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.

During the 1970s, the synthesizer spurred many fundamental shifts in the mechanisms of music-making. Along with the popularization of the musical aesthetics established by both the punk and post-punk movements, the synthesizer led to ground-breaking effects and processes. Dark Waves examines the role of the synthesizer in shaping the dark and dystopian sound of electronic music in 1970s Britain and is the first collected musicological analysis of The Normal, Throbbing Gristle, Cabaret Voltaire and John Foxx. Many of these acts, dark in content, presentation and manner, would go on to influence the more commercial sound of 1980s synth pop, which in turn shaped mainstream electronic music today.

Fergie and Sid have arrived in London... and a whole pile of trouble. All Fergie has to go on in the search for his father is an old photograph and some snippets of information that suggest "Billy" was involved in the music business in the Eighties and Nineties. Tracking down old contacts, Fergie and Sid find themselves getting mired in a shadowy undercurrent of the occult and whispers of entities not from our world. Meanwhile, back in Preston, Fergie's mum Julie forms an unlikely alliance with Natalie as they try to find the missing Fergie. "A gorgeous comic that feels as fresh as the zits on Sid's sneering face." DoomRocket "...a supernatural ghost story... sharply written..." Comic Bastards Collects the Punk's Not Dead: London Calling series.

#1 New Release in Punk and Music Philosophy & Social Aspects, Theory, Composition & Performance A Look at the History of the Emo and Indie Music EraExplore the cultural, social, and psychological factors surrounding the genres. Though songs can be timeless, music is often a result of the era in which it was created. The 2000s in music gave rise to indie, emo, and punk rock, carrying an emotional tone that has resonated with listeners ever since. Originally appealing to a small selection of music lovers, this music era now holds a significant place in the history of rock. The relationship between music and mental health. Music leaves its mark on the world by touching the hearts and minds of its creators and listeners. This book explores that connection and takes a look at what emo, alternative, and indie music did for the mental health of musicians and listeners. Inside stories from the music legends themselves. The voices of the rock musicians who contributed to these genres of music are just as important now as they were then. Author Taylor Markarian includes both her own interviews with bands and those from outside sources to provide an oral history and offer an authentic portrayal of these underground arts. Markarian's book offers a comprehensive look into genres of music that have been simultaneously mocked and admired. Discover in From the Basement: The beauty and legitimacy of the gritty, wailing music that evolved into indie, alternative, and emo Insights from conversations with favorite emo/indie bands of the time The impact these genres have had on the millennial generation and today's pop culture and mental health Extensive coverage of bands like Save the Day, Dashboard Confessional, and My Chemical Romance If books such as Please Kill Me, American Hardcore, Meet Me in the Bathroom, and Sex, Drugs, and Cocoa Puffs have rocked your world, then From the Basement: A History of Emo Music and How It Changed Society should be your next read. Please note: A batch of printed copies mislabeled the band Hot Water Music as How Water Music. If you received a copy with this issue, please contact [email protected] to recieve a corrected copy of the book.

'No Feelings', 'No Fun', 'No Future'. The years 1976-84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.

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.

In the mid-seventies, the Sex Pistols, the most controversial rock-and-roll band ever, erupted out of London, offending everyone from members of Parliament to the rock establishment it sought to unseat. With its raw, anarchic sounds, aura of sex and violence, outrageous behavior, and concerts that frequently degenerated into near-riots, the band changed the rules of rock-and-roll forever. Add to that the early death of band member Sid Vicious, by heroin overdose, and you have all the ingredients for a legend.

In January 1978, the Sex Pistols came to the United States for a twelve-day tour, mostly of cities in the Deep South. 12 Days on the Road is an extraordinary moment-by-moment re-creation of that wild adventure by Noel E. Monk, the Sex Pistols' American tour manager, and veteran journalist Jimmy Guterman. Here is a sensational, "explosive chapter in the history of rock" (Booklist) that is also "a touching and improbable tale of innocence and exploitation" (Kirkus Reviews).

With many incarnations, The Fall (1976-2018) were one of the most influential bands to emerge in the British Post-Punk Scene. Their unique sound and distinct iconography have had a lasting impact on music fans and performers alike. This book disassembles The Fall's significant contribution to music. Based on up-to-date original research, the book separates fact from fiction and offers a thorough investigation into The Fall and their founder/leader Mark E Smith, in particular. Given The Fall's complexities (their wide range of influences; multiple line-ups and 'anti-music' stance), the book draws upon a wide range of academic disciplines, including ethnomusicology, sociology, literary theory, linguistics, journalism, cultural studies, and film and media studies, in order to unpack the group's influence and legacy.

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.

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.

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.

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.

It's 1992. In a small town in Fife, a girl is busting to get out into the world and see what's on offer. And an ad in the local paper declares: Band Seeks Singer. Grunge has just gone global, scruffy indie kids are inheriting the earth, and a schoolgirl from Glenrothes is catapulted to a rock star lifestyle as the singer in a hot new indie band. Touring with Radiohead, partying with Blur, she was living the dream. Until she wasn't. What Girls Are Made Of is the true story of Bissett's teenage years, based on her meticulously detailed, pull-no-punches diaries, which she found after the death of her father. It's a rollercoaster journey from the girl she was to the woman she wanted to be: rocketed into teenage stardom, suddenly dropped by their manager, and then the following of years of becoming an actor, writer and director. Described by Miro Magazine as "a glorious mixture of harrowing and life-affirming messages", the script also includes a play list of female-led soundtracks, that were played in the production.

