GETTING THERE TV Smith was the founder member and lead singer for The Adverts, who in 1977 shot briefly to fame with their punk rock hit "Gary Gilmore's Eyes." Then the band broke up and fame was gone. Where to go next? Not knowing what to expect, TV set out on a serious of unpublicised, low budget solo tours through Europe, and in this book recounts his life-affirming and frequently hilarious experiences of what it's really like to be on the road, destination unknown. Punk Rock Tour Diaries: Volume One Starring!! The Adverts! Attila The Stockbroker! Tom Robinson! Die Toten Hosen! Punk Lurex OK! Santa Claus! Henry Rollins! Garden Gang! The UK Subs! Sid Vicious (the dog)! .and a cast of thousands!!

Please Feed Me is a punk rock vegan cookbook. Each recipe features an anecdote by a band that performed at the Hope Collective, a popular punk venue in Dublin the author helped maintain for over a decade. (The Hope Collective became a blue print and inspiration for punk and DIY spaces across Ireland and the UK.) The book features contributions from over 120 people who donated their vegan recipes and thoughts on the importance of the punk rock community and culture, including stories from seminal punk banks such as Fugazi, Bikini Kill, and Chumbawamba.
In addition to great recipes, Please Feed Me uniquely illustrates the connections between community, art, activism and health. The thunderous subtext of the book is the vital underground community and network created and maintained by a collective of organizers and hundreds of musicians at a time when most punk bands were signing to major labels for the highest dollar amount. The book documents pieces of the stories of many popular US and international punk bands that continue to have a major influence on youth subcultures today.

"Nothing Feels Good: Punk Rock, Teenagers, and Emo" tells the story of a cultural moment that's happening right now-the nexus point where teen culture, music, and the web converge to create something new.
While shallow celebrities dominate the headlines, pundits bemoan the death of the music industry, and the government decries teenagers for their morals (or lack thereof) earnest, heartfelt bands like Dashboard Confessional, Jimmy Eat World, and Thursday are quietly selling hundreds of thousands of albums through dedication, relentless touring and respect for their fans. This relationship - between young people and the empathetic music that sets them off down a road of self-discovery and self-definition - is emo, a much-maligned, mocked, and misunderstood term that has existed for nearly two decades, but has flourished only recently. In "Nothing Feels Good," Andy Greenwald makes the case for emo as more than a genre - it's an essential rite of teenagehood. From the '80s to the '00s, from the basement to the stadium, from tour buses to chat rooms, and from the diary to the computer screen, "Nothing Feels Good" narrates the story of emo from the inside out and explores the way this movement is taking shape in real time and with real hearts on the line. "Nothing Feels Good "is the first book to explore this exciting moment in music history and Greenwald has been given unprecedented access to the bands and to their fans. He captures a place in time and a moment on the stage in a way only a true music fan can.

This comprehensive A-Z listing has over 100 rap-rock, rap-metal and funk-metal bands, plus a host of other hard-hitting acts from the hip-hop and hardcore punk branches of metal. All of nu-metal life is here, from leaders of the scene such as Limp Bizkit, Korn, Slipnot, Deftones, Papa Roach, Linkin Park, Marilyn Manson, Soulfly, Tool, Amen, At the Drive-In, and System of a Down, through the pioneers of the movement such as Primus, Faith No More, Rage Against the Machine, and Biohazard, all the way up to the newest cutting-edge bands such as One Minute Silence, A Perfect Circle, Coal Chamber, Orgy, Alien Ant Farm, Godsmack, and Videodrome. There's also a full history of events that led to the formation of nu-meta, putting the pieces of the puzzle together with the story of grunge and early rap rockers such as the Beastie Boys.

