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Post-punk (originally "new musick"Script error: No such module "Footnotes".) is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the traditional garage rock template of punk to pursue a variety of radical sensibilities. Emboldened by punk's energy but determined to break from rock cliché and subvert conventions, post-punk artists experimented with sources such as electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. Artists also crossed their work with art and politics, drawing widely on ideas from critical theory, modernist art and literature.[2]Script error: No such module "Footnotes". Communities that produced independent record labels, visual art, multimedia performances and fanzines developed in conjunction with these musical developments.

The early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Wire, Magazine, Gang of Four, Public Image Ltd, the Pop Group, Joy Division, Throbbing Gristle, the Slits, Cabaret Voltaire, the Cure, the Fall, Au Pairs, Talking Heads and Pere Ubu.[3] The movement was closely related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave and industrial music. By the mid 1980s, much of the movement had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music.

Definition[edit | edit source]

Scope and related terms[edit | edit source]

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Post-punk is a diverse genre[4] that emerged from the cultural milieu of punk rock in the late 1970s.[1][5][6]Script error: No such module "Footnotes".[nb 1] Originally called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas.Script error: No such module "Footnotes". Musicologist David Wilkinson said that Sounds writers Jon Savage and Jane Suck were likely to have coined "post-punk".Script error: No such module "Footnotes". At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick.Script error: No such module "Footnotes".[nb 2] Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma.Script error: No such module "Footnotes".[nb 3] Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave" after their styles perceptibly narrowed.[8]

Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use ... is possible".[4] Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in later years.Script error: No such module "Footnotes". Reynolds' 2005 book Rip It Up and Start Again is widely referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward.[1] Wilkinson characterised Reynolds' readings as "apparent revisionism and 'rebranding'".Script error: No such module "Footnotes". Author/musician Alex Ogg criticised: "The problem is not with what Reynolds left out of Rip It Up ..., but, paradoxically, that too much was left in".[1][nb 4] Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, and disputed the accuracy of the term's chronological prefix "post", as various groups commonly labeled "post-punk" predate the punk rock movement.[1] Reynolds defined the post-punk era as occurring roughly between 1978 and 1984.[10] He advocated that post-punk be conceived as "less a genre of music than a space of possibility",[1] suggesting that "what unites all this activity is a set of open-ended imperatives: innovation; willful oddness; the willful jettisoning of all things precedented or 'rock'n'roll'".[10] AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk".[5]

Characteristics and philosophy[edit | edit source]

Many post-punk artists were initially inspired by punk's DIY ethic and energy,[5] but ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody.Script error: No such module "Footnotes". They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences.Script error: No such module "Footnotes".[5] Artists moved beyond punk's focus on the concerns of a largely white, male, working class population[11] and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.Script error: No such module "Footnotes". These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".Script error: No such module "Footnotes".

File:James White 1981 2 (cropped).jpg

Artists like James Chance rejected rock tropes, instead crossing the avant-garde with funk, jazz and other styles.

Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions[12][4] and rejection of aesthetics perceived of as traditionalist,[1] hegemonic[12] or rockist[13] in favor of experimentation with production techniques and non-rock musical styles such as dub,[6] funk,Script error: No such module "Footnotes".[14] electronic music,[6] disco,[6] noise, free jazz,[15] world music[5] and the avant-garde.[5][11]Script error: No such module "Footnotes". Some previous musical styles also served as touchstones for the movement, including particular brands of krautrock,[16] glam, art rock,Script error: No such module "Footnotes". art pop[17] and other music from the 1960s.Script error: No such module "Footnotes".[nb 5] Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories.Script error: No such module "Footnotes". Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".Script error: No such module "Footnotes".[nb 6] According to musicologist Pete Dale, while groups wanted to "rip up history and start again", the music was still "inevitably tied to traces they could never fully escape".Script error: No such module "Footnotes".[nb 7]

Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts.[12]Script error: No such module "Footnotes". Artists sought to refuse the common distinction between high and low culture[20] and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie.Script error: No such module "Footnotes".[11][17] Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism.Script error: No such module "Footnotes". Many artists viewed their work in explicitly political terms.Script error: No such module "Footnotes". Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music.Script error: No such module "Footnotes". Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music.[4] Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.Script error: No such module "Footnotes".

