When punk first broke in the UK in 1976, music journalist John Ingham was on hand to document the very heart of the scene. Struck by the music, fashion and sheer iconoclasm of a little-known outfit called the Sex Pistols, Ingham conducted the first interview with the band, partied with its members and even bailed Sid Vicious out of jail; he also witnessed and documented the group's evolution at legendary gigs shared with other pioneering punk bands in their earliest days, including the Damned, the Clash, Subway Sect and more. The result is Spirit of 76: London Punk Eyewitness, a revelatory collection of photography and fly-on-the-wall reportage showcasing the punk movement from its most raucous, bewildering beginnings. Containing the only color photos from British punk's first wave alongside Ingham's inimitable prose, this volume constitutes a rare from-the-trenches report on the UK punk explosion from one of its original participants. Here is the story of a year made up as it happened, lived with excitement and the belief that you could make the future whatever you wanted it to be.

The first book of its kind in English, Beyond No Future: Cultures of German Punk explores the texts and contexts of German punk cultures. Notwithstanding its "no future" sloganeering, punk has had a rich and complex life in German art and letters, in German urban landscapes, and in German youth culture. Beyond No Future collects innovative, methodologically diverse scholarly contributions on the life and legacy of these cultures. Focusing on punk politics and aesthetics in order to ask broader questions about German nationhood(s) in a period of rapid transition, this text offers a unique view of the decade bookended by the "German Autumn" and German unification. Consulting sources both published and unpublished, aesthetic and archival, Beyond No Future's contributors examine German punk's representational strategies, anti-historical consciousness, and refusal of programmatic intervention into contemporary political debates. Taken together, these essays demonstrate the importance of punk culture to historical, political, economic, and cultural developments taking place both in Germany and on a broader transnational scale.

Arising from the street corners and underground clubs, Rebel Music: Resistance through Hip Hop and Punk, challenges standardized schooling and argues for equity, peace, and justice. Rebel Music is an important, one-of-a-kind book that takes readers through fun, radical, educational chapters examining Hip Hop and Punk songs, with each section addressing a particular social issue. Rebel Music values the experiences found in both movements as cultural capital that is de-valued in the current oppressive, standard, test-driven, rule-bound, and corporate schooling experience, making youth "just another brick in the wall." This collection is a "rebel yell" to administrators, teachers, parents, police, politicians, and counsellors who demonize Hip Hop and Punk to listen up and respect youth culture. Finally, Rebel Music is a celebration of radical voices and an organizing tool for those who use music to challenge oppression.

Arising from the street corners and underground clubs, Rebel Music: Resistance through Hip Hop and Punk, challenges standardized schooling and argues for equity, peace, and justice. Rebel Music is an important, one-of-a-kind book that takes readers through fun, radical, educational chapters examining Hip Hop and Punk songs, with each section addressing a particular social issue. Rebel Music values the experiences found in both movements as cultural capital that is de-valued in the current oppressive, standard, test-driven, rule-bound, and corporate schooling experience, making youth "just another brick in the wall." This collection is a "rebel yell" to administrators, teachers, parents, police, politicians, and counsellors who demonize Hip Hop and Punk to listen up and respect youth culture. Finally, Rebel Music is a celebration of radical voices and an organizing tool for those who use music to challenge oppression.

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.

Performing Punk is a rich exploration of subcultural contrasts and similarities among punks. By investigating how punk is made, for whom, and in opposition to what, this book takes the reader on a journey through the lesser-known aspects of the punk subculture.