England’s Dreaming is the ultimate book on punk, its progenitors, the Sex Pistols, and the moment they defined for music fans in England and the United States Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

'To see The Clash on the White Riot tour was like discovering how to be a rock star: you just did it yourself. You didn't wait for someone to come and discover you. That was the most important thing that came out of punk... We came home and we cut our hair and bought skinny trousers. It was year zero. That was the moment for me' Billy Bragg Punk Rock is a book like no other. It is an oral history of a radical movement which exploded in Seventies Britain. With its own clothes, hair, artwork, fanzines and radical politics, Punk boasted a DIY ethos that meant anyone could take part. The scene was uniquely vibrant and energetic, leaving an extraordinary legacy of notorious events, charismatic characters and inspirational music. John Robb has spent over a year interviewing more than 100 contributors including Glen Matlock, Mick Jones, Don Letts, Slash, Billy Bragg, Hugh Cornwell and Captain Sensible. Now, for the first time, they give the inside view on events such as The Sex Pistols' swearing live on the Bill Grundy TV show and staging their anti-Jubilee riverboat party on the Thames, famous gigs at The Roxy and 100 Club, and the groundbreaking records by The Pistols, The Clash, The Damned and others. From the widely debated roots of punk in the late-Sixties through to the fallout of the post-punk period in 1984, and the ongoing influence on today's bands, Punk Rock is the definitive oral history of an inimitable and exciting movement.

In the late '90s, third-wave ska broke across the American alternative music scene like a tsunami. In sweaty clubs across the nation, kids danced themselves dehydrated to the peppy rhythms and punchy horns of bands like The Mighty Mighty Bosstones and Reel Big Fish. As ska caught fire, a swing revival brought even more sharp-dressed, brass-packing bands to national attention. Hell of a Hat dives deep into this unique musical moment. Prior to invading the Billboard charts and MTV, ska thrived from Orange County, California, to NYC, where Moon Ska Records had eager rude girls and boys snapping up every release. On the swing tip, retro pioneers like Royal Crown Revue had fans doing the jump, jive, and wail long before The Brian Setzer Orchestra resurrected the Louis Prima joint. Drawing on interviews with heavyweights like the Bosstones, Sublime, Less Than Jake, and Cherry Poppin' Daddies-as well as underground heroes like Mustard Plug, The Slackers, Hepcat, and The New Morty Show-Kenneth Partridge argues that the relative economic prosperity and general optimism of the late '90s created the perfect environment for fast, danceable music that-with some notable exceptions-tended to avoid political commentary. An homage to a time when plaids and skankin' were king and doing the jitterbug in your best suit was so money, Hell of a Hat is an inside look at '90s ska, swing, and the loud noises of an era when America was dreaming and didn't even know it.

LONGLISTED FOR THE CARNEGIE MEDAL FOR EXCELLENCE LONGLISTED FOR THE HWA NON-FICTION CROWN 'A moving, powerful and highly innovative sidelight on the fall of Communism in East Germany through punk style and music. This is a complete original' HWA Non-Fiction Crown Judges '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' 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

Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s pop and girl group hits. This 1978 album kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in its electronic dance music hit "Heart of Glass." Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group from the CBGB punk underworld. By embracing the diversity of New York City's varied music scenes, Blondie embodied many of the tensions that played out at the time between fans of disco, punk, pop and mainstream rock. Debbie Harry's campy glamor and sassy snarl shook up the rock'n'roll boy's club during a growing backlash against the women's and gay liberation movements, which helped fuel the "disco sucks" battle cry in the late 1970s. Despite disco's roots in a queer, black and Latino underground scene that began in downtown New York, punk is usually celebrated by critics and scholars as the quintessential subculture. This book challenges the conventional wisdom that dismissed disco as fluffy prefab schlock while also recuperating punk's unhip pop influences, revealing how these two genres were more closely connected than most people assume. Even Blondie's album title, Parallel Lines, evokes the parallel development of punk and disco-along with their eventual crossover into the mainstream.