1977–79: Early years[edit | edit source]

Background[edit | edit source]

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As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work.Script error: No such module "Footnotes". By late 1977, British acts like Siouxsie and the Banshees and Wire were experimenting with sounds, lyrics and aesthetics that differed significantly from their punk contemporaries. Savage described some of these early developments as exploring "harsh urban scrapings", "controlled white noise" and "massively accented drumming".Script error: No such module "Footnotes". In January 1978, singer John Lydon (then known as Johnny Rotten) announced the break-up of his pioneering punk band the Sex Pistols, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse territory.Script error: No such module "Footnotes". Weeks later, Lydon formed the "anti-music" group Public Image LtdScript error: No such module "Footnotes". with guitarist Keith Levene and bassist Jah Wobble, who that year declared "rock is obsolete".[21] Many of these artists drew on backgrounds in art and viewed their music as invested in particular political or aesthetic agendas.Template:Cn

During the punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including Rough Trade (founded by record shop owner Geoff Travis) and Factory (founded by Manchester-based television personality Tony Wilson).Script error: No such module "Footnotes". By 1977, groups began pointedly pursuing methods of releasing music independently, an idea disseminated in particular by Buzzcocks' release of their Spiral Scratch EP on their own label as well as the self-released 1977 singles of Desperate Bicycles.Script error: No such module "Footnotes". These DIY imperatives would help form the production and distribution infrastructure of post-punk and the indie music scene that later blossomed in the mid-1980s.Script error: No such module "Footnotes".

United Kingdom[edit | edit source]

Script error: No such module "Labelled list hatnote". Acts such as Public Image, the Pop Group and the Slits had begun experimenting with dance music, dub production techniques and the avant-garde,Script error: No such module "Footnotes". while punk-indebted Manchester acts such as Joy Division, The Fall, the Durutti Column and A Certain Ratio developed unique styles which drew on a similarly disparate range of influences across music and modernist art.Script error: No such module "Footnotes". Bands such as Scritti Politti, Gang of Four, Essential Logic and This Heat incorporated Leftist political philosophy and their own art school studies in their work.Script error: No such module "Footnotes". The unorthodox studio production techniques devised by producers such as Steve Lillywhite,[22] Martin Hannett and Dennis Bovell during this period would become an important element of the emerging music.Template:Cn Labels such as Rough Trade, Factory and Fast would become important hubs for these groups and help facilitate releases, artwork, performances and promotion.Template:Cn

File:Siouxsie and the banshees 1979 with robert smith.jpg

Siouxsie and the Banshees with the Cure's Robert Smith. The two groups frequently collaborated together.

A variety of groups that predated punk, such as Cabaret Voltaire and Throbbing Gristle, experimented with tape machines and electronic instruments in tandem with performance art methods and influence from transgressive literature, ultimately helping to pioneer industrial music.Script error: No such module "Footnotes". Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake. A pioneering punk scene in Australia during the mid-1970s also fostered influential post-punk acts like the Birthday Party, who eventually relocated to the UK to join its burgeoning music scene.Script error: No such module "Footnotes". Bauhaus, Siouxsie and the Banshees, and the Cure, gradually produced a darker music which would help spawn the gothic rock scene.[23] The work of Joy Division would also be an important influence on the developing gothic genre.[24][25] Neo-psychedelia grew out of the British post-punk scene in the late 1970s.[26] The genre later flourished into a more widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds and techniques.[27] Other styles such as avant-funk and industrial dub also emerged around 1979.[2]

