This is the first ever 'authorised' biography of this most inscrutable of bands - now updated. This new edition incorporates a new epilogue in which Mick Middles considers recent upheavels in the Fall camp, the "Heads Roll" album, Mark E. Smith's appearance at its launch and his ongoing tirades at anything and everything. Together music writer Mick Middles and Fall leader Mark E Smith have written an exhausting biography of the Fall. Spanning their years on the fringe of the Manchester punk scene, three dozen albums, numerous tours, two successful stage playes and numerous 'spoken word' events, this book is strangely compelling as the band itself.

Combining unique access to Green Day with a journalist's nose for a great story, Mark Spitz tells the complete account of the band Green Day from their earliest days to their most recent explosion in popularity--achieved after many in the business had written the band off as old news. It??'s hard to believe that in early 2004, Green Day was considered pass??--a strictly 90s phenomenon. Since then, they have rewritten the rules of rock???namely the rule that says: no comebacks allowed. Sure, there are second acts in rock, but usually they???re embarrassing. ???American Idiot??? has sold 4 million copies in America???the biggest selling rock record of the year. It??'s currently at number 20 on the charts???57 weeks after debuting at number 1. The band was awarded a Grammy for rock album of the year and seven MTV video music awards including video of the year. NOBODY LIKES YOU is a story of friendship and the transporting power of playing very loud music. It is the story of how high school drop out Billy Jo Armstrong came to write song lyrics that inflamed the political conscience of fans in a way that two Yale graduates couldn???t. Green Day??'s story???from rise, to fall, to rise again--has never been fully told, and Spin journalist Mark Spitz has exclusive access.

When it began, punk was an underground revolution that raged against the mainstream; now punk "is" the mainstream. Tracing the origins of Grammy-winning icons Green Day and the triumphant resurgence of neo-punk legends Bad Religion through MTV's embrace of pop-punk bands like Yellowcard, music journalist Matt Diehl explores the history of new punk, exposing how this once cult sound became a blockbuster commercial phenomenon. Diehl follows the history and controversy behind neo-punk--from the Offspring's move from a respected indie label to a major, to multi-platinum bands Good Charlotte and Simple Plan's unrepentant commercial success, through the survival of genre iconoclasts the Distillers and the rise of "emo" superstars like Fall Out Boy.
" My So-Called Punk "picks up where bestselling authors Legs McNeil and Jon Savage left off, conveying how punk went from the Sex Pistol's "Anarchy in the U.K." to anarchy in the O.C. via the Warped Tour. Defining the sound of today's punk, telling the stories behind the bands that have brought it to the masses and discussing the volatile tension between the culture's old and new factions, "My So-Called Punk "is the go-to book for a new generation of punk rock fans.

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.

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.

To wander the streets of a bankrupt, often lawless, New York City in the early 1970s wearing a T-shirt with PLEASE KILL ME written on it was an act of determined nihilism, and one often recounted in the first reports of Richard Hell filtering into the pre-punk UK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the T-shirt but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor's older, wiser self looking back at Blank Generation. Richard Hell was an artist who could not only embody but also frame the punk urge; having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960s, he had just what was needed to make one of the defining records of the era. This study combines objective, academic perspectives along with culturally centred subjectivities to understand the meanings and resonances of Richard Hell and the Voidoids' Blank Generation.

From the "War on Hippies" to the Great Rock 'n' Roll Swindle, the story of Modern Lovers is a high octane tale of Brutalist architecture, rock 'n' roll ambition and the struggle for identity in a changing world. One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder "Roadrunner" and its proclamation that "I'm in love with rock 'n' roll,"The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids. But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.

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.

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

Irish Independent Music Book of the Year Guardian Book of the Week 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.

THESE ARE THE WORDS THAT CAME TO ME. NO MATTER HOW THEY GOT HERE, THEY DID THE F***ING JOB. Iggy Pop hasn't left a mark on music; he's left it battered and bruised, too. Inducted into the Rock and Roll Hall of Fame in 2010, here for the first time are his selected lyrics, complete with stunning original photographs, illustrations, alongside Iggy and others' reflections on a genre-defining music career that spans five decades. Coinciding with a new album, FREE, this is the ultimate book for every rock and roll fan.

'I couldn't put this book down. Malcolm inspired us to make art out of our boredom and anger. He set us free' Bobby Gillespie, Primal Scream Included in the Guardian 10 best music biographies 'Excellent . . . With this book, Gorman convincingly moves away from the ossified image of McLaren as a great rock'n'roll swindler, a morally bankrupt punk Mephistopheles, and closer towards his art-school roots, his love of ideas. Tiresome, unpleasant, even cruel - he was, this book underlines, never boring' Sunday Times 'Exhaustive . . . compelling' Observer 'Definitive . . . epic' The Times 'Gobsmacker of a biography' Telegraph 'This masterful and painstaking biography opens its doorway to an era of fluorescent disenchantment and outlandish possibility' Alan Moore Malcolm McLaren was one of the most culturally significant but misunderstood figures of the modern era. Ten years after his life was cruelly cut short by cancer, The Life & Times of Malcolm McLaren sheds fascinating new light on the public achievements and private life of this cultural iconoclast and architect of punk, whose championing of street culture movements including hip-hop and Voguing reverberates to this day. With exclusive contributions from friends and intimates and access to private papers and family documents, this biography uncovers the true story behind this complicated figure. McLaren first achieved public prominence as a rebellious art student by making the news in 1966 after being arrested for burning the US flag in front of the American Embassy in London. He maintained this incendiary reputation by fast-tracking vanguard and left-field ideas to the centre of the media glare, via his creation and stewardship of the Sex Pistols and work with Adam Ant, Boy George and Bow Wow Wow. Meanwhile McLaren's ground-breaking design partnership with Vivienne Westwood and his creation of their visionary series of boutiques in the 1970s and early '80s sent shockwaves through the fashion industry. The Life & Times of Malcolm McLaren also essays McLaren's exasperating Hollywood years when he broke bread with the likes of Steven Spielberg though his slate of projects, which included the controversial Heavy Metal Surf Nazis and Wilde West, in which Oscar Wilde introduced rock'n'roll to the American mid-west in the 1880s, proved too rich for the play-it-safe film business. With a preface by Alan Moore, who collaborated with McLaren on the unrealised film project Fashion Beast, and an essay by Lou Stoppard casting a twenty-first-century perspective over his achievements, The Life & Times Of Malcolm McLaren is the explosive and definitive account of the man dubbed by Melvyn Bragg 'the Diaghilev of punk'.

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.

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.

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.

Nonfiction. Music. Updated 2009 edition of the evergreen punk classic The nation's capital gave birth to the most influential punk underground of the '80s and '90s. DANCE OF DAYS recounts the rise of trailblazing artists such as Bad Brains, Henry Rollins, Minor Threat, Rites of Spring, Fugazi, and Bikini Kill. "For anyone interested in the power of independent music, this is an overdue insight into a vibrant, homegrown scene"--Mojo.

'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.