Christian punk is a surprisingly successful musical subculture and a fascinating expression of American evangelicalism. Situating Christian punk within the modern history of Christianity and the rapidly changing culture of spirituality and secularity, this book illustrates how Christian punk continues punk's autonomous and oppositional creative practices, but from within a typically traditional evangelical morality. Analyzing straight edge Christian abstinence and punk-friendly churches, this book also focuses on gender performance within a subculture dominated by young men in a time of contested gender roles and ideologies. Critically-minded and rich in ethnographic data and insider perspectives, Christian Punk will engage scholars of contemporary evangelicalism, religion and popular music, and punk and all its related subcultures.

Germany has one of the liveliest and well-developed punk scenes in the world. However, punk in this country is not just a style-based music community. This book provides an anthropological examination of how punk reflects the larger changes and contradictions in post-reunification Germany, such as social segmentation, east-west tensions and local politics. Punk in eastern Germany is a reaction to the marginalization of the working class. As a cultural, social and economic niche, punks create their own controversial "substitute society" to compensate for their low status in mainstream society.

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos-a notoriously evasive and multifaceted beast-offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.

Capitals of Punk tells the story of Franco-American circulation of punk music, politics, and culture, focusing on the legendary Washington, DC hardcore punk scene and its less-heralded counterpart in Paris. This book tells the story of how the underground music scenes of two major world cities have influenced one another over the past fifty years. This book compiles exclusive accounts across multiple eras from a long list of iconic punk musicians, promoters, writers, and fans on both sides of the Atlantic. Through understanding how and why punk culture circulated, it tells a greater story of (sub)urban blight, the nature of counterculture, and the street-level dynamics of that centuries-old relationship between France and the United States.

This book is an ethnographic investigation of punk subculture as well as a treatise on the importance of place: a location with both physical form and cultural meaning. Rather than examining punk as a "sound" or a "style" as many previous works have done, it investigates the places that the subculture occupies and the cultural practices tied to those spaces. Since social groups need spaces of their own to practice their way of life, this work relates punk values and practices to the forms of their built environments. As not all social groups have an equal ability to secure their own spaces, the book also explores the strategies punks use to maintain space and what happens when they fail to do so.

This volume brings together a range of writers from different academic disciplines and different locations to provide an engaging and accessible critical exploration of one of the most revered and reviled bands in the history of popular music. The essays collated here locate The Clash in their own explosive cultural moment of punk's year zero and examine how the group speaks from beyond the grave to the uncanny parallels of other moments of social and political crisis. In addition, the collection considers the impact of the band in a range of different geopolitical contexts, with various contributors exploring what the band meant in settings as diverse as Italy, England, Northern Ireland, Australia and the United States. The diverse essays gathered in Working for the clampdown cast a critical light on both the cultural legacy and contemporary resonance of one of the most influential bands ever to have graced a stage. -- .

In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion. Using this fashionable watershed as a launching point, Fashioning Indie narrates indie's evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into "festival fashion"-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be. Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.

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.

Exhaustively researched and packed with unique insights, this history journeys from the punk scene's roots in the mid-1960s to the arrival of "new wave" in the early 1980s. With a cast that includes Patti Smith, Pere Ubu, Television, Blondie, the Ramones, the MC5, the Stooges, Talking Heads, and the Dead Boys, this account is the definitive story of early American punk rock. Extraordinarily balanced, it tells the story of the music's development largely through the artists' own words, while thoroughly analyzing and evaluating the music in a lucid and cogent manner. First published in 1993, this was the first book to tell the stories of these then-little-known bands; now, this edition has been updated with a new discography, including imports and bootlegs, and an afterword detailing the post-1970s history of these bands. Filled with insights from interviews with artists such as Lou Reed, Debbie Harry, David Byrne, Patti Smith, and Richard Hell, this book has long been considered one of the essential reads on rock rebellion.

