Two decades after the Sex Pistols and the Ramones birthed punk music into the world, their artistic heirs burst onto the scene and changed the genre forever. While the punk originators remained underground favorites and were slow burns commercially, their heirs shattered commercial expectations for the genre. In 1994, Green Day and The Offspring each released their third albums, and the results were astounding. Green Day's Dookie went on to sell more than 15 million copies and The Offspring's Smash remains the all-time bestselling album released on an independent label. The times had changed, and so had the music.While many books, articles, and documentaries focus on the rise of punk in the '70s, few spend any substantial time on its resurgence in the '90s. Smash! will be the first to do so, detailing the circumstances surrounding the shift in '90s music culture away from grunge and legitimizing what many first-generation punks regard as post-punk, new wave, and generally anything but true punk music. With astounding access to all the key players of the time, including members of Green Day, The Offspring, NOFX, Rancid, Bad Religion, Social Distortion, and many others, renowned music writer Ian Winwood will at last give this significant, substantive, and compelling story its due. Punk rock bands were never truly successful or indeed truly famous, and that was that--until it wasn't. Smash! is the story of how the underdogs finally won and forever altered the landscape of mainstream music.

Despite releasing records only on independent labels and receiving virtually no radio play, Dead Kennedys routinely top both critic and fan polls as the greatest punk band of the late 1970s and early 1980s. Their sound was inventive and tetchy, and front man Jello Biafra's lyrics were incisive and often scathing. This chronicle--the first in-depth book written about Dead Kennedys--uses dozens of firsthand interviews, photos, and original artwork to offer a new perspective on a group that was mired in controversy almost from its inception. It examines and applauds the band's key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening and enormously funny. Author Alex Ogg puts the local and global trajectory of punk into context and, while not flinching from the wildly differing takes the individual band members have on the evolution of the band, attempts to be celebratory--if not uncritical.

Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making. In this book, Rachel Garfield breaks new ground in exploring the rebellious, feminist punk audio-visual culture of the 1970s, tracing its roots and its legacies. In their filmmaking and their performed personae, film and video artists such as Vivienne Dick, Sandra Lahire, Betzy Bromberg, Ruth Novaczek, Sadie Benning, Leslie Thornton, Abigail Child and Anne Robinson offered a powerful, deliberately awkward alternative to hegemonic conformist femininity, creating a new "punk audio visual aesthetic". A vital aspect of our vibrant contemporary digital audio visual culture, Garfield argues, can be traced back to the techniques and forms of these feminist pioneers, who like their musical contemporaries worked in a pre-digital, analogue modality that nevertheless influenced the emergent digital audio visual culture of the 1990s and 2000s.

As an industry insider and pioneering post-punk musician, Vivien Goldman's perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes-identity, money, love, and protest-to explore what makes punk such a liberating art form for women. With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain's first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song "Free Money," for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem "Identity," with the refrain "Identity is the crisis you can't see." Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.

""Lexicon Devil" is, pure and simple, the finest volume on punk to have seen the light of print. (Yes, folks: that includes "Please Kill Me.") Great book "--Richard Meltzer

Production has started on the documentary feature based on the book.

When it comes to New York City hardcore, its community proudly boasts Lou and Pete Koller-brothers who have dominated the scene worldwide since 1986 with the aurally devastating Sick of It All as their vehicle. "One the best books ever written about hardcore, period..." -Decibel Magazine For Flushing, Queens natives Lou and Pete Koller, hardcore has become a lifestyle as well as an unlikely career. From the moment these siblings began applying their abilities to punk's angrier, grimier sub-genre, they quickly became fifty percent of one of the most intense and compelling quartets to ever claim the movement-the legendary New York hardcore band, Sick of it All. Contrary to popular belief, Lou and Pete are proof positive that you don't need to have lived a street life, or come from a fractured, chaotic home in order to produce world-class hardcore. If Agnostic Front are the godfathers of New York hardcore, then vocalist Lou and guitarist Pete are its grand masters. The Blood and the Sweat is the no-holds-barred autobiography of two brothers who have never wavered, as well as an unrelenting depiction of the American dream, and the drive and determination required to live it-regardless of whatever obstacles appear before you. Featuring commentary from family, friends, bandmates past and present, and their peers, including Gary Holt (Exodus, Slayer), Kurt Brecht (D.R.I.), Barney Greenway (Napalm Death), and more...

In this comprehensive look at the music and culture behind the hardcore legacy, Steven Blush blends his own first-hand experience of the scene with interviews, photographs and complete discographies. The Second Edition of the definitive work on one of rock's most important eras (Juxtapoz), has over 100 new pieces of artwork, hundreds of new band bios and a radically expanded discography. The first edition, which became the Sony Classics released documentary of the same name, was 328 pages; the new edition clocks in at 408 pages. According to the Los Angeles Times, American Hardcore is the definitive treatment of hardcore punk, changing the way we look at punk rock. And according to Paper magazine, American Hardcore sets the record straight about the last great American subculture.

