Punk bands have produced an abundance of poetic texts, some crude, some elaborate, in the form of song lyrics. These lyrics are an ideal means by which to trace the developments and explain the conflicts and schisms that have shaped, and continue to shape, punk culture. They can be described as the community's collective 'poetic voice,' and they come in many different forms. Their themes range from romantic love to emotional distress to radical politics. Some songs are intended to entertain, some to express strong feelings, some to provoke, some to spread awareness, and some to foment unrest. Most have an element of confrontation, of kicking against the pricks. Socially and epistemologically, they play a central role in the scene's internal discourse, shaping communities and individual identities. The Poetry of Punk is an investigation into the Anglophone punk culture, specifically in the UK and the US, where punk originated in the mid-1970s, its focus being on the song lyrics written and performed by punk rock and hardcore artists.

Whether they're self-taught bashers or technical wizards, drummers are the thrashing, crashing heart of our favorite punk bands. In Forbidden Beat, some of today's most respected writers and musicians explore the history of punk percussion with personal essays, interviews and lists featuring their favorite players and biggest influences. From 60s garage rock and proto-punk to 70s New York and London, 80s hardcore and D-beat to 90s pop punk and beyond, Forbidden Beat is an uptempo ode to six decades of punk rock drumming. Featuring Tre Cool, Ira Elliot, Curt Weiss, John Robb, Hudley Flipside, Bon Von Wheelie, Joey Shithead, Matt Diehl, D.H. Peligro, Mike Watt, Lynn Perko-Truell, Pete Finestone, Laura Bethita Neptuna, Jan Radder, Jim Ruland, Eric Beetner, Jon Wurster, Lori Barbero, Joey Cape, Marko DeSantis, Mindy Abovitz, Steven McDonald, Kye Smith, Ian Winwood, Phanie Diaz, Benny Horowitz, Shari Page, Urian Hackney, and Rat Scabies.

The bands that spearheaded the late 1970s punk scene in Australia--the Saints, Birthday Party, Radio Birdman, and the Go-Betweens--are among the most important of their time. Inner City Sound is the classic account of the explosive development of that scene. Original articles from fanzines and newspapers, together with almost 300 photographs, vividly portray the creative ferment of the period and the dozens of bands that sprang up in the wake of the pioneers. First published in late 1981, Inner City Sound soon fell out of print. It became a lost classic, so sought after that it has been bootlegged like the rare singles listed in its discography. This new edition contains 32 extra pages of articles, photos, and discographic data, which take the story through to 1985, when Nick Cave, the Go-Betweens, the Triffids, and others began to break through internationally.

When it comes to New York City hardcore, its community proudly boasts Lou and Pete Koller-brothers who have dominated the scene worldwide since 1986 with the aurally devastating Sick of It All as their vehicle. "One the best books ever written about hardcore, period..." -Decibel Magazine For Flushing, Queens natives Lou and Pete Koller, hardcore has become a lifestyle as well as an unlikely career. From the moment these siblings began applying their abilities to punk's angrier, grimier sub-genre, they quickly became fifty percent of one of the most intense and compelling quartets to ever claim the movement-the legendary New York hardcore band, Sick of it All. Contrary to popular belief, Lou and Pete are proof positive that you don't need to have lived a street life, or come from a fractured, chaotic home in order to produce world-class hardcore. If Agnostic Front are the godfathers of New York hardcore, then vocalist Lou and guitarist Pete are its grand masters. The Blood and the Sweat is the no-holds-barred autobiography of two brothers who have never wavered, as well as an unrelenting depiction of the American dream, and the drive and determination required to live it-regardless of whatever obstacles appear before you. Featuring commentary from family, friends, bandmates past and present, and their peers, including Gary Holt (Exodus, Slayer), Kurt Brecht (D.R.I.), Barney Greenway (Napalm Death), and more...