In The Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke!, Matthew Smith-Lahrman interprets the words of Curt Kirkwood, founding member and songwriter of the Meat Puppets, a pioneering rock 'n' roll band of the last thirty years. Smith-Lahrman's analysis covers Kirkwood's lyrics on nine albums, from 1983 to 1995, when he wrote virtually every lyric for the band. A lyricist whom Rolling Stone writer Kurt Loder once rated alongside Bob Dylan, Kirkwood remains an important, yet overlooked songwriter. His often oblique "cut-up" style not only recalls Dylan but also other great lyricists, such as Brian Eno, Jimi Hendrix, and Robert Hunter, as well as poets and authors like John Milton, Arthur Rimbaud, Lewis Carroll, and William Burroughs. The original Meat Puppets spent their early career releasing albums on the seminal indie rock label SST Records, moving on to the major label London Records in the early 1990s. Along the way they forged a unique blend of punk, country, psychedelic, and hard rock that paved the way for the grunge and alternative movements. As a lyricist, Kirkwood commonly addresses the dichotomy between individual psyche and behavioral expectations, and the problems this creates for personal agency; drug use, mental illness, and Christianity have important parts to play in Kirkwood's early lyrical visions. As the original Meat Puppets began to dissolve, Kirkwood turned to writing about personal issues: his frustrations with the major label industry, the death of his mother, the addictions of his brother, and the demise of the band itself. The Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke! is the perfect work for Meat Puppets fans worldwide.

From the filth and the fury to the elegant extravaganza, 'Peter Gravelle', the many named photographer, has remained in the shadows of punk rock, low culture and high fashion, deflecting attention while steadily producing an epic body of iconic work. The Death of Photography is a tour de force, a high end art book showcasing forty years of the best punk, fashion and portraiture of Gravelle's career. Heavily stylised images are woven together with Gravelle's own fascinating recollections from a live lived in technicolour.

A ROUGH TRADE BOOK OF THE YEAR 2022 WITH A FOREWORD BY ROBERT SMITH The definitive collection of renowned photographer Tom Sheehan's images of The Cure - with photographs seen here for the very first time. Spanning three decades, more than 20 sessions and hundreds of images, Tom Sheehan's photographs of The Cure are a breathtaking visual chronicle of the most important alternative rock band in the world. Encompassing early portraits, epic live shows, studio sessions and snatched moments on tour around the world, Sheehan's photographs capture the band's journey from cult heroes to global rock stars. Many of the images published in this brand new book have never been seen anywhere before now. Beautifully presented in a cloth-bound hardback and featuring a new, original four-part biography by acclaimed author Simon Goddard, this is the ultimate collection of Sheehan's work, indispensable to any fan of The Cure.

"Ranks up there with the great rock & roll books of all time."--Time Out New York "Lurid, insolent, disorderly, funny, sometimes gross, sometimes mean and occasionally touching . . . Resounds with authenticity."--The New York Times "No volume serves juicier dish on punk's New York birth . . . Tales of sex, drugs and music that will make you wish you'd been there."--Rolling Stone A contemporary classic, Please Kill Me is the definitive oral history of the most nihilistic of all pop movements. Iggy Pop, Richard Hell, the Ramones, and scores of other punk figures lend their voices to this decisive account of that explosive era. This 20th anniversary edition features new photos and an afterword by the authors. "Utterly and shamelessly sensational."--Newsday

From 1976 to 1978, the young photographer Simon Barker was a member of the "Bromley Contingent"--a group of avid Sex Pistols fans who comprised the group's inner circle at the height of the punk movement. Many of them, such as Jordan and Siouxsie Sioux, were notorious for their daredevil dress sense, and several--such as Sioux, Steven Severin, Adam Ant, Poly Styrene, Billy Idol, Viv Albertine and Ari Up--went on to form some of the most important bands of the era. This compilation of previously unseen photographs by Barker shows these founders of punk in their earliest incarnations--in bedrooms and kitchens, at public gigs and private parties--before media and commerce sunk their claws into punk's iconoclastic look and class politics. Taken with the simplest and cheapest pocket cameras, the photographs in this collection constitute Barker's "family album for the years 1976 to 1978." In the spirit of the Pistols' "God Save the Queen," the volume closes with a photographic sequence taken by Barker during the 1976 Jubilee celebrations, which shows Romanian tyrant Nicolae Ceausescu hobnobbing with the Queen of England in the royal procession.