Fan, musician and writer Roland Link has compiled a wealth of images of the legendary Belfast band through the 1970s and 80s. It includes many previously unseen photographs of the members on the road, on stage, in candid moments and in promotional out-takes. These are supported by a myriad of contemporary memorabilia (tour posters, tickets, passes and badges) and accompanied by comments from band members and a number of the photographers. The book also contains a Rare Vinyl Guide covering the band's original singles and albums. "When people ask me about Stiff Little Fingers I'm going to point them towards two books; Kicking Up A Racket and What You See Is What You Get ...job done." Jim Reilly

In this revealing history, author, historian, and musician Ian Glasper explores in minute detail the influential and esoteric UK anarcho-punk scene of the early 1980s. Where some of the colorful punk bands from the first half of the decade were loud, political, and uncompromising, their anarcho-punk counterparts were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately. With Crass and Poison Girls opening the floodgates, the arrival of bands such as Amebix, Chumbawamba, Flux of Pink Indians, and Zounds heralded a new age of honesty and integrity in underground music. New, exclusive interviews and hundreds of previously unreleased photographs document the impact of all of the scene's biggest names--and a fair few of the smaller ones--highlighting how anarcho-punk took the rebellion inherent in punk from the very beginning to a whole new level of personal awareness.

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.

Celebrating a wide range of punk design in vinyl cover art, posters, flyers, fanzines, and other ephemera, The Art of Punk highlights the movement primarily within graphic design and print, while also considering its impact on wider popular culture. Punk was based on immediacy-an often-inspired amateurism and underground, close-knit communities that burned brightly but were not intended to extend beyond the gig, the event, the scene, the moment. Punk songs by such legendary bands as the Sex Pistols, the Ramones, the Damned, the New York Dolls, the Germs, and the Clash tended to be short, fast, and aggressive, and the oft-repeated credo "If it can't be said in three minutes, it's not worth saying" was adopted as standard practice, extending in turn to an entire ethos for the whole subculture. The book is arranged chronologically, and by genre, and features more than 900 visual examples both by uncredited artists and internationally renowned designers and design groups, alongside interviews with, and commentary by, many of the artists concerned.

Damaged: Musicality and Race in Early American Punk is the first book-length portrait of punk as a musical style with an emphasis on how punk developed in relation to changing ideas of race in American society from the late 1960s to the early 1980s. Drawing on musical analysis, archival research, and new interviews, Damaged provides fresh interpretations of race and American society during this period and illuminates the contemporary importance of that era. Evan Rapport outlines the ways in which punk developed out of dramatic changes to America's cities and suburbs in the postwar era, especially with respect to race. The musical styles that led to punk included transformations to blues resources, experimental visions of the American musical past, and bold reworkings of the rock-and-roll and rhythm-and-blues sounds of the late 1950s and early 1960s, revealing a historically oriented approach to rock that is strikingly different from the common myths and conceptions about punk. Following these approaches, punk itself reflected new versions of older exchanges between the US and the UK, the changing environments of American suburbs and cities, and a shift from the expressions of older baby boomers to that of younger musicians belonging to Generation X. Throughout the book, Rapport also explores the discourses and contradictory narratives of punk history, which are often in direct conflict with the world that is captured in historical documents and revealed through musical analysis.

It's 1992. In a small town in Fife, a girl is busting to get out into the world and see what's on offer. And an ad in the local paper declares: Band Seeks Singer. Grunge has just gone global, scruffy indie kids are inheriting the earth, and a schoolgirl from Glenrothes is catapulted to a rock star lifestyle as the singer in a hot new indie band. Touring with Radiohead, partying with Blur, she was living the dream. Until she wasn't. What Girls Are Made Of is the true story of Bissett's teenage years, based on her meticulously detailed, pull-no-punches diaries, which she found after the death of her father. It's a rollercoaster journey from the girl she was to the woman she wanted to be: rocketed into teenage stardom, suddenly dropped by their manager, and then the following of years of becoming an actor, writer and director. Described by Miro Magazine as "a glorious mixture of harrowing and life-affirming messages", the script also includes a play list of female-led soundtracks, that were played in the production.

The central experience of the Ramones and their music is of being an outsider, an outcast, a person who's somehow defective, and the revolt against shame and self-loathing. The fans, argues Donna Gaines, got it right away, from their own experience of alienation at home, at school, on the streets, and from themselves. This sense of estrangement and marginality permeates everything the Ramones still offer us as artists, and as people. Why the Ramones Matter compellingly makes the case that the Ramones gave us everything; they saved rock and roll, modeled DIY ethics, and addressed our deepest collective traumas, from the personal to the historical.