Formed by Howard Devoto in late 1977 and brought together some of the finest and most innovative musicians of the era in the core line-up of Devoto, John McGeoch, Barry Adamson, Dave Formula and John Doyle. Independent of prevailing popular styles, Magazine had its roots in punk but had a greater emphasis on lyrical content whilst combining elements of avant-garde pop, funk and rock. 'This book sets Magazine in the context of the post-punk music and arts scene in Manchester in the late 1970s. It discusses the prevailing climate of the decentralisation of the music industry, growth of independent labels and the DIY attitude born of arrogance combined with a good record collection' - Tony Wilson. With unique access to the band members past and present, and interviews with many other people including managers, record company executives, producers and contemporary musicians, Helen Chase presents a fascinating insights into one of the most important bands to emerge from the ashes of punk rock. Biographical details of individual band members, along with their influences, are discussed. The chronology of the band between 1977-1981 is charted and the dynamics and creative process at work are explored. The book also details the activities of key members since the band's demise in 1981 and follows their subsequent reunion. The band's iconic artwork is examined with contributions from artist Linder Sterling and designer Malcolm Garrett. Including lyrics by Howard Devoto and exclusive and unseen photographs taken by band members and friends it provides a valuable source of reference about the influential group.

In his iconic musical travelogue Heavy Metal Islam, Mark LeVine first brought the views and experiences of a still-young generation to the world. In We'll Play till We Die, he joins with this generation's leading voices to write a definitive history of the era, closing with a cowritten epilogue that explores the meanings and futures of youth music from North Africa to Southeast Asia. We'll Play till We Die dives into the revolutionary music cultures of the Middle East and larger Muslim world before, during, and beyond the waves of resistance that shook the region from Morocco to Pakistan. This sequel to Mark LeVine's celebrated Heavy Metal Islam shows how some of the world's most extreme music not only helped inspire and define region-wide protests, but also exemplifies the beauty and diversity of youth cultures throughout the Muslim world. Two years after Heavy Metal Islam was published in 2008, uprisings and revolutions spread like wildfire. The young people organizing and protesting on the streets-in dozens of cities from Casablanca to Karachi-included the very musicians and fans LeVine spotlighted in that book. We'll Play till We Die revisits the groundbreaking stories he originally explored, sharing what has happened to these musicians, their music, their politics, and their societies since then. The book covers a stunning array of developments, not just in metal and hip hop scenes, but with emo in Baghdad, mahraganat in Egypt, techno in Beirut, and more. LeVine also reveals how artists have used global platforms like YouTube and SoundCloud to achieve unprecedented circulation of their music outside corporate or government control. The first collective ethnography and biography of the post-2010 generation, We'll Play till We Die explains and amplifies the radical possibilities of music as a revolutionary force for change.

This updated reissue of Mark LeVine's acclaimed, revolutionary book on sub- and countercultural music in the Middle East brings this groundbreaking portrait of the region's youth cultures to a new generation. Featuring a new preface by the author in conversation with the band The Kominas about the problematic connections between extreme music and Islam. An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A young Lebanese singer who quotes Bob Marley's "Redemption Song." Heavy metal, punk, hip-hop, and reggae are each the music of protest, and are considered immoral by many in the Muslim world. As the young people and subcultures featured in Mark LeVine's Heavy Metal Islam so presciently predicted, this music turned out to be the soundtrack of countercultures, uprisings, and even revolutions from Morocco to Pakistan. In Heavy Metal Islam, originally published in 2008, Mark LeVine explores the influence of Western music on the Middle East and North Africa through interviews with musicians and fans, introducing us to young people struggling to reconcile their religion with a passion for music and a thirst for change. The result is a revealing tour de force of contemporary cultures across the Muslim majority world through the region's evolving music scenes that only a musician, scholar, and activist with LeVine's unique breadth of experience could narrate. A New York Times Editor's Pick when it was first published, Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music reveals itself to be a true democratizing force-and a groundbreaking work of scholarship that pioneered new forms of research in the region.