If you know what it is, punk is everywhere nowadays - in fashion, in TV ads, in loads of books and in retro mags. And as the characters aren't waxworks but in many cases living beings, some have staggered, tramped or even rocketed back into public life. It's a bit tricky to sort the crap from the class but this unusual book deserves the latter tag. If your world was influenced by Crass, the Levellers or Adam & The Ants, Let's Submerge is for you (Berger has written the definitive work on Crass and also a biog of the Levellers). The anthology is more than memoir - it's a personal take on punk and its place in Berger's life. Built on a superb, rangy interview with Crass linchpin Penny Rimbaud and including in-depth talks with mavericks such as Mark Perry, Marco Pirroni, the late Steven Wells and Spizz, it seeks to unearth what the movement/phenomenon was about and how its protagonists fit with the Berger view that punk was "a place where misfits could be accepted and conformity didn't rule." His choice of subjects might make consensus likely but that is not the point as an unflinching style gets the best out of his interviewees. A key passage in the Mark Perry interview has the priceless line: "My old mate Danny Baker, erstwhile Sniffin' Glue colleague] did an advert for Daz They're a major corporation Give us a break They're destroying the fucking world - why are we working for them? I'm not a particularly political person . . .." Perry also tells a great tale of how he was asked to appear on Baker's edition of This Is Your Life and was chastised by his ma for turning it down. "Even people I respect didn't understand. I don't live by those rules." Wherever their careers have taken them, all have consciously avoided settling in the mainstream. Berger's writing career took him to 3am (not the Daily Mirror column, but 3ammagazine.com - "Whatever it is, we're against it") and the pieces he contributed are to me the hard core of Let's Submerge. They are a riveting set, composed with passion and spiked with insight and humour, covering an unexpectedly wide terrain - drinking at the Ritz, flag-waving nationalism, the virtues of Jeffrey Archer, Crass redux and voting among others. There's also an equally spiky and humorous memoir of a spell of horse-drawn life in Ireland, and quite a bit more. In conclusion, an illuminating interview with the author puts the foregoing into historical perspective. The impression is that while Berger wants to "draw a line" rather than march on as a modern-day torchbearer, the light is unlikely to go out.

As noted in the description of the first volume of this book, every punk book seems to be about the bands, about the 'faces', about the music. Volume 2 of All The Young Punks brings you more stories from the frontline, from the trenches. Stories from the foot soldiers who made punk what it was without turning it into a career. Born too late for the inner circle, but shining like a thousand comets nonetheless - this is the story of the punks. "It felt like pure energy - like a Sherbet Dip, when you have the first mouthful and your face scrunches up" "Punk Rock had saved me and I dedicated myself to it's glory" "there was music I could relate to for when I was feeling sad, happy, funky or whatever, but nothing for when I felt angry... until THIS." "Then there was the day a bunch of us painted my mate's Woolworths acoustic guitar white then set light to it in the local park while another mate filmed it with his dad's Super 8 Camera as a 'Dada-ist Performance Piece'. Unfortunately we didn't tell the bloke who's guitar it was, and when he found out we had to go into hiding for a couple of weeks as he recruited a bunch of local 'hard nuts' to 'sort us out'...." "Records with swearing in " "It was like a story with no pre-ordained ending. I still get a electrical twinge when a band hits that first note or chord, what will happen next." "bum flaps fashioned from an old kilt of my mum's, black bondage trousers with the baby reins I had worn as a toddler attached behind, hastily marker penned anarchy armbands." "I remember buying a white catering jacket (on which I pinned a Crass badge with the 'broken gun' image in day-glo orange on white) that I fancied looked a bit like the tuxedo that Sid wore in the My Way video. Margate being a seaside resort, though, I was always being asked if I'd got a job as an ice cream seller." "Its naive to think that society could change, but to a certain extent, in the early years and with the optimism of youth I believed it could happen." "I still had long hair and was wearing a 'Tales From Topographic Oceans' teeshirt. The guitarist of Slaughter came up to me after the gig and said "Do you like Yes then?," I very nervously mumbled "Er I suppose so," to which he replied "Me too mate, fuckin' great band " "It came along just at the right time though and gave me somewhere to belong, which was a lifesaver." "I'm still in awe of the sex, style and subversion that the original Punk Explosion thrust upon unsuspecting England and if I'm not out smashing the system then I'm doing my bit to resist it's clammy clutches." "He said, "This album can't be any good. It's got 14 tracks on it." I love that quote."

New Wave: Image is Everything traces the evolution of the often neglected pop music genre, new wave. Using artists from Elvis Costello to Cyndi Lauper as illustrations, the book argues that new wave was among the first flowerings of postmodern theory in popular culture.