about the quoted person:

like jon savage (see history is made by those who say no.) and nik cohn (see literature), greil marcus is an american Rock critic and writer. Marcus is a critic in the sense of a critic as analyst, philosopher, thinker. His most recent book is 'Invisible Republic: Bob Dylan's Basement Tape', which analyzes the seminal recordings by bob Dylan and The Band in the historical context of the folk vs. rock rift that broke out after Dylan went electric in 1965. His other books include 'Lipstick Traces' (1989) and mystery train (1976); his writing appears regularly in Artforum, Interview and The New York Times.

His most famous work is 'Lipstick traces: a secret history of the 20th century', in which he analyzes punk music (mainly Sex Pistols, see be a man. be someone. kill someone. be a man. kill... and The Clash, see rudi can't fail) in relation to the thoughts of the situationists (see twentieth century architects should be building ad... and young guys, young Girls. talent wanted for getting...), the dadaists and others. His three assumptions are: that nothing very much came out of America; that the British punk scene was "a sort of giant answer record" to Anarchy in the U.

K.; and that Johnny Rotten's singing was a semi-conscious articulation of the entire Situationist/Dada/Cathar heritage.