Raised in Queens, where he worked as a plumber while honing his guitar skills, Johnny Ramone eventually became a founding member of The Ramones, one of the most influential rock bands of all time. Often called the first punk rock outfit, their status is now legendary. But despite becoming an international star when he was alive, Johnny never really strayed from his blue-collar roots and attitude. His bouts of delinquency as a kid might have given way to true discipline when it came to keeping the band in line, but he was truly imbued with the angr y-young-man spirit that would characterise his persona on and off stage. Johnny was the driving force behind the Ramones, sometimes referred to as a drill sergeant, bringing order and regiment to the band. This was evident in the speed, accuracy and intensity of their music. Johnny kept the band focused and moving forward, ultimately securing their place in rock history. The Ram ones were inducted into the Rock and Roll Hall of Fame in 2002 and two years later, Johnny dies of cancer, outliving the other two founding members and getting the last and complete word. Brutally honest, revealing and touching, this is Johnny Ramones's story and the story of the Ramones from start to finish, told in his own words and on his own terms. In addition to his story, the book will contain Johnny's annotated and graded assessment of the Ramones' albums, a number of eccentric Top Ten Lists; favourite Elvis films, favourite Republicans [Johnny was actually pretty conservative], favourite horror films, pages from his legendary "black books" with notes on concerts, inspirations, anecdotes and scores of black and white and colour photos, many of which have not been published before.

When Punk Rock took on the establishment in the late 1970s it was about more than just the music. Fashion, culture, attitude, all went hand in hand with what the likes of The Sex Pistols, The Damned and The Clash gave the youth of the day. This visual biography charts all of that with fabulous photography of the bands, the fans and the day-to-day happenings. Re-live your youth or if you weren't around at the time, immerse yourself in the youth culture of the late seventies and early eighties.

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

In this book, Wilson Neate gets beneath the surface of a punk band with a difference. In contrast with many of their punk peers, Wire were enigmatic and cerebral, always keeping a distance from the crowd. Although Pink Flag appeared before the end of 1977, it was already a meta-commentary on the punk scene and was far more revolutionary musically than the rest of the competition. Few punk bands moved beyond pared-down rock 'n' roll and garage rock, football-terrace sing-alongs or shambolic pub rock and, if we're honest, only a handful of punk records hold up today as anything other than increasingly quaint period pieces.While the majority of their peers flogged one idea to death and paid only lip service to punk's Year Zero credo, Wire took a genuinely radical approach, deconstructing song conventions, exploring new possibilities and consistently reinventing their sound. This is a chord. This is another. This is a third. Now form a band, proclaimed the caption to the famous diagram in a UK fanzine in 1976 and countless punk acts embodied that do-it-yourself spirit. Wire, however, showed more interesting ways of doing it once you'd formed that band and they found more compelling uses for those three mythical chords."33 1/3" is a series of short books about a wide variety of albums, by artists ranging from James Brown to the Beastie Boys. Launched in September 2003, the series now contains over 50 titles and is acclaimed and loved by fans, musicians and scholars alike.

Art school Britain in the 1960s and 1970s - a hotbed of experimental DIY creativity blurring the lines between art and music. In Blank Canvas, multi-genre musician turned university lecturer Simon Strange paints a picture of the diverse range of people who broke down the barriers between art, life and the creative self. Tracing lines from the Bauhaus 'blank slate' through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across music, gender and race spectrums, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. Illustrated is a picture of two decades erupting in a devastatingly diverse flow of outspoken originality as an eclectic range of musical styles and cultures fused. Does modern day music education suffocate the soul and inhibit the impact of the bohemian artist? This book asks questions of today's artists, musicians, and educators, looking for the essence of creativity and suggests how lessons learnt in and around art school education show a path for the cultural evolution of both musicians and artists hoping to create the future. Audience will include university students at all levels in popular music, popular culture and creative arts education. Academics, educators and researchers working in popular culture and creativity. May also appeal to a more general reader interested in popular culture and creativity. With a Blank Canvas, anything is possible...

In this fascinating and brutal photographic exploration, the legacy of American punk rock pioneers Black Flag is examined through stories, interviews and photographs of diehard fans who wear their iconic logo, the bars, conspicuously tattooed upon their skin.

Rip It Up and Start Again is the first book-length exploration of the wildly adventurous music created in the years after punk. Renowned music journalist Simon Reynolds celebrates the futurist spirit of such bands as Joy Division, Gang of Four, Talking Heads, and Devo, which resulted in endless innovations in music, lyrics, performance, and style and continued into the early eighties with the video-savvy synth-pop of groups such as Human League, Depeche Mode, and Soft Cell, whose success coincided with the rise of MTV. Full of insight and anecdotes and populated by charismatic characters, Rip It Up and Start Again re-creates the idealism, urgency, and excitement of one of the most important and challenging periods in the history of popular music.

Courtney Love has never been less than notorious. Her intelligence, ambition and appetite for confrontation has made her a target in a music industry still dominated by men. As Kurt Cobain's wife she was derided as an opportunistic groupie; as his widow she is pitied, and scorned, as the madwoman in rock's attic. Yet Hole's second album, "Live Through This," awoke a feminist consciousness in a generation of teenage girls."Live Through This" arrived in 1994, at a tumultuous point in the history of American music. Three years earlier, Nirvana's "Nevermind "had broken open the punk underground, and the first issue of a zine called Riot Grrrl had been published. Hole were of this context and yet outside of it: too famous for the strict punk ethics of riot-grrrl, too explicitly feminist to be the world's biggest rock band. And then Kurt Cobain shot himself, four days before the album's scheduled release."Live Through This" is an album about girlhood and motherhood; desire and disgust; self-destruction and survival. There have been few rock albums before or since so intimately concerned with female experience. The album is a key document of third-wave feminism, but the conditions that produced its particular aesthetic have disappeared. So where did the energy of that feminism go? And why is Courtney Love's achievement as a songwriter and musician still not taken seriously, nearly twenty years on?

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.

This expanded edition is updated with six more interviews and a new introduction, bringing the definitive book of conversations with the underground's greatest minds up to 2007.