Trim: 6 x 9
978-0-7391-2659-2 • Hardback • May 2008 • $107.00 • (£82.00)
978-0-7391-2660-8 • Paperback • April 2008 • $51.99 • (£40.00)
978-1-4616-3408-9 • eBook • April 2008 • $46.50 • (£36.00)
Alan O'Connor is associate professor in the cultural studies program at Trent University in Canada.
Chapter 1 Table of Contents
Chapter 2 Epigraph
Chapter 3 Introduction
Chapter 4 1 The Struggle for Autonomy
Chapter 5 2 Commercial and DIY Labels
Chapter 6 3 The Problem of Distribution
Chapter 7 4 Punk Labels and Social Class
Chapter 8 5 The Dynamics of Record Labels
Chapter 9 Conclusion: What about the Music?
Chapter 10 Appendix A: Interview with Lengua Armada
Chapter 11 Appendix B: Record Labels Interviewed and Statistical Data
Chapter 12 Bibliography
Chapter 13 Index
Chapter 14 About the Author
Alan O'Connor's Punk Labels and the Struggle for Autonomy is an important, detailed, and long overdue account of the business of hardcore and punk music in North America. By focusing on the business and personal relationships, and the ethics, that govern the labels that put out the music, and by telling the story through personal narratives, O'Connor puts a human face on businesses integral in the emergence and growth of the hardcore scene. Particularly significant and groundbreaking in O'Connor's research is his examination of the relationships among occupation, class, race, and gender in the American punk scene, and what these relationships portend for the possibility of social change through DIY values in punk. Using the work of Pierre Bourdieu as a guide, this book views the problematic punk identity through the prism of the labels that produce it and the companies that distribute it, and it is a must-read for anyone interested in the struggle for independence in the business of cultural production.
— Holly Kruse, University of Tulsa, author ofSite and Sound: Understanding Independent Music Scenes
There is a fascinating amount of history around punk labels written here and make the book read as well as any historical account of punk....This book covers it all.
— Equalizing X Distort
O'COnnor examines how DIY record labels behave socially, then plots, graphs, and explains his findings. It's an interesting take.
— Razorcake, December 2008
O'Connor has come up with an intelligent and insightful analysis on what makes a DIY Punk Label not just something that exists as a counter-culture venture sitting outside the recognized music industry, but something that is the epitome of the Punk movement; a movement that still has the desire to smash the music industry rather than be a part of it. . . . The book takes an original and inspired direction by analysing the social structure of a label and how each style of label fits into a self-imposed, social Punk Rock network.
— Scanner Zine, October 18, 2009
O'Connor's contribution to this scholarship is his emphasis upon the persistence of such DIY punk-inspired labels during the 1980's and, perhaps most surprisingly, their enormous growth during the 1990's.
— Peter Dale, 2010; Journal of Popular Music Studies
Too many of those writing about punk merely gesture towards independent labels and their importance. Alan O'Connor delivers the full and detailed story. Punk Record Labels and the Struggle for Autonomy is a comprehensive look at what independence means for punk music in economic, social, and cultural terms. O'Connor has done his homework, expertly tracing the relationships between record companies, distributors, musicians and the music press over a thirty-year period. The book is analytical without being pedantic, and O'Connor has found a style which is both elegant and accessible. One of the book's many strengths is the way it brings the story of punk labels into the present, rather than stopping, like others do, when punk seemed to lose pre-eminence. O'Connor is up front about his personal commitments to cultural autonomy, but never loses his clear-headedness here. The result, in my view, is the first full-length political economic study of punk music, a very useful and well-researched work, which is never dull.
— William Straw, James McGill Professor of Urban Media Studies, McGill University