'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 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.

The explosive story of the Sex Pistols is now so familiar that the essence of what they represented has been lost in a fog of nostalgia and rock'n'roll cliche. In 1976 the rise of the Sex Pistols was regarded in apocalyptic terms, and the punks as visitors from an unwanted future bringing chaos and confusion. John Scanlan considers the Sex Pistols as the first successful art project of their manager, Malcolm McLaren, a vision born out of radical politics, boredom and his deep and unrelenting talent for perverse opportunism. McLaren deliberately set a collision course with establishments, both conservative and counter-cultural, and succeeded beyond his highest expectations. Scanlan tells the story of how McLaren's project - designed, in any case to fail - foundered on the development of the Pistols into a great rock band and the inconvenient artistic emergence of John Lydon. Moving between London and New York, and with a fascinating cast of delinquents, petty criminals and misfits, Sex Pistols: Poison in the Machine is not just a book about a band. It is about the times, the ideas, the coincidences and the characters that made punk, that ended with the Sex Pistols - beaten, bloody and overdosed - sensationally self-destructing on stage in San Francisco in January 1978, and that transformed popular culture throughout the world.

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.

Batard irrespectueux du Rockabilly et du Punk, le Psychobilly est le genre musical qui refuse de mourir, bien qu'ignore de l'establishment musical depuis plus de trois decennies. D'abord confinee a quelques clubs anglais, l'epidemie en est a sa troisieme vague et s'etend desormais du Bresil au Japon en passant par les Etats-Unis et l'Europe. LET'S WRECK est l'histoire du voyage d'un homme a travers le Psychobilly britannique, de l'adolescent boutonneux du debut des annees 80, arborant fierement sa premiere flat-top, au rocker chauve et bedonnant d'aujourd'hui. De Glasgow aux festivals Big Rumble, en passant par le Klub Foot, le Trash et les longues virees du scooterisme... Craig Brackenridge, auteur freelance et createur des fanzines "The Encyclopedia of Psychobilly & Trash," "The Encyclopedia of Cinematic Trash," a aussi ecrit sur la musique et les films cultes pour de nombreux magazines. Il offre sur ce phenomene musical une perspective unique, toujours "on the road" avec plusieurs des groupes situes tout en bas de la hierarchie de la legende du Psychobilly..."

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

From the Clash to Los Crudos, skinheads to afro-punks, the punk rock movement has been obsessed by race. And yet the connections have never been traced in a comprehensive way. White Riot is a definitive study of the subject, collecting first-person writing, lyrics, letters to zines, and analyses of punk history from across the globe. This book brings together writing from leading critics such as Greil Marcus and Dick Hebdige, personal reflections from punk pioneers such as Jimmy Pursey, Darryl Jenifer and Mimi Nguyen, and reports on punk scenes from Toronto to Jakarta.

I have no time for lies and fantasy, and neither should you. Enjoy or die.--John Lydon
Punk has been romanticized and embalmed in various media. It has been portrayed as an English class revolt and a reckless diversion that became a marketing dream. But there is no disputing its starting point. Every story of punk starts with its idols, the Sex Pistols, and its sneering hero was Johnny Rotten.
In Rotten, Lydon looks back at himself, the Sex Pistols, and the no future disaffection of the time. Much more than just a music book, Rotten is an oral history of punk: angry, witty, honest, poignant, and crackling with energy.

This book describes the emergence of DIY punk record labels in the early 1980s. Based on interviews with sixty-one labels, including four in Spain and four in Canada, it describes the social background of those who run these labels. Especially interesting are those operated by dropouts from the middle class. Other respected older labels are often run by people with upper middle-class backgrounds. A third group of labels are operated by working-class and lower middle-class punks who take a serious attitude to the work. Using the ideas of French sociologist Pierre Bourdieu, this book shows how the field of record labels operates. The choice of independent or corporate distribution is a major dilemma. Other tensions are about signing contracts with bands, expecting extensive touring, and using professional promotion. There are often rivalries between big and small labels over bands that have become popular and have to decide whether to move to a more commercial record label. Unlike approaches to punk that consider it as subcultural style, this book breaks new ground by describing punk as a social activity. One of the surprising findings is how many parents actually support their children's participation in the scene. Rather than attempting to define punk as resistance or as commercial culture, this book shows the dilemmas that actual punks struggle with as they attempt to live up to what the scene means for them.