Grinding California provides the first academic analysis of the subculture of skate punk at book-length. It establishes highly critical evaluations of the discourses that influenced early skateboarding and punk cultures. Based on an examination of songs, flyers, magazines, and videos, Konstantin Butz revisits the American popular cultures of the 1980s and approaches them from a variety of theoretical and methodological angles. He introduces contemplations of the rebellious potential that can be located within skate punk's material and corporeal contestations of the site-specific locale of suburban Southern California. Theoretical recourses to thinkers such as Gilles Deleuze, Felix Guattari, Jean Baudrillard, and Hans Ulrich Gumbrecht are topped off with excerpts from interviews with some of the most influential protagonists of the 1980s skate punk scene.

Punk rock has long been equated with the ever-shifting concepts of dissent, disruption, and counter-cultural activities. As a result, since its 1970s and 1980s incarnations, when bands in Britain-from The Clash and Sex Pistols to Angelic Upstarts, U.K. Subs, and Crass-offered alternative political convictions and subversive lifestyle choices, the media has often deemed punk a threat. Bands like Circle Jerks, Dead Kennedys, Bad Religion, and Millions of Dead Cops followed suit in America, pushing similar boundaries as the music mutated into a harsher "hardcore" style that branched deep into suburban enclaves. Those antagonisms and ideals were, in turn, translated by another wave of bands-from Fugazi to Anti-Flag-whose commitment to community building was as pronounced as their taut, explosive tunes. In The Politics of Punk, David Ensminger probes the conscience of punk by going beyond the lyrics and slogans of the pithy culture war. He paints a broad, nuanced, and well-documented picture of the ongoing activism and outreach inherent in punk. Creating a people's history of punk's social, cultural, aesthetic, and political features, the book features original interviews with members of Dead Kennedys, Dead Boys, MDC, Channel 3, Snap-Her, Scream, Minutemen, TSOL, the Avengers, Blowdryers, and many more. Ensminger highlights punk money's influence on philanthropy and community involvement and paints a contextualized picture of how punk critiqued dominant culture by channeling support and media coverage for a wide array of humanitarian programs for gays and lesbians, the homeless, the disabled, environmental and health research, and other causes.

With punk tunes to die for, raucous gigs to get the world jumping and lyrics that resonate with a generation, All Time Low are putting the power back into power-pop and owning stages across the globe. In 2003, four best friends, Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick, got together in high school, bonding over their love of Blink-182 and soon set off on a path that would emulate their heroes. The group was signed before graduating and soon found they were breaking out as Vans Warped Tour favourites. Songs like 'Dear Maria, Count Me In' brought the band firmly onto the world stage as the group established itself as one of the most exciting on the circuit, touring as headliners in their own right as well as supporting seminal genre acts Green Day and Blink-182. The group's status as serious pop-punk heroes was further strengthened by the superbly-received 2012 album, Don't Panic, packed to the edges with blistering skate-punk riffs, infectious vocal harmonies and sparkling guitar play. With their 2015 album Future Hearts having debuted at No. 2 in the US Billboard 200 and topping the UK album charts, All Time Low have proved they're here to stay. Affectionate, in-depth and packed with more inside stories than you can shake a drumstick at, Don't Party, Let's Panic tells the unofficial story behind four boys who were destined to become the greatest thing to come out of Towson, Baltimore. The time for superstardom is nigh for a quartet whose party-loving ways and instant rapport with their fanbase are as strong as those irresistible riffs and melodies. The future is theirs.

A Transnational History of Punk Communities in Poland is a multi-regional study of the history and contemporary condition of two Polish punk communities: the one in Warsaw and surrounding areas, and the Upper Silesian region: both rich in varied and sometimes conflicting punk traditions. The author, a self-identified member of the punk subculture formerly living and active in Warsaw, explores the various political, economic and social dimensions of the development of these unique communities and the meaning of the punk ethos for people across different age groups, genders, and life experiences, in relation to other subcultures, especially skinheads, and the broader society. An additional dimension, previously unexplored in scholarship, are the ties between these Polish punk communities and their counterparts in the United States and Canada. The personal connections between early bands and the long lasting transnational aspects of punk practices are shown to be an important factor in the shaping of punk attitudes across time and space. The economics of everyday punk life are discussed referring to contemporary scholarship on the subject, punk lyrics, and ethnographies which throughout the book illustrate selected themes and problems. This study includes insight about obscure yet foundational Silesian bands and their defiant, sardonic humor; about punk and anarchy, punk versus communism and the political opposition in the 1980s, punks' attitudes toward the transformation of 1989, about being a punk girl on the streets of Warsaw or Wodzislaw Slaski. Discover punk as an old subculture that cherishes its own past and remains an important alternative to mainstream cultural practices in a rapidly "Westernizing" and corporatizing country.

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..."

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. -- .