(Book). Read & Burn is the first serious, in-depth appraisal of Wire, one of the most influential British bands to emerge during the punk era. If Wire were briefly a punk band, however, it was largely by historical accident. Despite the fact that they had complicated and transformed that category almost before they'd begun, they seem never to have quite escaped the label. Be it punk, post-punk, or art-punk, critics have clung onto the p-word in an attempt to capture the essence of Wire's innovative uniqueness. But their story which honors punk's original yet quickly forgotten commitment to the new is one of constant remaking and remodelling, one that stubbornly resists reduction to a single identity. As a result, the group's projects have always balanced uneasily between artistic endeavour and the need for commercial sustainability, played out against the backdrop of the musicians' perennially complex creative relationships. Tracing Wire's diverse output from 1977 up until the present, Read & Burn seeks to do justice to their highly influential and restlessly inventive body of work by developing a sustained critical account of their shifting approaches. It combines analysis and interpretation with perspective drawn from exclusive interviews with past and present members of the band.

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.

'If you stay alive long enough, people eventually catch up' Born in rural Georgia in 1947, Jayne moved to New York and became part of the 60s art scene surrounding Andy Warhol's Factory. Jayne's story follows the arc of LGBT liberation in the US - she came of age living hand-to-mouth, faced off against police at Stonewall and came out as a trans woman while she was touring Europe with her band. She went everywhere and met everyone and lived to tell the tale. Man Enough to Be a Woman is the funny, fierce memoir of Jayne's extraordinary journey, now including a new epilogue where she reflects on how the world has (almost) caught up with her.

"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

The Clash: trendsetters, icons, revolutionaries. They were the pioneers of British punk rock and their story is steeped in mythology. Many people have an opinion about what made them who they were - this book gives the chance to read the full story, from the band themselves. This is the first official book to be created by the band. With unprecedented access to the Clash archive, this landmark publication brings together previously unseen material - including tour posters, artwork, and photos of the band at home, on stage, in the studio and on the road - with each member telling it like it was, in their own words.

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.

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.

Life in the Stocks: Veracious conversations with musicians & creatives is a collection of rock 'n' roll stories taken from the iTunes chart-topping podcast, Life in the Stocks-hosted by UK-based DJ, presenter, and writer, Matt Stocks (Ex-Kerrang! Radio/Metal Hammer). Featuring B-Real (Cypress Hill), Clem Burke (Blondie), Nick Oliveri (Queens of the Stone Age), Doug Stanhope (Comedian), Kyle Gass (Tenacious D), Steven Van Zandt (Bruce Springsteen/The Sopranos), Monique Powell (Save Ferris), Robb Flynn (Machine Head), Tom Green (Comedian), Steve-O (Jackass), Andrew W.K. and many more...

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.

For the past two decades, young women (and men) have found their way to feminism through Riot Grrrl - more than a genre, but a movement in its own right. Against the backdrop of the culture wars and before the rise of the Internet or desktop publishing, the 'zine and music culture of the Riot Grrrl movement empowered young women to speak out against sexism and oppression. The movement created a powerful new force of liberation and unity within and outside of the women's movement. This is a collection of the original material of the Riot Grrrl movement.

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.

Wolfgang Flur was a member of Kraftwerk from 1973 to 1987, contributing to albums such as Autobahn (1974), Radioaktivitat (1975), Trans-Europa Express (1977), Die Mensch-Maschine (1978), Computerwelt (1981) and Electric Cafe (1986). He continues to record music with his solo album Eloquence being released in 2015.

This book examines the birth of punk in the UK and its transformation, within a short period of time, into post-punk. Deploying innovative concepts of 'critical mass', 'social networks' and 'music worlds', and using sophisticated techniques of 'social network analysis', it teases out the events and mechanisms involved in punk's 'micro-mobilisation', its diffusion across the UK and its transformation in certain city-based strongholds into a variety of interlocking post-punk forms. Nick Crossley offers a detailed review of prior work in this area, a rich exploration of new empirical data and a highly innovative and robust approach to the study of 'music worlds'. Written in an accessible style, this book is essential reading for anybody with an interest in either UK punk and post-punk or the impact of social networks on cultural life and the potential of social network analysis to explore this impact. -- .

*The Sunday Times Bestseller* *Featuring an exclusive new chapter* On 23 September, 2005, at the Joiners Arms in Southampton, Frank Turner played his last gig with his hardcore band, Million Dead. On the laminates that listed the tour dates, the entry for 24 September simply read: 'Get a job.' Deflated, jaded and hungover, Frank returned to his hometown of Winchester without a plan for the future. All he knew was that he wanted to keep playing music. Cut to 13 April 2012, over a thousand shows later (show 1,216 to be precise), and he was headlining a sold-out gig at Wembley Arena with his band The Sleeping Souls. Told through his tour reminiscences, this is the blisteringly honest story of Frank's career from drug-fuelled house parties and the grimy club scene to filling out arenas, fans roaring every word back at him. But more than that, it is an intimate account of what it's like to spend your life constantly on the road, sleeping on floors, invariably jetlagged, all for the love of playing live music.

