Punk Slash! Musicals: Tracking Slip-Sync on Film

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Acknowledgments
Chapter 1. Let's Do the Time Warp: Welcome to the Punk Musical Film Cycle
Chapter 2. Situating Slip-Sync: In/authenticity, Singin' in the Rain, A Hard Day's Night, The Rocky Horror Picture Show, Blank Generation, Illusions, Nice Coloured Girls, Neocon 1980s
Chapter 3. The Queen Is Dead: Jubilee
Chapter 4. The Punk Meets the Godfather: The Great Rock 'n' Roll Swindle
Chapter 5. Your Face Is a Mess: Breaking Glass
Chapter 6. American Slip-Sync Remix: Blank Generation, Rock 'n' Roll High School, Out of the Blue, Smithereens, Liquid Sky
Chapter 7. Talk of the Town: Times Square
Chapter 8. Uh Huh Her: Ladies and Gentlemen, the Fabulous Stains
Chapter 9. Now Entertain Us: Starstruck, Sid and Nancy, True Stories
Postscript: Slip-Streaming
Notes
Works Cited
Index

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Punk Slash! Musicals is the first book to deal extensively with punk narrative films, specifically British and American punk rock musicals produced from roughly 1978 to 1986. Films such as Jubilee, Breaking Glass, Times Square, Smithereens, Starstruck, and Sid and Nancy represent a convergence between independent, subversive cinema and formulaic classical Hollywood and pop musical genres.

Guiding this project is the concept of "slip-sync." Riffing on the commonplace lip-sync phenomenon, "slip-sync" refers to moments in the films when the punk performer "slips" out of sync with the performance spectacle, and sometimes the sound track itself, engendering a provocative moment of tension. This tension frequently serves to illustrate other thematic and narrative conflicts, central among these being the punk negotiation between authenticity and inauthenticity.

Laderman emphasizes the strong female lead performer at the center of most of these films, as well as each film's engagement with gender and race issues. Additionally, he situates his analyses in relation to the broader cultural and political context of the neo-conservatism and new electronic audio-visual technologies of the 1980s, showing how punk's revolution against the mainstream actually depends upon a certain ironic embrace of pop culture.

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