ESG were one of the first bands to sign to British indie label Factory Records, working with famed producer Martin Hannett on their early EPs. The band's signature guitar sound from iconic single 'UFO' has been sampled in hundreds of hip hop records, and everyone from Karen O to Kathleen Hanna lists the South Bronx group as a direct influence. So why do the Scroggins sisters appear as nothing more than a footnote in the 1980s music scene? Through interviews with founding member Renee Scroggins, alongside cult-figures from 1980s New York and North England, this book follows the story of a group of sisters who made it out of the New York projects and into the heart of the dancefloor. Come Away With ESG repositions ESG in their rightful place as punk pioneers and explains how their primal beats have paved the way for modern dance music today.

Flea, the iconic bassist and co-founder, alongside Anthony Kiedis, of the immortal Red Hot Chili Peppers finally tells his fascinating origin story, complete with all the dizzying highs and the gutter lows you'd expect from an LA street rat turned world-famous rock star. Michael Peter Balzary was born in Melbourne, Australia, on October 16, 1962. His more famous stage name, Flea, and his wild ride as the renowned bass player for the Red Hot Chili Peppers was in a far and distant future. Little Michael from Oz moved with his very conservative, very normal family to Westchester, New York, where life as he knew it was soon turned upside down. His parents split up and he and his sister moved into the home of his mother's free-wheeling, jazz musician boyfriend - trading in rules, stability, and barbecues for bohemian values, wildness, and Sunday afternoon jazz parties where booze, weed, and music flowed in equal measure. There began Michael's life-long journey to channel all the frustration, loneliness, love, and joy he felt into incredible rhythm. When Michael's family moved to Los Angeles in 1972, his home situation was rockier than ever. He sought out a sense of belonging elsewhere, spending most of his days partying, playing basketball, and committing petty crimes. At Fairfax High School, he met another social outcast, Anthony Kiedis, who quickly became his soul brother, the yin to his yang, his partner in mischief. Michael joined some bands, fell in love with performing, and honed his skills. But it wasn't until the night when Anthony, excited after catching a Grandmaster Flash concert, suggested they start their own band that he is handed the magic key to the cosmic kingdom. Acid for the Children is as raw, entertaining and wildly unpredictable as its author. It's both a tenderly evocative coming of age story and a raucous love letter to the power of music and creativity

Joy Division's career has often been shrouded by myths. But the truth is surprisingly simple: over a period of several months, Joy Division transformed themselves from run-of-the-mill punk wannabes into the creators of one of the most atmospheric, disturbing, and influential debut albums ever recorded. Chris Ott carefully picks apart fact from fiction to show how Unknown Pleasures came into being, and how it still resonates so strongly today.
EXCERPT
The urgent, alien thwack of Stephen Morris' processed snare drum as it bounced from the left to right channel was so arresting in 1979, one could have listened to that opening bar for hours trying to figure how on earth someone made such sounds. Like John Bonham's ludicrous, mansion-backed stomp at the start of "When The Levee Breaks"-only far less expensive-the crisp, trebly snare sound with which Martin Hannett would make his career announced Unknown Pleasures as a finessed, foreboding masterpiece. Peter Hook's compressed bass rides up front as "Disorder" comes together, but it's not until the hugely reverbed, minor note guitar line crashes through that you can understand the need for such a muted, analog treatment to Hook's line. Layering a few tracks together to create a six-string shriek, Hannett's equalization cuts the brunt of Sumner's fuller live sound down to an echoing squeal, revealing a desperation born of longing rather than rage. This is the way, step inside.

