The Sounds of Terror: Punk, Post-Punk and the RAF after 1977

Cyrus M. Shahan

8 citations0/0 files storedPopular Music & Society

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Music History and Culture Musicology and Musical Analysis Terrorism, Counterterrorism, and Political Violence

Abstract

This essay uses punk music to complicate the legacy of West German socio-political turmoil after the apex of German terrorism. Reading punk music's misappropriation of markers of German terrorism, specifically in songs by the bands S.Y.P.H. and FSK, the “German Autumn” of 1977 ceases to signal the twilight of combative social resistance in West Germany. Instead 1977 marks a transition from actual to aesthetic violence. Punk music sought to wield simultaneously the theory-laden agenda of student protests and exclusively violent terrorist resistance, and thereby marks a vision of social intervention that rejected the future promised by these failures.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 8 citations exist upstream.

References

1976The History of Sexuality 1995Subculture: The Meaning of Style 2010Subculture 1992We gotta get out of this place: popular conservatism and postmodern culture 1978Resistance Through Rituals 1997Twilight Memories: Marking Time in a Culture of Amnesia 1996Twilight Memories. Marking Time in a Culture of Amnesia 2002SUBCULTURES, CULTURES AND CLASS: A theoretical overview

Cited by

2013"Killersatellit" and Randerscheinung : Punk and the Prenzlauer Berg

Explore the map →

Papers that cite the same references — the relational fallback while embeddings are still backfilling.

Imported from OpenAlex (CC0) — nothing here is generated.