Abstract
In this essay, I track a history of punk that I associate with wild vocalization within a history of black aesthetics. Building upon the work of Fred Moten, Jayna Brown, and Tavia Nyong’o, this essay returns to some eccentric moments in punk musical production—songs by Rhoda Dakar and Poly Styrene, but also a cover version of a punk song by Grace Jones. My essay ultimately advances an alternative history of anarchism that is less about an antistate political philosophy than about the sonic breakdowns of sense and rationality in punk songs that offer rage-filled critiques of racism, colonialism, and heteronormativity.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