Humour, as much as any other trait, defines British cultural identity. It is 'crucial in the English sense of nation,' argues humour scholar Andy Medhurst; 'To be properly English you must have a sense of humour,' opines historian Antony Easthope. Author Zadie Smith perceives British humour as a national coping mechanism, stating, 'You don't have to be funny to live here, but it helps.' Sex Pistols frontman Johnny Rotten concurs, commenting, 'There's a sense of comedy in the English that even in your grimmest moments you laugh.' Although humour invariably functions as a relief valve for the British, it is also often deployed for the purposes of combat. From the court jesters of old to the rock wits of today, British humorists - across the arts - have been the pioneers of rebellion, chastising society's hypocrites, exploiters and phonies, while simultaneously slighting the very institutions that maintain them. The best of the British wits are (to steal a coinage from The Clash) 'bullshit detectors' with subversion on their minds and the jugulars of their enemies in their sights. Such subversive humour is held dear in British hearts and minds, and it runs deep in their history. Historian Chris Rojek explains how the kind of foul-mouthed, abusive language typical of British (punk) humour has its antecedents in prior idioms like the billingsgate oath: 'Humour, often of an extraordinary coruscating and vehement type, has been a characteristic of the British since at least feudal times, when the ironic oaths against the monarchy and the sulfurous 'Billingsgate' uttered against the Church and anyone in power were widespread features of popular culture. Rojek proceeds to fast forward to 1977, citing the Sex Pistols' 'Sod the Jubilee' campaign as a contemporary update of the Billingsgate oath. For Rojek, the omnipresence of British caustic humour accounts for why the nation has historically been more inclined toward expressions of subversive rebellion than to violent revolution. 'Protest has been conducted not with guns and grenades, but with biting comedy and graffiti,' he observes. As an outlet for venting and as an alternative means of protest, Brit wit, not surprisingly, has developed distinctive communicative patterns, with linguistic flair and creative flourishes starring as its key features. Far more than American humour, for example, British humour revels in colourful language, in lyrical invective, in surrogate mock warfare. One witnesses such humour daily in the Houses of Parliament, where well-crafted barbs are traded across the aisle, the thinly veiled insults cushioned by the creativity of the inherent humour. Such wit is equally evident throughout the history of British rock, where rebellion has defined the rock impulse and comedic dissent has been a seemingly instinctual activity.

This is a thoroughly researched study of the origins of the New York City punk scene, focusing on Television and their extraordinary debut record. Two kids in their early twenties walk down the Bowery on a spring afternoon, just as the proprietor of a club hangs a sign with the new name for his venue. The place will be called CBGB which, he tells them, stands for 'Country Bluegrass and Blues'. That's exactly the sort of stuff they play, they lie, somehow managing to get a gig out of him. After the first show their band, Television, lands a regular string of Sundays. By the end of the summer a scene has developed that includes Tom Verlaine's new love interest, a poet-turned-rock chanteuse named Patti Smith. American punk rock is born. Bryan Waterman peels back the layers of the origin myth and, assembling a rich historical archive, situates Marquee Moon in a broader cultural history of SoHo and the East Village. As Waterman traces the downtown scene's influences, public image, and reputation via a range of print, film, and audio recordings we come to recognize the real historical surprises that the documentary evidence still has to yield. "33 1/3" is a series of short books about a wide variety of albums, by artists ranging from James Brown to the Beastie Boys. Launched in September 2003, the series now contains over 60 titles and is acclaimed and loved by fans, musicians and scholars alike. It was only a matter of time before a clever publisher realized that there is an audience for whom "Exile on Main Street" or "Electric Ladyland" are as significant and worthy of study as "The Catcher in the Rye" or "Middlemarch...The" series, which now comprises 29 titles with more in the works, is freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration - "The New York Times Book Review", 2006. This is a brilliant series...each one a word of real love - NME (UK). For more information on the series and on individual titles in the series, check out our blog.

Ecstasy did for house music what LSD did for psychedelic rock. Now, in "Energy Flash," journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA ("ecstasy") and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s.
England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching--and partaking in--the rave scene early on, observing firsthand ecstasy's sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon.
Read on, and learn why is nitrous oxide is called "hippy crack."