Both more and less than a band, Pussy Riot is continually misunderstood by the Western media. This book sets the record straight. After their scandalous performance of an anti-Putin protest song in Moscow's Cathedral of Christ the Savior and the imprisonment of two of its members, the punk feminist art collective known as Pussy Riot became an international phenomenon. But, what, exactly, is Pussy Riot, and what are they trying to achieve? The award-winning author Eliot Borenstein explores the movement's explosive history and takes you beyond the hype.

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.

Rock 'n' Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock 'n' roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.

**MOJO MAGAZINE'S BOOK OF THE YEAR** The Hollywood Brats are the greatest band you've never heard of. Recording one near-perfect punk album in 1974, they were tragically ahead of their time. With only a guitar, a tatty copy of the Melody Maker and his template for the perfect band, Andrew Matheson set out, in 1971, to make musical history. His band, The Hollywood Brats, were pre-punk prophets - uncompromising, ultra-thin, wild, untameable and outrageous. But thrown into the crazy world of the 1970s London music scene, the Brats ultimately fell foul of the crooks and heavies that ran it and an industry that just wasn't ready for them. Directly inspiring the London SS, the Clash, Malcolm McLaren and the Sex Pistols, The Hollywood Brats imploded too soon to share the glory. Punk's answer to Withnail and I, Sick On You is a startling, funny and brilliantly entertaining period memoir about never quite achieving success, despite flying so close to greatness.

A stunningly candid portrait of the Seattle grunge scene of the '90s and a memoir of an addict during the last great era of rock 'n' roll excess, by Hole drummer Patty Schemel Patty Schemel's story begins with a childhood surrounded by the AA meetings her parents hosted in the family living room. Their divorce triggered her first forays into drinking at age twelve and dovetailed with her passion for punk rock and playing the drums. Patty's struggles with her sexuality further drove her notoriously hard playing, and by the late '80s she had focused that anger, confusion, and drive into regular gigs with well-regarded bands in Tacoma, Seattle, and Olympia, Washington. She met a pre-Nirvana Kurt Cobain at a Melvins show, and less than five years later, was living with him and his wife, Hole front-woman Courtney Love, at the height of his fame and on the cusp of hers. As the platinum-selling band's new drummer, Schemel contributed memorable, driving beats to hits like Beautiful Son, Violet, Doll Parts, and Miss World. But the band was plagued by tragedy and heroin addiction, and by the time Hole went on tour in support of their ironically titled and critically-acclaimed album Live Through This in 1994, both Cobain and Hole bassist Kristen Pfaff had died at the age of 27 With surprising candor and wit, Schemel intimately documents the events surrounding her dramatic exit from the band in 1998 that led to a dark descent into a life of homelessness and crime on the streets of Los Angeles, and the difficult but rewarding path to lasting sobriety after more than twenty serious attempts to get clean. Hit So Hard is a testament not only to the enduring power of the music Schemel helped create but an important document of the drug culture that threatened to destroy it.

In the tradition of John Green's The Fault in Our Stars and Me and Earl and the Dying Girl, this incredibly moving and harrowing true story of a teenager diagnosed with cancer is "a resounding affirmation of how music can lift one's spirits beyond gray skies and bad news (Kirkus Reviews)." Punk's not dead in rural West Virginia. In fact, it blares constantly from the basement of Rob and Nat Rufus--identical twin brothers with spiked hair, black leather jackets, and the most kick-ass record collection in Appalachia. To them, school (and pretty much everything else) sucks. But what can you expect when you're the only punks in town? When the brothers start their own band, their lives begin to change: they meet friends, they attract girls, and they finally get invited to join a national tour and get out of their rat box little town. But their plans are cut short when Rob is diagnosed with a rare form of cancer that has already progressed to Stage Four. Not only are his dreams of punk rock stardom completely shredded, there is a very real threat that this is one battle that can't be won. While Rob suffers through nightmarish treatments and debilitating surgery, Nat continues on their band's road to success alone. But as Rob's life diverges from his brother's, he learns to find strength within himself and through his music. Die Young with Me is a "raw, honest picture of the weirdness of growing up" (Marky Ramone) and the story of a brave teen's battle with cancer and the many ways music helped him cope through his recovery.

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.

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.