In 1978, San Francisco, a city that has seen more than its share of trauma, plunged from a summer of political tension into an autumn cascade of malevolence that so eluded human comprehension it seemed almost demonic. The battles over property taxes and a ballot initiative calling for a ban on homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and the murders of Mayor George Moscone and city supervisor Harvey Milk at the hands of their former colleague, Dan White. In the year that followed this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens in North Beach, referring to Governor Jerry Brown as a "zen fascist," calling for landlords to be lynched and yuppie gentrifiers to be sent to Cambodia to work for "a bowl of rice a day," critiquing government welfare and defense policies, and, at a time when each week seemed to bring news of a new serial killer or child abduction, commenting on dead and dying children. But it made sense only (or primarily) to those who were there, to those who experienced the heyday of "the Mab." Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as new interviews with the band and many key figures from the early San Francisco punk scene, Michael Stewart Foley corrects that failing by treating Dead Kennedys' first record, Fresh Fruit for Rotting Vegetables, as a critical historical document, one that not only qualified as political expression but, whether experienced on vinyl or from the stage of "the Mab," stimulated emotions and ideals that were, if you can believe it, utopian.

With practitioners, management and policy makers continuing to critically examine pedagogical practice in post 16 education, the need to engage in conversations concerning the exact nature of this practice remains extremely pertinent. This collection develops existing work on punk pedagogies by connecting up theory and practices whilst simultaneously disrupting current accepted approaches to pedagogy in post 16 education. The insights generated within the various settings outlined in this book - further education, higher education, migrant education, zine workshops, community education and for speakers of other languages - are relevant beyond those contexts. They are applicable to a wide range of disciplines, settings, teaching and learning styles. Contributions from Ipsita Chatterjea, Mike Dines, Asya Draganova, Jon Evans, Muhammad Fakhran al Ramadhan, Michael Gratzke, Matt Grimes, Craig Hamilton, Michael Hepworth, Adam Hounslow-Eyre, Dave Kane, Nathan Kerrigan, Marco Milano, Ces Pearson, Sarah Raine, Katie Shaw, Francis Stewart, Iain Taylor, Dean Thiele, Elke Van dermijnsbrugge, L. Viner and Laura Way. A new volume in the Global Punk series from Intellect.

In the mid-seventies, the Sex Pistols, the most controversial rock-and-roll band ever, erupted out of London, offending everyone from members of Parliament to the rock establishment it sought to unseat. With its raw, anarchic sounds, aura of sex and violence, outrageous behavior, and concerts that frequently degenerated into near-riots, the band changed the rules of rock-and-roll forever. Add to that the early death of band member Sid Vicious, by heroin overdose, and you have all the ingredients for a legend.

In January 1978, the Sex Pistols came to the United States for a twelve-day tour, mostly of cities in the Deep South. 12 Days on the Road is an extraordinary moment-by-moment re-creation of that wild adventure by Noel E. Monk, the Sex Pistols' American tour manager, and veteran journalist Jimmy Guterman. Here is a sensational, "explosive chapter in the history of rock" (Booklist) that is also "a touching and improbable tale of innocence and exploitation" (Kirkus Reviews).

They had just a few hundred pounds, one band missing a drummer, a sock drawer for an office, more dreams than sense and not a clue between them how to run a record company. But when Alan Horne and Edwyn Collins decided to start their own label from a shabby Glasgow flat in 1979, nobody was going to stand in their way. Postcard Records was the mad, makeshift and quite preposterous result. Launching the careers of Orange Juice, Aztec Camera and cult heroes Josef K, the self-styled 'Sound of Young Scotland' stuck it to the London music biz and, quite by accident, kickstarted the 1980s indie music revolution. Simon Goddard has interviewed everyone involved in the making of the Postcard legend to tell this thrilling rock'n'roll story of punk audacity, knickerbocker glories, broken windscreens, raccoon-fur hats, comedy, violence and creating something beautiful from nothing, against all the odds.