During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.

On their debut, The Clash famously claimed to be "bored with the USA," but The Clash wasn't a parochial record. Mick Jones' licks on songs such as "Hate and War" were heavily influenced by classic American rock and roll, and the cover of Junior Murvin's reggae hit "Police and Thieves" showed that the band's musical influences were already wide-ranging. Later albums such as Sandinista! and Combat Rock saw them experimenting with a huge range of musical genres, lyrical themes and visual aesthetics. The Clash Takes on the World explores the transnational aspects of The Clash's music, lyrics and politics, and it does so from a truly transnational perspective. It brings together literary scholars, historians, media theorists, musicologists, social activists and geographers from Europe and the US, and applies a range of critical approaches to The Clash's work in order to tackle a number of key questions: How should we interpret their negotiations with reggae music and culture? How did The Clash respond to the specific socio-political issues of their time, such as the economic recession, the Reagan-Thatcher era and burgeoning neoliberalism, and international conflicts in Nicaragua and the Falkland Islands? How did they reconcile their anti-capitalist stance with their own success and status as a global commodity? And how did their avowedly inclusive, multicultural stance, reflected in their musical diversity, square with the experience of watching the band in performance? The Clash Takes on the World is essential reading for scholars, students and general readers interested in a band whose popularity endures.

LONGLISTED FOR THE CARNEGIE MEDAL FOR EXCELLENCE 'A thrilling and essential social history that details the rebellious youth movement that helped change the world' Rolling Stone 'A riveting and inspiring history of punk's hard-fought struggle in East Germany' New York Times 'Wildly entertaining . . . A joy in the way it brings back punk's fury and high stakes' Vogue THE SECRET HISTORY OF PUNKS IN EAST GERMANY It began with a handful of East Berlin teens who heard the Sex Pistols on a British military radio broadcast to troops in West Berlin, and it ended with the collapse of the East German dictatorship. Punk rock was a life-changing discovery: in an authoritarian state where the future was preordained, punk, with its rejection of society and DIY approach to building a new one, planted the seeds for revolution. As these kids began to form bands, they also became more visible, and security forces - including the dreaded secret police, the Stasi - targeted them. They were spied on by friends and family; they were expelled from schools and fired from jobs; they were beaten by police and imprisoned. But instead of conforming, the punks fought back, playing an indispensable role in the underground movement that helped bring down the Berlin Wall. Rollicking, cinematic and thrillingly topical, this secret history brings to life the young men and women who successfully fought authoritarianism three chords at a time. Burning Down the Haus is a fiery testament to the irrepressible spirit of revolution. 'Original and inspiring . . . an important work of Cold War cultural history' Wall Street Journal

After discovering a derelict record plant on the edge of a northern English city, and hearing that it was once visited by David Bowie, Karl Whitney embarks upon a journey to explore the industrial cities of British pop music. Manchester, Liverpool, Newcastle, Leeds, Sheffield, Hull, Glasgow, Belfast, Birmingham, Coventry, Bristol: at various points in the past these cities have all had distinctive and highly identifiable sounds. But how did this happen? What circumstances enabled those sounds to emerge? How did each particular city - its history, its physical form, its accent - influence its music? How were these cities and their music different from each other? And what did they have in common? Hit Factories tells the story of British pop through the cities that shaped it, tracking down the places where music was performed, recorded and sold, and the people - the performers, entrepreneurs, songwriters, producers and fans - who made it all happen. From the venues and recording studios that occupied disused cinemas, churches and abandoned factories to the terraced houses and back rooms of pubs where bands first rehearsed, the terrain of British pop can be retraced with a map in hand and a head filled with music and its many myths.

A new collection of unseen photographs of New York City's 1970s punk heyday, by one of the icons of the city's golden age of new wave, Blondie's Chris Stein. A new collection of unseen photographs of New York City's 1970s punk heyday, by one of the icons of the city's golden age of music, Blondie's Chris Stein. For the duration of the 1970s - from his days as a student at the School of Visual Arts through the foundation of the era-defining band Blondie and his subsequent reign as epicenter of punk's golden age - Chris Stein kept an unrivaled photographic record of the downtown New York City scene. Following in the footsteps of the successful book Negative, this spectacular new book presents a more personal and more visceral collection of Stein's photographs of the era. The images presented here take readers from self-portraits in his run-down East-Village apartment to candid photographs of pop-cultural icons of the time and evocative shots of New York City streetscapes in all their most longed-for romance and dereliction. An eclectic cast of cultural characters - from William Burroughs to Debbie Harry, Andy Warhol to Iggy Pop - appear here exactly as they were in the day, juxtaposed with children playing hopscotch on torn-down blocks, riding the graffiti-ridden subway, or cruising the burgeoning clubs of the Bowery. At once a chronicle of one music icon's life among his punk and New-Wave heroes and peers, and a love letter to the city that was the backdrop and inspiration for those scenes, Point of View transports us to another place and time.

In March 1977, John "Johnny Rotten" Lydon of the punk band the Sex Pistols looked over the Berlin wall onto the grey, militarized landscape of East Berlin, which reminded him of home in London. Lydon went up to the wall and extended his middle finger. He didn't know it at the time, but the Sex Pistols' reputation had preceded his gesture, as young people in the "Second World" busily appropriated news reports on degenerate Western culture as punk instruction manuals. Soon after, burgeoning Polish punk impresario Henryk Gajewski brought the London punk band the Raincoats to perform at his art gallery and student club-the epicenter for Warsaw's nascent punk scene. When the Raincoats returned to England, they found London erupting at the Rock Against Racism concert, which brought together 100,000 "First World" UK punks and "Third World" Caribbean immigrants who contributed their cultures of reggae and Rastafarianism. Punk had formed networks reaching across all three of the Cold War's "worlds". The first global narrative of punk, Punk Crisis examines how transnational punk movements challenged the global order of the Cold War, blurring the boundaries between East and West, North and South, communism and capitalism through performances of creative dissent. As author Raymond A. Patton argues, punk eroded the boundaries and political categories that defined the Cold War Era, replacing them with a new framework based on identity as conservative or progressive. Through this paradigm shift, punk unwittingly ushered in a new era of global neoliberalism.

The first book of its kind in English, Beyond No Future: Cultures of German Punk explores the texts and contexts of German punk cultures. Notwithstanding its "no future" sloganeering, punk has had a rich and complex life in German art and letters, in German urban landscapes, and in German youth culture. Beyond No Future collects innovative, methodologically diverse scholarly contributions on the life and legacy of these cultures. Focusing on punk politics and aesthetics in order to ask broader questions about German nationhood(s) in a period of rapid transition, this text offers a unique view of the decade bookended by the "German Autumn" and German unification. Consulting sources both published and unpublished, aesthetic and archival, Beyond No Future's contributors examine German punk's representational strategies, anti-historical consciousness, and refusal of programmatic intervention into contemporary political debates. Taken together, these essays demonstrate the importance of punk culture to historical, political, economic, and cultural developments taking place both in Germany and on a broader transnational scale.