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Credit for who made the first post-punk record is disputed, but strong contenders include the debuts of Magazine ("Shot by Both Sides", January 1978), Siouxsie and the Banshees ("Hong Kong Garden", August 1978), Cabaret Voltaire (Extended Play, November 1978), Gang of Four ("Damaged Goods", December 1978), and Public Image Ltd (First Issue, December 1978).Script error: No such module "Footnotes". AllMusic critic Andy Kellman declared that "Shot by Both Sides" was a post-punk milestone on par with punk's "Anarchy in the U.K." (1976).[28] Gang of Four producer Bob Last stated his belief that "Damaged Goods" was post-punk's turning point, saying, "For sure it [the first record] was 'Damaged Goods', and I'd claim collectively some of the other Fast Product that preceded it. Not to take anything way from PiL — that was a very powerful gesture for John Lydon to go in that direction — but the die had already been cast. The postmodern idea of toying with convention in rock music: we claim that."Script error: No such module "Footnotes".

As these scenes began to develop, British music publications such as NME and Sounds developed an influential part in the nascent post-punk culture, with writers like Savage, Paul Morley and Ian Penman developing a dense (and often playful) style of criticism that drew on philosophy, radical politics and an eclectic variety of other sources. In 1978, UK magazine Sounds celebrated albums such as Siouxsie and the Banshees' The Scream, Wire's Chairs Missing and American band Pere Ubu's Dub Housing.[29] In 1979, NME championed records such as PiL's Metal Box, Joy Division's Unknown Pleasures, Gang of Four's Entertainment!, Wire's 154, the Raincoats' self-titled debut and American group Talking Heads' album Fear of Music.[30]

United States[edit | edit source]

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In the mid 1970s, various American groups (some with ties to Downtown Manhattan's punk scene, including Television and Suicide) had begun expanding on the vocabulary of punk music.Script error: No such module "Footnotes". Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, musique concrète and unconventional verbal styles that would presage the post-punk movement by several years.Script error: No such module "Footnotes". A variety of subsequent groups, including the Boston-based Mission of Burma and the New York-based Talking Heads, combined elements of punk with art school sensibilities.Script error: No such module "Footnotes". In 1978, the latter band began a series of collaborations with British ambient pioneer and ex-Roxy Music member Brian Eno, experimenting with Dadaist lyrical techniques, electronic sounds and African polyrhythms.Script error: No such module "Footnotes". San Francisco's vibrant post-punk scene was centered on such groups as Chrome, the Residents, Tuxedomoon and MX-80, whose influences extended to multimedia experimentation, cabaret and the dramatic theory of Antonin Artaud's Theater of Cruelty.Script error: No such module "Footnotes".

Also emerging during this period was downtown New York's no wave movement, a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes and often reflected an abrasive, confrontational and nihilistic worldview.[31][32] No wave musicians such as the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles.Script error: No such module "Footnotes". The former four groups were included on the Eno-produced No New York compilation (1978), often considered the quintessential testament to the scene.[33] The decadent parties and art installations of venues such as Club 57 and the Mudd Club would become cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene.Script error: No such module "Footnotes". According to Village Voice writer Steve Anderson, the scene pursued an abrasive reductionism which "undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against".[34] Anderson claimed that the no wave scene represented "New York's last stylistically cohesive avant-rock movement".[34] Template:Clear left

1980–84: Further developments[edit | edit source]

UK scene and commercial ambitions[edit | edit source]

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British post-punk entered the 1980s with support from members of the critical community—American critic Greil Marcus characterised "Britain's postpunk pop avant-garde" in a 1980 Rolling Stone article as "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"[35]—as well as media figures such as BBC DJ John Peel, while several groups, such as PiL and Joy Division, achieved some success in the popular charts.Template:Fact The network of supportive record labels that included Industrial, Fast, E.G., Mute, Axis/4AD and Glass continued to facilitate a large output of music. By 1980, many British acts, including Magazine, Essential Logic, Killing Joke, the Sound, 23 Skidoo, Alternative TV, the Teardrop Explodes, the Psychedelic Furs, Echo & the Bunnymen and the Membranes also became part of these fledgling post-punk scenes, which centered on cities such as London and Manchester.Script error: No such module "Footnotes".