Punk Identities, Punk Utopias: Global Punk and Media seeks to unpack and illuminate punk as a trajectory of 'timelesness...as a set of diverse but confluent values and appropriations' that have both reflected and informed an increasingly complex, indefinable social, political and economic setting. Whereas the first two volumes in the series were broadly focused on local punk 'scenes' in a disparate range of countries and regions around the world, Punk Identities, Punk Utopias extends that critical enquiry to reflect broader social, political and technological concerns impacting punk scenes around the world, from digital technology and new media to gender, ethnicity, identity and representation. This new volume therefore draws upon the interdisciplinary areas of cultural studies, musicology and social sciences to present an edited text on the notion of identities, ideologies and cultural discourse surrounding contemporary global punk scenes. It is hoped that the books in the Global Punk series will add to the academic discussion of contemporary popular culture, particularly in relation to punk and the critical understanding of transnational and cross-cultural dialogue. Punk is a global phenomenon and the Global Punk series aims to reflect contemporary scenes around the world since the millennium. Punk and its subsequent variants, from hardcore to post-punk, have always crossed borders and become assimilated within countercultural practices with local, national and regional variations. Produced in collaboration between the Punk Scholars Network and Intellect Books, the Global Punk book series focuses on the development of contemporary global punk (c. 2000 onwards), reflecting upon its origins, aesthetics, identity, legacy, membership and circulation. Critical approaches draw upon the interdisciplinary areas of (among others) cultural studies, art and design, sociology, musicology and social sciences in order to develop a broad and inclusive picture of punk and punk-inspired subcultural developments around the globe. The series adopts an essentially analytical perspective, raising questions about the dissemination of punk scenes and subcultures and their form, structure and contemporary cultural significance in the daily lives of an increasing number of people around the world. This book has a genuine crossover appealed. It will be a key resource for established academics, postdoctoral researchers and Ph.D. students, as well as being suitable for adoption as an undergraduate student textbook. Suitable courses will include those in the fields of popular music, youth culture, sociology, urban/cultural geography, political history, heritage studies, media and cultural studies.

This is the definitive autobiography of John Lydon, one of the most recognizable icons in the annals of music history. As Johnny Rotten, he was the lead singer of the Sex Pistols - the world's most notorious band, who shot to fame in the mid-1970s with singles such as 'Anarchy in the UK' and 'God Save the Queen'. Via his music and invective he spearheaded a generation of young people across the world who were clamouring for change - and found it in the style and attitude of this most unlikely figurehead. With his next band, Public Image Ltd (PiL) Lydon expressed an equally urgent impulse in his make-up - the constant need to reinvent himself. From their beginnings in 1978 he set the template for a band that continues to challenge and thrive in the 2010s. He also found time for making innovative new dance records with the likes of Afrika Baambaata and Leftfield. Following the release of a solo record in 1997, John took a sabbatical from his music career into other media, most memorably his own Rotten TV show for VH1 and as the most outrageous contestant ever on I'm a Celebrity ... Get Me Out of Here!He then fronted the Megabugsseries and one-off nature documentaries and even turned his hand to a series of much loved TV advertisements for Country Life butter. Lydon has remained a compelling and dynamic figure - both as a musician, and, thanks to his outspoken, controversial, yet always heartfelt and honest statements, as a cultural commentator.The book is a fresh and mature look back on a life full of incident from his beginnings as a sickly child of immigrant Irish parents who grew up in post-war London, to his present status as a vibrant, alternative national hero.

*The Sunday Times Bestseller* *Featuring an exclusive new chapter* On 23 September, 2005, at the Joiners Arms in Southampton, Frank Turner played his last gig with his hardcore band, Million Dead. On the laminates that listed the tour dates, the entry for 24 September simply read: 'Get a job.' Deflated, jaded and hungover, Frank returned to his hometown of Winchester without a plan for the future. All he knew was that he wanted to keep playing music. Cut to 13 April 2012, over a thousand shows later (show 1,216 to be precise), and he was headlining a sold-out gig at Wembley Arena with his band The Sleeping Souls. Told through his tour reminiscences, this is the blisteringly honest story of Frank's career from drug-fuelled house parties and the grimy club scene to filling out arenas, fans roaring every word back at him. But more than that, it is an intimate account of what it's like to spend your life constantly on the road, sleeping on floors, invariably jetlagged, all for the love of playing live music.