The Go-Go's were the first all-female rock group in history to write their own songs, play their own instruments, and reach the top of the Billboard charts with their #1 album, Beauty and the Beat. Made In Hollywood is drummer Gina Schock's personal account of the band, which includes a treasure trove of photographs and memorabilia collected over the course of her 40-year career. The Go-Go's debut album, Beauty and the Beat, rose to the top of the charts in 1981 and their hit songs "We Got the Beat", "Our Lips Are Sealed", "Vacation", and "Head Over Heels" (to name a few) served as a soundtrack to our lives in the '80s. Now, after the release of their Critics Choice Award-winning Showtime documentary, and in anticipation of their forthcoming induction into the Rock & Roll Hall of Fame and their 2021 West Coast shows, Gina takes fans behind the scenes for a rare look at her personal images documenting the band's wild journey to the heights of fame and stardom. Featuring posters, photographs, Polaroids, and other memorabilia from her archives, Made In Hollywood also includes stories from each member of the Go-Go's, along with other cultural luminaries like Kate Pierson, Jodie Foster, Dave Stewart, Martha Quinn, and Paul Reubens. With a style as bold and distinctive as any Go-Go's album, Made In Hollywood is the perfect tribute to one of the world's most iconic groups.

The fourth installment in Ian Glasper's legendary journey into the heart of UK punk and hardcore explores the punk underground's transformation as the gritty 1980s gave way tothe 1990s

Glasper leaves no stone unturned when exploring the inspirations and motivations that drove the acts of this overlooked era of punk. From Therapy?, Understand, and Lostprophets, who all went on to major label success after starting in underground bands, through to groups who released just one demo or a lone 7" single, this history examines almost 100 bands, allowing them to tell their own stories in their own words, and is brimming with previously unseen photographs and long-lost memorabilia. The many subgenres of the scene are examined, from pop-punk (Goober Patrol, Panic) and ska-punk (Citizen Fish, Spithead), through raging hardcore (Voorhees, Assert), militant SXE (Withdrawn, Ironside) and old school punk rock (Sick On The Bus, Police Bastard), on to the birth of metalcore (Stampin' Ground, Above All) and emocore (Fabric, Bob Tilton). The leading lights and many more are explored, along with the politics, underground fanzines, and DIY labels which were synonymous with the scene. A must for anyone who enjoyed the first three books, all of which have become must reads for anybody with an interest in punk, this "fourth book in the trilogy" pulls together many of the threads of those volumes and brings Glasper's celebration of the UK's underground punk heritage to a satisfying, informative conclusion.

By January 1978, the Sex Pistols were the most talked about band on the planet. They also enjoyed the sobriquet of being the "scourge" of the British Establishment. The Pistols' anarchic antics had largely gone unnoticed in America, and it wasn't until Warner Bros secured the U.S. rights to distribute the band's debut album Never Mind The Bollocks in November 1977 that the American media sat up and took notice. Plans were soon underway to bring the Pistols over to America, but Warners hadn't counted on the band's manager, the irascible Malcolm McLaren. In purposely eschewing New York and Los Angeles in favor of off-the-rock'n'roll radar outposts such as Memphis, San Antonio and Baton Rouge, McLaren sowed the seeds for a countercultural clash that continues to resonate across America. No Feelings, No Future, No Fun: the Sex Pistols' '78 U.S. Tour covers the tour from varying perspectives-with many people sharing their experiences for the first time. The book also endeavours to separate fact from the many fallacies that still surround those twelve days of mayhem when the Sex Pistols wended their way across an unsuspecting USA.

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.

A pioneering "horror-punk" band, the Misfits are legends in their own time. This discography tells the story of the band in all of its incarnations through all of their recorded output-both official and unauthorized releases. Discographies are provided for both present and former members' solo projects and bands, along with a wealth of rare record sleeves, photos and vintage posters documenting the evolution of the band and the brand.

In the 1980s, the charts overflowed with what felt to many like the most boring pop music ever made--and the underground exploded. The postpunk scene was a diverse collection of bands brought together by independent releases and aided by reportage in fanzines and airplay by John Peel. This is the first time this era of music has been analyzed in such depth, exploring the loose confederation of noisenik outfits including Three Johns, the Membranes, the Ex, Wedding Present, A Witness, Bogshed, and Big Flame.

Under the Big Black Sun explores the nascent Los Angeles punk rock movement and its evolution to hardcore punk as it's never been told before. Authors John Doe and Tom DeSavia have woven together an enthralling story of the legendary West Coast scene from 1977-1982 by enlisting the voices of people who were there. The book shares chapter-length tales from the authors along with personal essays from famous (and infamous) players in the scene. Additional authors include: Exene Cervenka (X), Henry Rollins (Black Flag), Mike Watt (The Minutemen), Jane Wiedlin and Charlotte Caffey (Go-Go's), Dave Alvin (The Blasters), Chris D. (The Flesh Eaters), Robert Lopez (The Zeros, El Vez), Jack Grisham (T.S.O.L.), Teresa Covarrubias (The Brat), as well as scenesters and journalists Pleasant Gehman, Kristine McKenna, and Chris Morris. Through interstitial commentary, John Doe "narrates" this journey through the land of film noir sunshine, Hollywood back alleys, and suburban sprawl, the place where he met his artistic counterparts Exene, DJ Bonebrake, and Billy Zoom and formed X, the band that became synonymous with, and in many ways defined, L.A. punk. Focusing on punk's evolutionary years, Under the Big Black Sun shares stories of friendship and love, ambition and feuds, grandiose dreams and cultural rage, all combined with the tattered, glossy sheen of pop culture weirdness that epitomized the operations of Hollywood's underbelly. Readers will travel to the clubs that defined the scene, as well as to the street corners, empty lots, apartment complexes, and squats that served as de facto salons for the musicians, artists, and fringe players that hashed out what would become punk rock in Los Angeles. L.A. punk was born from rock 'n' roll, from country and blues and Latin music, the true next step in the evolution of rock music. It was born of art, culture, political, and economic frustration. It spoke of a Los Angeles that existed when regionalism still reigned in the USA. It sounded like Los Angeles. For the first time, the stories and photos from this now-fabled era are presented from those on the front lines. Stories that most have never heard about the art that was born under the big black sun