However, during this period, major figures and artists in the scene began leaning away from underground aesthetics. In the music press, the increasingly esoteric writing of post-punk publications soon began to alienate their readerships; it is estimated that within several years, NME suffered the loss of half its circulation. Writers like Morley began advocating "overground brightness" instead of the experimental sensibilities promoted in early years.[36] Morley's own musical collaboration with engineer Gary Langan and programmer J. J. Jeczalik, the Art of Noise, would attempt to bring sampled and electronic sounds to the pop mainstream.Script error: No such module "Footnotes". Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success.Script error: No such module "Footnotes". These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorized under the marketing term New Pop.[12]

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Several more pop-oriented groups, including ABC, the Associates, Adam and the Ants and Bow Wow Wow (the latter two managed by former Sex Pistols manager Malcolm McLaren) emerged in tandem with the development of the New Romantic subcultural scene.Script error: No such module "Footnotes". Emphasizing glamour, fashion and escapism in distinction to the experimental seriousness of earlier post-punk groups, the club-oriented scene drew some suspicion from denizens of the movement but also achieved commercial success. Artists such as Gary Numan, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV.Script error: No such module "Footnotes".

Downtown Manhattan and elsewhere[edit | edit source]

In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE Records' Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences.Script error: No such module "Footnotes". Artists such as ESG, Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom".Script error: No such module "Footnotes". Other no wave-indebted artists such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.Script error: No such module "Footnotes".

In Germany, groups such as Einstürzende Neubauten developed a unique style of industrial music, utilizing avant-garde noise, homemade instruments and found objects.[37] Members of that group would later go on to collaborate with members of the Birthday Party.[37] In Brazil, the post-punk scene grew after the generation of Brasilia rock with bands such as Legião Urbana, Capital Inicial and Plebe Rude and then the opening of the music club Madame Satã in São Paulo, with acts like Cabine C, Titãs, Patife Band, Fellini and Mercenárias, as documented on compilations like The Sexual Life of the Savages and the Não Wave/Não São Paulo series, released in the UK, Germany and Brazil, respectively.Script error: No such module "Unsubst".

File:Glenn Branca.jpg

Glenn Branca performing in New York in the 1980s.

In Argentina, the post-punk scene was pioneered by the band Sumo, led by Italian/British singer Luca Prodan.

In Australia, other influential acts to emerge included Primitive Calculators (founders of the Little Band scene in Melbourne), Tactics, the Triffids, Laughing Clowns, the Moodists, Severed Heads, Whirlywirld and Crime & the City Solution.Script error: No such module "Unsubst".

Mid 1980s: Decline[edit | edit source]

The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favor of more commercial sounds (such as new wave) . Many of these groups would continue recording as part of the new pop movement, with entryism becoming a popular concept.Script error: No such module "Footnotes". In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there.[38][39]Script error: No such module "Footnotes". Some shifted to a more commercial new wave sound (such as Gang of Four),[40][41] while others were fixtures on American college radio and became early examples of alternative rock. PerhapsTemplate:Editorializing the most successful band to emerge from post-punk was U2,[42] who infused elements of religious imagery and political commentary into their often anthemic music.Template:Cn

Legacy[edit | edit source]

Influence in the 1980s–90s[edit | edit source]

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Post-punk was an eclectic genre which resulted in a wide variety of musical innovations and helped merge white and black musical styles.Script error: No such module "Footnotes". Out of the post-punk milieu came the beginnings of various subsequent genres,Script error: No such module "Unsubst". including new wave,[43] avant-funk,[44] dance-rock,[45] New Pop,[36] industrial music,[46] synthpop,Script error: No such module "Footnotes". post-hardcore,[47] alternative rock,[5] house music[48][49] and twee pop.[50]

Critical recognition[edit | edit source]

