2006/07/22 by Seth Bovey · 1 citation
Arts and Humanities · #Music History and Culture #Musicology and Musical Analysis #Diverse Music Education Insights #Punk #Ethos #Mores #Art #Tread #Sound (geography) #Aesthetics #Sociology #Politics #Literature #Art history #Law #Political science #Acoustics
paper · doi:10.1080/03007760600787515
openalex publication_date 2006/07/22 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/29
The term “punk,” when used in reference to '60s garage music, is not well understood. In essence, garage punk developed when American youths mimicked the sound of British R&B and the attitudes of British rockers, but ended up creating a cruder, snottier, and more urgent sound that expressed their own concerns and views of life. Garage punk focuses on liberation from social expectations, conventions, and mores, and it usually takes the form of songs in which the garage punk puts down or rejects his errant girlfriend, professes his enlightenment or hip superiority, or describes his “psychotic reaction” to some emotional trauma.