the dispossession of class and history

Submitted by wojtek on Oct 25 2012 21:40

The following is the text of a paper delivered to the first biennial Wollongong History Conference hosted by the University of Wollongong in June, 2007. The theme for the conference was Memory, Heritage and Place: Wollongong’s Changing History.

Chumbawamba’s long voyage

Submitted by Juan Conatz on Oct 14 2012 03:52

An article by Aaron Lake Smith about the anarchist rock group Chumbawamba, who broke up in 2012.

The problem with hip hop: patriarchy, proletarians and revolutionary culture

An article by Crudo about hip-hop as culture of the working class and some of the problems within the music.

Short history of Neo-Nazi skinhead subculture in Croatia

Submitted by Iskra on Sep 18 2010 21:04

A short history of Croatian Neo-Nazi skinhead subculture.

The Basic Alternative Education of a Chinese Punk

Translation of an autobiographical essay by Tang Shui'en, mainland Chinese anarchist musician and activist, recounting his path from childhood in 1980s rural China to participation in Wuhan's pioneering punk scene since the late 1990s, interaction with overseas anarchists and other radicals, and experimentation with independent media and an autonomous youth center. Written in early 2009 for a forum on social space among the generation of Chinese mainlanders born in the 1980s, organized by the Shao Foundation. Original Chinese text here.

Reservoir of poses - Gregor Jamroski

This article first appeared in the early 1980’s in New York and an edited version was republished a few years later in an obscure, apparently one-off, magazine called Hopeless Tasks which emerged from Seattle, USA. It’s a neatly stated situationist-influenced critique of pop culture recuperation, bands as entertainment commodities and the weaknesses of punk ‘radicality’.