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.
Published Version
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