Until the early 2000s, the post-punk era was "often dismissed as an awkward period in which punk's gleeful ructions petered out into the vacuity of the Eighties" by commentators.[12] In recent years, Reynolds was one of the first scholars to have argued to the contrary, asserting that the period produced significant innovations and music on its own.[12] Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era".Script error: No such module "Footnotes". Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".[4]

Revival[edit | edit source]

Script error: No such module "main". At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture.Script error: No such module "Footnotes". In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late 1970s.[51]Template:Importance example

List of bands[edit | edit source]

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Notes[edit | edit source]

  1. Punk rock, whose criteria and categorization fluctuated throughout the early 1970s, was a crystallized genre by 1976 or 1977.Script error: No such module "Footnotes".
  2. According to critic Simon Reynolds, Savage introduced "new musick" to refer to the more science-fiction and industrial sides of post-punk.Script error: No such module "Footnotes".
  3. In rock music of the era, "art" carried connotations that meant "aggressively avant-garde" or "pretentiously progressive".[7] Additionally, there were concerns over the authenticity of such bands.Script error: No such module "Footnotes".
  4. Ogg expressed concern regarding the attribution of "post-punk" to groups who came before the Sex Pistols,[1] themselves credited as the principal catalysts of punk.[9] He also noted several underheralded post-punk influences, including Discharge, XTC, UB40, the cow-punk scene, tape trading circles and the "unfashionable" portions of goth.[1]
  5. Biographer Julián Palacios specifically pointed to the era's "dark undercurrent", citing examples such as Pink Floyd's Syd Barrett, the Velvet Underground, Nico, the Doors, the Monks, the Godz, the 13th Floor Elevators and Love.Script error: No such module "Footnotes". Music critic Carl Wilson added the Beach Boys' leader Brian Wilson (no relation), writing that elements of his music and legends "became a touchstone ... for the artier branches of post-punk".[18]
  6. Guardian Music journalist Sean O'Hagan described post-punk as a "rebuttal" to the optimism of the 1960s personified by the Beatles,[19] while author Doyle Green viewed it as an emergence of a kind of "progressive punk" music.Script error: No such module "Footnotes".
  7. An example he gave was Orange Juice's "Rip It Up" (1983), "a fairly basic pastiche of light-funk and r'n'b crooning; with a slightly different production style, it could certainly have fitted comfortably into the charts a decade before it was actually written and recorded".Script error: No such module "Footnotes".

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Citations[edit | edit source]

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  6. 6.0 6.1 6.2 6.3 Rasmus, Agnieszka. Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance. Cambridge Scholars Publishing, March 2012.
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  10. 10.0 10.1 Totally Wired: Post-Punk Interviews and Overviews. Faber and Faber Ltd, February 2009. ISBN 978-0571235490
  11. 11.0 11.1 11.2 Rojek, Chris. Pop Music, Pop Culture. Polity, June 2013. Print. p. 28
  12. 12.0 12.1 12.2 12.3 12.4 12.5 Script error: No such module "citation/CS1".
  13. Stanley, Bob. Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. W.W. Norton & Co. July 14, 2014. Print.
  14. Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, May 30, 2014. 978-1-78099-226-6. p. 63.
  15. Script error: No such module "citation/CS1".
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  17. 17.0 17.1 Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds." Kaleidoscope: Issue 9, 2010.
  18. Script error: No such module "citation/CS1".
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  20. Anindya Bhattacharyya. "Simon Reynolds interview: Pop, politics, hip-hop and postpunk" Socialist Worker. Issue 2053, May 2007.
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  31. NO! The Origins of No Wave by Marc masters for Pitchfork January 15, 2008
  32. AllMusic
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  34. 34.0 34.1 Script error: No such module "citation/CS1".
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  36. 36.0 36.1 Harvel, Jess. "Now That's What I Call New Pop!". Pitchfork. 12 September 2005.
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Bibliography[edit | edit source]

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  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".

Further reading[edit | edit source]

  • Script error: No such module "citation/CS1".

External links[edit | edit source]

Script error: No such module "Side box".

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Script error: No such module "Authority control".Script error: No such module "Check for unknown parameters".

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