Group items tagged

Paull, Emily J., and Wendy L. Morris. "Stereotyping and Nonconformity:The Effects of Punk Music on Social Behavior." Psi Chi Journal of Undergraduate Research 13.4 (2008): 173-183. Academic Search Complete. EBSCO. Web. 3 Nov. 2010. At McDaniel College they tested 150 studets to see if punk music made the students "nonconformist". Each student was given punk, popular, or no music to listen to. The punk group exibited more conformity than the other groups, opposite to what we would expect. A second study was done to see whom students associated with punk music.

Force, William Ryan. "Consumption Styles and the Fluid Complexity of Punk Authenticity." Symbolic Interaction 32.4 (2009): 289-309. Academic Search Complete. EBSCO. Web. 26 Oct. 2010. The article presents a study which explores on the authenticity practices of a local punk scene, and demonstrates how punk authenticity is constructed and maintained in everyday living. It discusses the role of presenting consumption styles as a set of authenticity practices with three identified consumption styles which include the open talk and interaction that publicized the possession of punk goods, the apparent stylized presentation of punk appearance in references to what seemed to look, and the repeated display of knowledge about punk subculture. It mentions that the study has observed the punk scene at sites in southeastern city with establishments that host punk performances, and with art shows and parties that are attended by punk community. (From the EBSCO abstract.)

Matula, Theodore. "Pow! to the People: The Make‐Up's Reorganization of Punk Rhetoric." Popular Music & Society 30.1 (2007): 19-38. Academic Search Complete. EBSCO. Web. 12 Nov. 2010. This articles explains how punk music hit a halt in the 90's and did not live up to critics expectations, the music industry had taken punk and learned how to capitalize from it. Punk had moved out of the garage and into mainstream music. It also summarizes punk's response to popularization by following a D.C area band.

This article might be useful for those seeking to do a study of the evolution of punk. From the OhioLINK abstract: This article examines how older fans of punk rock articulate their continuing attachment to the music and its associated visual style.While sociological research on popular music audiences is well established, little attention has been paid to the articulation and management of fan practices of individuals beyond the age of 30. Based on ethnographic interviews conducted with older punk fans in East Kent, England, the article begins to redress this oversight in studies of popular music audiences.This involves an assessment of both the way in which articulations of punk style transgress with age from the visual to the biographical and how older punks develop particular discursive practices as a means of legitimating their place within a scene dominated by younger punk fans.

"1983 Islington Squatter Punk Documentary." Posted by Kaaos82. YouTube. 25 May 2006. Web. 30 Nov. 2010. .

Van Ham, Lane. "Reading Early Punk as Secularized Sacred Clowning." Journal of Popular Culture 42.2 (2009): 318-338. Academic Search Complete. EBSCO. Web. 8 Nov. 2010. This article desribes early mass media and their relationships to punks rock bands in the 1970's. It also explains the sterotypes of "Scared Clowns" and "Holy Fools". Both sterotypes have negative meanings, often refering to someone as a scared clown or holy fool would mean that they are stupid or shameful.

Fricke, David. "Green Day Fights On. (Cover story)." Rolling Stone 1079 (2009): 46-53. Academic Search Complete. EBSCO. Web. 30 Oct. 2010. This article describes how Green Day the bad has contiuned their punk tradition from 1994 to current day. It describes the bands mood before a concert in 2009. The article also describes Billie Joe Armstong, the bands lead singer. Billy is very close to his family and has grown from1994 but still remains true to his punk roots. The live shows still gives him the "rush" he had the first time he stepped on stage.

"Sex Pistols Blow Off Rock Hall." Rolling Stone 996 (2006): 14. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. This article shows The Sex Pistols at their finest. Blowing off the rock and roll hall of fame in ture punk style. But what else can you expect from the pioneers of punk music?

Silverton, Peter. "I Was a Teenage Sex Pistol". London: Reynolds & Hearn LTD, 2006. Print. This book is about the image of The Sex Pistols and how their intentions were "clear cut" when it came to style. The likes of Johnny Rotten, not John Lydon, was a household name. Whether it was because they were allowed to play or not allowed to play The Sex Pistols were becoming very popular.

An older article that could apply to varying investigations into the punk movement.

Leland, John. "Still Rotten After All These Years." Rolling Stone 1028 (2007): 71-116. Academic Search Complete. EBSCO. Web. 16 Nov. 2010 This article discusses the career of one John Lyndon, the lead singer of The Sex Pistols. He nor any of his band expected the band to become what is did: a symbol,famous, and the father of punk music.

Levine, Mark. Heavy Metal Islam. New York: Three Rivers Press, 2008. Print. Heavy metal, punk, hip hop, and reggae are each the music of protest and in mamy cases sonsidered immoral in the Muslim world. This music may also turn out to be the soundtrack of a revolution unfolding across the world. Why, despit sovermental attempts to control and censor the music do these musicians and fans keep playing and listening? Partly, of course because of self expression, but also because , in this region, everything is political.Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music just might be the true democratizing force.

Armstrong, Billie Joe, and Roberto Parada. "The Sex Pistols." Rolling Stone 972 (2005): 64. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. This articles shows the view of The Sex Pistols on their one and only relesed album. Nevermind the Bollocks, Here's the Sex Pistols was considered to be the first album to openly say what was wrong with the world through music. No album has had such an impact ever.

Matlock, Glen and Silverton Peter. "I Was a Teenage Sex Pistol" London: Reynolds and Hearn Ltd, 2006. Print. This book addresses the intentions of The Sex Pistols through their dress,culture, and names. Johnny Rotten, that is a very "clear-cut" meaning as to the bands intentions. Whether the radio, parents, or establishment wanted to play them or not The Sex Pistols were becoming a household name world wide.

Pelczarski, Paul. "Sex Pistols Quit (Again)." Rolling Stone 934 (2003): 22. Academic Search Complete. EBSCO. Web. 16 Nov. 2010. The Sex Pistols were performing in Tempe, Arizona and walked off the stage. This article covers the occurence. John Lyndon described this 2003 show to be "the last ever"