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Punk is a music genre and counter-culture that has provided community and empowerment to generations of traumatized youth. This article is a case study on the use of punk rock counter-culture through the expression of music as a critical social work practice within a psychiatric outpatient clinic. The clinic, Lane County Behavioral Health, was founded during the deinstitutionalization era of psychiatric care for the treatment of "severe and persistent mental illness." The article describes the formation of the group, the shared personal and cultural history of the therapist with group members, and the critical engagement with psychiatric violence generated through the composition of punk music. In this, the process of composition and the lyrical content of four songs are provided. Each of these four songs demonstrate a connection of the personal experiences of psychiatric violence to a political protest against psychiatric violence. While the article focuses on the experience of punks in the psychiatric clinic, the implementation of relationality and personal-political experience are applicable beyond the punk counter-culture. The article concludes with discussion elaborating ways in which a relational analytic group can be implemented within tight knit counter-cultural communities.

At the turn of the twenty-first century, the Brazilian punk and hardcore music scene joined forces with political militants to foster a new social movement that demanded the universal right to free public transportation. These groups collaborated in numerous venues and media: music shows, protests, festivals, conferences, radio stations, posters, albums, slogans, and digital and printed publications. Throughout this time, the single demand for free public transportation reconceptualized notions of urban space in Brazil and led masses of people across the country to protest. This book shows how the anti-capitalist, anti-bourgeoisie stance present in the discourse of a number of Brazilian bands that performed from the late 1990s to the beginning of the twenty-first century in the underground music scenes of Florianópolis and São Paulo encountered a reverberation in the rhetoric emanating from the Campaign for the Free Fare, subsequently known as the Free Fare Movement (Movimento Passe Livre, or MPL). This allowed the engaged bands and the movement for free public transportation to contribute to each other's development. The book also includes reflections on the Bus Revolt that occurred in the northeastern city of Salvador, unveiling traces of the punk and anarcho-punk movements, and the Revolution Carnivals that occurred in the city of Belo Horizonte, an event that mixed lectures, vegetarianism, protests, soccer, and punk rock music.

Using interviews and personal experience, Ellen M. Bernhard argues that contemporary punk scenes are more than just music and mohawks--they operate as sites of autonomous practice and networked communities governed by their commitment to inclusiveness and diversity.

Ian Glasper is a writer, the founder of the now-defunct Blackfish Records, which released 20 punk, hardcore, and metalcore albums, and a member of many DIY punk bands. He is the author of Armed with Anger and Trapped in a Scene: UK Hardcore 1985-1989

»Grinding California« provides the first academic analysis of the subculture of skate punk at book-length. It establishes highly critical evaluations of the discourses that influenced early skateboarding and punk cultures. Based on an examination of songs, flyers, magazines, and videos, Konstantin Butz revisits American popular cultures of the 1980s and approaches them from a variety of theoretical and methodological angles. He introduces contemplations of the rebellious potential that can be located within skate punk's material and corporeal contestations of the site-specific locale of suburb

For more than 40 years, hardcore and punk have promised to offer an alternative to what is perceived as the norm and as mainstream. Hardcore Research: Punk, Practice, Politics provides a comprehensive insight into the most active, outspoken, and widely received scholarly positions in the academic discourses on hardcore and punk and combines them with a variety of new and emerging voices. The book brings together scholars with personal ties to past and present hardcore and punk scenes, who present both insightful and critical examinations of the rich and varied histories of this subcultural phenomenon and its current reverberations at the intersection of cultural practice and academic research.