At the beginning of the 1990s, the Senate didn't believe Anita Hill, Rush Limbaugh compared feminists to Nazis, and a study found that girls tended to start hating themselves during adolescence. It was a hard time to be a young woman, to be growing up on promises of equal rights that didn't square with reality. Sexual assault rates reached record highs; harassment was rife in the schools; and, boys still would be boys, and girls still had to watch what they wore and where they walked. It was enough to make a girl want to scream. Riot Grrrl roared into the spotlight in 1991: an uncompromising movement of pissed-off girls who had no patience for sexism, no stomach for double standards, and no intention of keeping quiet. Incendiary punk bands - like Bratmobile, Heavens to Betsy, and above all Bikini Kill, fronted by the magnetic, prophetic Kathleen Hanna - spread the word. Thousands of riot grrrls published handmade magazines, founded local groups, and organised conventions. The movement spread from its birthplaces of Washington, D.C. and Olympia, Washington, to the Midwest, Canada, Europe, and beyond. "Girls to the Front", the first-ever history of Riot Grrrl, is a gripping narrative with a sound track: a lyrical, punk-infused chronicle of a group of extraordinary young women coming of age angrily, collectively, and publicly. It's the story of a time when America thought feminism was dead, and feminism seemed to buy into the slacker myths of Generation X, but a generation of noisy girls rose up to prove everybody wrong. Above all, it's a story about looking for your place in the world - and finally creating it yourself.

The 'Warzone Collective' began in 1984 in the city of Belfast, Northern Ireland when a few local punks decided to consolidate their efforts and get their own venue, practice & social space. In 1986 the Collective opened its first premises in Belfast called 'Giros'. It provided a vegetarian cafe, practice space, screen printing facilities, etc. Over time the space soon became a focal point for anarchists, punks & other forward thinking individuals. In 1991 the Collective moved to a larger and more ambitious venue, which is where all of the photographs in this book were taken. Over the years thousands of people passed through Giros' doors and were exposed to some amazing bands, and new ideas. A strong D.I.Y. ethic defined the way gigs and events were organized. Over time, a recording studio, screen printing & photographic dark room facilities were set up, along with a vegetarian cafe. It didn't have an alcohol license - Giros was an all ages venue. The 'Warzone Centre' or 'The Centre' as it was called by some, became the counter-cultural alternative hub for the greater Belfast area and beyond. Bands from all over the world came here to play. It soon became infamous as being one of the most credible venues in Europe for D.I.Y. punk. The photographs in this book were taken sporadically over the years somewhere between 1997 - 2003. A small window of time considering the Warzone Collective opened its first venue in 1986. Towards the end of 2003 the Centre closed for a number of different reasons, leaving a huge gap in radical Belfast culture. In 2011, the Warzone Centre reopened after an 8 year hiatus, in a different venue on the opposite side of town. It is still going strong today.

We remember the 1980s as the era of Ronald Reagan, a conservative decade populated by preppies and yuppies dancing to a soundtrack of electronic synth pop music (the "MTV generation"). But the decade also produced some of the most creative works of punk rock - not just the music of bands like the Minutemen and the Dead Kennedys, but also visual arts, literature, poetry, and film. Kevin Mattson documents what Kurt Cobain once called a "punk rock world." He shows just how widespread the movement became, and how democratic (not at all New York-centric), due to its commitment to Do-It-Yourself (DIY) ethics. Mattson puts this movement into a wider context, telling about a culture war that punks opened up against the sitting president. Reagan's talk about end days and nuclear warfare made kids panic; his tax cuts for the rich and simultaneous slashing of school lunch program funding made punks seethe at his meanness. The anger went deep, since punks saw Reagan as the country's entertainer-in-chief - his career (from radio to Hollywood and television) synched to the very world punks rejected. Through deep archival research, Mattson reignites the heated debates that punk's opposition generated - about everything from "straight edge" ethics to anarchism to the art of dissent. By reconstructing the world of punk, Mattson shows that it was more than just a style of purple hair and torn jeans. And in so doing, he reminds readers of its importance and its challenge to simplistic assumptions about the 1980s as a one-dimensional, conservative epoch.