Travis Barker's soul-baring memoir chronicles the highlights and lowlights of the renowned drummer's art and his life, including the harrowing plane crash that nearly killed him and his traumatic road to recovery-a fascinating never-before-told-in-full story of personal reinvention grounded in musical salvation and fatherhood. After breaking out as the acclaimed drummer of the multiplatinum punk band Blink-182, everything changed for Travis Barker. But the dark side of rock stardom took its toll: his marriage, chronicled for an MTV reality show, fell apart. Constant touring concealed a serious drug addiction. A reckoning did not truly come until he was forced to face mortality: His life nearly ended in a horrifying plane crash, and then his close friend, collaborator, and fellow crash survivor DJ AM died of an overdose. In this blunt, driving memoir, Barker ruminates on rock stardom, fatherhood, death, loss, and redemption, sharing stories shaped by decades' worth of hard-earned insights. His pulsating memoir is as energetic as his acclaimed beats. It brings to a close the first chapters of a well-lived life, inspiring readers to follow the rhythms of their own hearts and find meaning in their lives.

This original collection of insight, analysis and conversation charts the course of punk from its underground origins, when it was an un-formed and utterly alluring near-secret, through its rapid development. Punk is Dead: Modernity Killed Every Night takes in sex, style, politics and philosophy, filtered through punk experience, while believing in the ruins of memory, to explore a past whose essence is always elusive.

During their 1985 tour, two events of hatred and stupidity forever change the lives of a band’s four members. Neues Bauen, a post-hardcore Illinois group homing in on their own small fame, head on with frontman Conrad Wells sexually assaulted and guitarist Tone Seburg wounded by gunshot. The band staggers forth into the American landscape, traversing time and investigating each of their relationships with history, memory, authenticity, violence and revelling in transcendence through the act of art.

With decades passed and compelled by his wife’s failing health to track down Tone, Conrad flies to North Africa where her brother is rumoured to be hiding with a renowned artist from their past. There he instead meets various characters including his former drummer, Spence. Amongst the sprawl and shout of Morocco, the men attempt to recall what happened to them during their lost years of mental disintegration and emotional poverty.

Dance Prone is a novel of music, ritual and love. It is live, tense and corporeal. Full of closely observed details of indie-rock, of punk infused performance, the road and the players’ relationship to violence, hate and peace.

Set during both the post-punk period and the present day, Dance Prone was born out of a love of the underground and indie rock scenes of the 1980s, a fascination for their role in the cultural apparatus of memory, social decay and its reconstruction.

What does a hemispheric Americas look like when done through the lens of punk music, visuals and literature? That is the core premise of this book, presented through a collage of analytical, aesthetic and experiential takes on punk across the continent. This book challenges the dominant vision of punk - particularly its white masculine protagonists and deep Anglocentrism - by analysing punk as a critical lens into the disputed territories of 'America', a term that hides the heterogeneous struggles, global histories, hopes and despairs of late twentieth and early twenty-first century experience. Compiling academic essays and punk paraphernalia (interviews, zines, poetry and visual segments) into a single volume, the book seeks to explore punk life through its multiple registers, through vivid musical dialogues, excessive visual displays and underground literary expression. The kaleidoscopic accounts include everything from sustained academic inquiry and photo portraits to anarchist manifestos and interview excerpts with notable punk figures. The result is a radically heterogenous mixture that seeks to reposition punk and las Americas as intrinsically bound up in each other's history: for better and for worse. Out of critical pasts, within an urgent present and toward many different possible futures. This volume critically refashions punk to suggest it emerges from within the long-term historical experience of las Americas in all their plurality and is useful as a mode of critique towards the hegemonic dimensions of America in its imperial singularity. The book is rooted in a theory of 'radical heterogeneity' and thus represents a collage-like juxtaposition of punk perspectives from across the entire hemisphere and via divergent contributions: academic, experiential and aesthetic. Readership for this collection will include both academic and general readers. Primary readership will be academic. It will appeal to researchers, scholars, educators and students in the following fields: American studies, Latin American studies, media and communication, cultural studies, sociology, history, music, ethnomusicology, anthropology, art, literature. General readership will be among those interested in the following areas - anarchism, music, subculture, literature, independent publishing, photography.

