Faith in the establishment collapsing everywhere. The far right on the march. Culture wars and random violence - all decked out in red, white and blue. But a spirit of anarchy hangs in the air, the desire to burn it all down and start over. Derek Jarman's iconic film captured punk at its giddy height: a riot of music, DIY fashion, and every kind of sex - with a little pyromania thrown in. Forty years on, this new stage adaptation of Jubilee remixes it for the social and political turmoil of 2017. The cast of the original production at the Royal Exchange Manchester was led by one of the film's original cast members, legendary punk warrior Toyah Willcox. Centred around a marauding girl gang on a killing spree and a time-travelling Queen Elizabeth I, it's a story of what happens when creativity and nihilism collide.

Welsh post-punk band Young Marble Giants released one LP in 1980 and then, like their vanishing portraits on the album's cover, disappeared. Even though Colossal Youth received positive reviews and sold surprisingly well, Young Marble Giants quickly slid into the margins of rock 'n' roll history-relegated to cult status among post-punk and indie rock fans. Their lasting appeal owes itself to the band's singular approach and response to punk rock. Instead of employing overt political ideology and abrasive sounds to rebel against the status quo, Young Marble Giants filled their songs with restraint, ambiguity, and silence. The trio opened up their music to new sounds and ideas that redefined punk's rules of rebellion. Where did their rebellious ideas and impulses come from? By tracing Colossal Youth's artistic origins from Ancient Greece to the 20th-century avant-garde, Michael Blair and Joe Bucciero uncover the intricacies of Young Marble Giants' idiosyncratic take on music in the post-punk age. Emerging from the gaps in between the notes are new ways of hearing the history of punk, the political and economic turbulence of the late 1970s, and the world that surrounds us right now.

Global Punk examines the global phenomenon of DIY (do-it-yourself) punk, arguing that it provides a powerful tool for political resistance and personal self-empowerment. Drawing examples from across the evolution of punk - from the streets of 1976 London to the alleys of contemporary Jakarta - Global Punk is both historically rich and global in scope. Looking beyond the music to explore DIY punk as a lived experience, Global Punk examines the ways in which punk contributes to the process of disalienation and political engagement. The book critically examines the impact that DIY punk has had on both individuals and communities, and offers chapter-length investigations of two important aspects of DIY punk culture: independent record labels and self-published zines. Grounded in scholarly theories, but written in a highly accessible style, Global Punk shows why DIY punk remains a vital cultural form for hundreds of thousands of people across the globe today.

As noted in the description of the first volume of this book, every punk book seems to be about the bands, about the 'faces', about the music. Volume 2 of All The Young Punks brings you more stories from the frontline, from the trenches. Stories from the foot soldiers who made punk what it was without turning it into a career. Born too late for the inner circle, but shining like a thousand comets nonetheless - this is the story of the punks. "It felt like pure energy - like a Sherbet Dip, when you have the first mouthful and your face scrunches up" "Punk Rock had saved me and I dedicated myself to it's glory" "there was music I could relate to for when I was feeling sad, happy, funky or whatever, but nothing for when I felt angry... until THIS." "Then there was the day a bunch of us painted my mate's Woolworths acoustic guitar white then set light to it in the local park while another mate filmed it with his dad's Super 8 Camera as a 'Dada-ist Performance Piece'. Unfortunately we didn't tell the bloke who's guitar it was, and when he found out we had to go into hiding for a couple of weeks as he recruited a bunch of local 'hard nuts' to 'sort us out'...." "Records with swearing in " "It was like a story with no pre-ordained ending. I still get a electrical twinge when a band hits that first note or chord, what will happen next." "bum flaps fashioned from an old kilt of my mum's, black bondage trousers with the baby reins I had worn as a toddler attached behind, hastily marker penned anarchy armbands." "I remember buying a white catering jacket (on which I pinned a Crass badge with the 'broken gun' image in day-glo orange on white) that I fancied looked a bit like the tuxedo that Sid wore in the My Way video. Margate being a seaside resort, though, I was always being asked if I'd got a job as an ice cream seller." "Its naive to think that society could change, but to a certain extent, in the early years and with the optimism of youth I believed it could happen." "I still had long hair and was wearing a 'Tales From Topographic Oceans' teeshirt. The guitarist of Slaughter came up to me after the gig and said "Do you like Yes then?," I very nervously mumbled "Er I suppose so," to which he replied "Me too mate, fuckin' great band " "It came along just at the right time though and gave me somewhere to belong, which was a lifesaver." "I'm still in awe of the sex, style and subversion that the original Punk Explosion thrust upon unsuspecting England and if I'm not out smashing the system then I'm doing my bit to resist it's clammy clutches." "He said, "This album can't be any good. It's got 14 tracks on it." I love that quote."

In Punk and Revolution Shane Greene radically uproots punk from its iconic place in First World urban culture, Anglo popular music, and the Euro-American avant-garde, situating it instead as a crucial element in Peru's culture of subversive militancy and political violence. Inspired by Jose Carlos Mariategui's Seven Interpretive Essays on Peruvian Reality, Greene explores punk's political aspirations and subcultural possibilities while complicating the dominant narratives of the war between the Shining Path and the Peruvian state. In these seven essays, Greene experiments with style and content, bends the ethnographic genre, and juxtaposes the textual and visual. He theorizes punk in Lima as a mode of aesthetic and material underproduction, rants at canonical cultural studies for its failure to acknowledge punk's potential for generating revolutionary politics, and uncovers the intersections of gender, ethnicity, class, and authenticity in the Lima punk scene. Following the theoretical interventions of Debord, Benjamin, and Bakhtin, Greene fundamentally redefines how we might think about the creative contours of punk subculture and the politics of anarchist praxis.

'I was 22 years old, a hard-on with a pulse: wretched, vice-ridden, too much to burn and not enough minutes in a hour to do so' The action begins in West Des Moines, Iowa, where Corey Taylor, frontman of heavy metal bands Slipknot and Stone Sour, systematically set about committing each of the Seven Deadly Sins. He has picked fights with douche bags openly brandishing guns. He has set himself on fire at parties and woken up in dumpsters after cocaine binges. He lost his virginity at eleven. He got rich and famous and immersed himself in booze, women, and chaos until one day he realised, suddenly, that he didn't need any of that at all. Now updated with a brand new chapter, Seven Deadly Sins is a brutally honest look at 'a life that could have gone horribly wrong at any turn', and the soul-searching and self-discovery it took to set it right.

Lobotomy is a lurid and unlikely temperance tract from the underbelly of rock 'n' roll. Taking readers on a wild rollercoaster ride from his crazy childhood in Berlin and Munich to his lonely methadone-soaked stay at a cheap hotel in Earl's Court and newfound peace on the straight and narrow, Dee Dee Ramone catapults readers into the raw world of sex, addiction, and two-minute songs. It isn't pretty. With the velocity of a Ramones song, Lobotomy rockets from nights at CBGB's to the breakup of the Ramones' happy family with an unrelenting backbeat of hate and squalor: his girlfriend ODs; drug buddy Johnny Thunders steals his ode to heroin, "Chinese Rock"; Sid Vicious shoots up using toilet water; and a pistol-wielding Phil Spector holds the band hostage in Beverly Hills. Hey! Ho! Let's go!