When British rockers invaded the United States in the 1960s, youths responded by playing electrified music in garages. Garage rock has grown from a hobby of the rebellious to a cultural statement: anything not mainstream, from alternative country to hardcore punk, can be included. This study explores garage rock as it evolved alongside mainstream music and examines how it reflects notions of self though the assertion of individuality and rebellion in prosperous postmodern times. Using the Detroit music scene as the focus, the author presents two sections. The first section examines the creation of the scene, the importance of relationships to the past and the appearance used throughout. The second section analyzes the alliances and relationships to society that undergird contemporary garage rock. The author maintains garage rock has developed a place in American cultural history, and its continuation will be based on how the underground situates itself within postmodern society.