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos-a notoriously evasive and multifaceted beast-offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.

"Fellow rock stars, casual members of the public, lords and media magnates, countless thousands of people will talk of their encounters with this driven, talented, indomitable creature, a man who has plumbed the depths of depravity, yet emerged with an indisputable nobility. Each of them will share an admiration and appreciation of the contradictions and ironies of his incredible life. Even so, they are unlikely to fully comprehend both the heights and the depths of his experience, for the extremes are simply beyond the realms of most people's understanding."
--from the Prologue
The first full biography of one of rock 'n' roll's greatest pioneers and legendary wild men
Born James Newell Osterberg Jr., Iggy Pop transcended life in Ypsilanti, Michigan, to become a member of the punk band the Stooges, thereby earning the nickname "the Godfather of Punk." He is one of the most riveting and reckless performers in music history, with a commitment to his art that is perilously total. But his personal life was often a shambles, as he struggled with drug addiction, mental illness, and the ever-problematic question of commercial success in the music world. That he is even alive today, let alone performing with undiminished energy, is a wonder. The musical genres of punk, glam, and New Wave were all anticipated and profoundly influenced by his work.
Paul Trynka, former editor of "Mojo" magazine, has spent much time with Iggy's childhood friends, lovers, and fellow musicians, gaining a profound understanding of the particular artistic culture of Ann Arbor, where Iggy and the Stooges were formed in the mid to late sixties. Trynka has conducted over 250 interviews, has traveled to Michigan, New York, California, London, and Berlin, and, in the course of the last decade or so at "Mojo," has spoken to dozens of musicians who count Iggy as an influence. This has allowed him to depict, via real-life stories from members of bands like New Order and the Red Hot Chili Peppers, Iggy's huge influence on the music scene of the '70s, '80s, and '90s, as well as to portray in unprecedented detail Iggy's relationship with his enigmatic friend and mentor David Bowie. Trynka has also interviewed Iggy Pop himself at his home in Miami for this book. What emerges is a fascinating psychological study of a Jekyll/Hyde personality: the quietly charismatic, thoughtful, well-read Jim Osterberg hitched to the banshee creation and alter ego that is Iggy Pop.
"Iggy Pop: Open Up and Bleed" is a truly definitive work--not just about Iggy Pop's life and music but also about the death of the hippie dream, the influence of drugs on human creativity, the nature of comradeship, and the depredations of fame.

Punk culture is currently having a revival worldwide and is poised to extend and mutate even more as youth unemployment and youth alienation increase in many countries of the world. In Russia, its power to have an impact and to shock is well illustrated by the state response to activist collective and punk band Pussy Riot. This book, based on extensive original research, examines the nature of punk culture in contemporary Russia. Drawing on interviews and observation, it explores the vibrant punk music scenes and the social relations underpinning them in three contrasting Russian cities. It relates punk to wider contemporary culture and uses the Russian example to discuss more generally what constitutes 'punk' today.

Praise for the Too Fast To Live Too Young To Die exhibition: "A fascinating look at how punk and new wave music met the eye" New York Times "An absolute joy" Financial Times The largest unique collection of printed memorabilia from the punk and post-punk movements. Andrew Krivine began collecting punk memorabilia in 1977 when punk exploded onto the scene. Since then, Andrew has amassed one of the world s largest collection of punk graphic design and memorabilia. This book features a carefully curated selection of over 650 posters, club flyers, record covers and adverts from the collection. Together they represent the prime years of punk which changed the world of graphic design forever with its do-it-yourself aesthetics. The artworks are put into context by graphic design experts, academics and commentators. Among them former art director of New York Times Steven Heller, reader in graphic design at the London College of Communication Dr Russ Bestley, graphic design writer Rick Poynor, designer Malcolm Garrett and Pulitzer Prize-winning editor Michael Wilde. The book spans the growth and evolution of punk on both sides of the Atlantic including The Clash, The Buzzocks, Iggy Pop and The Stooges, Television, The Ramones, Patti Smith, Talking Heads, Devo, Blondie, Flying Lizards, Public Image Ltd, The Only Ones, The Slits, New Order, REM and Joy Division. A collectable item itself, the book is beautifully produced with front and back cover artwork by Malcolm Garrett and Peter Saville, the designers behind some of punk s most memorable album covers. Arguably the most essential and final work on the graphic design revolution within the punk and post-punk movements of the UK and America, Too Fast To Live Too Young To Die will appeal to punk fans and graphic designers alike. Part of Andrew s collection is currently touring the world as the Too Fast To Live Too Young To Die exhibition and has been on display at the Museum of Arts and Design in New York among other museums.

ONE OF BILLBOARD'S "100 GREATEST MUSIC BOOKS OF ALL TIME" The provocative transgender advocate and lead singer of the punk rock band Against Me! provides a searing account of her search for identity and her true self. It began in a bedroom in Naples, Florida, when a misbehaving punk teenager named Tom Gabel, armed with nothing but an acoustic guitar and a headful of anarchist politics, landed on a riff. Gabel formed Against Me! and rocketed the band from its scrappy beginnings-banging on a drum kit made of pickle buckets-to a major-label powerhouse that critics have called this generation's The Clash. Since its inception in 1997, Against Me! has been one of punk's most influential modern bands, but also one of its most divisive. With every notch the four-piece climbed in their career, they gained new fans while infuriating their old ones. They suffered legal woes, a revolving door of drummers, and a horde of angry, militant punks who called them "sellouts" and tried to sabotage their shows at every turn. But underneath the public turmoil, something much greater occupied Gabel-a secret kept for 30 years, only acknowledged in the scrawled-out pages of personal journals and hidden in lyrics. Through a troubled childhood, delinquency, and struggles with drugs, Gabel was on a punishing search for identity. Not until May of 2012 did a Rolling Stone profile finally reveal it: Gabel is a transsexual, and would from then on be living as a woman under the name Laura Jane Grace. Tranny is the intimate story of Against Me!'s enigmatic founder, weaving the narrative of the band's history, as well as Grace's, with dozens of never-before-seen entries from the piles of journals Grace kept. More than a typical music memoir about sex, drugs, and rock 'n' roll-although it certainly has plenty of that-Tranny is an inside look at one of the most remarkable stories in the history of rock.

Punk bands have produced an abundance of poetic texts, some crude, some elaborate, in the form of song lyrics. These lyrics are an ideal means by which to trace the developments and explain the conflicts and schisms that have shaped, and continue to shape, punk culture. They can be described as the community's collective 'poetic voice,' and they come in many different forms. Their themes range from romantic love to emotional distress to radical politics. Some songs are intended to entertain, some to express strong feelings, some to provoke, some to spread awareness, and some to foment unrest. Most have an element of confrontation, of kicking against the pricks. Socially and epistemologically, they play a central role in the scene's internal discourse, shaping communities and individual identities. The Poetry of Punk is an investigation into the Anglophone punk culture, specifically in the UK and the US, where punk originated in the mid-1970s, its focus being on the song lyrics written and performed by punk rock and hardcore artists.

Live at the Safari Club: A People's History of HarDCore is the uncensored oral history of a notorious underground punk venue in the nation's capital, told by the bands, fans, zinesters, promoters, graffiti artists, scenesters, senators' kids and activists who made it happen. Over 200 exclusive interviews with and photos of members of Gorilla Biscuits, Bold, Sick of it All, Worlds Collide, Ignition, Swiz, Avail, Rancid, Nirvana, Danzig, Bad Religion, Tom Waits' band, Bad Brains, Hole, Hatebreed, Clutch, My Morning Jacket, and more.