An immersive study of the influential and predominantly Chicanx punk rock scene in El Paso, Texas.

Punk rock is known for its daring subversion, and so is the West Texas city of El Paso. In Chuco Punk, Tara López dives into the rebellious sonic history of the city, drawing on more than seventy interviews with punks, as well as unarchived flyers, photos, and other punk memorabilia. Connecting the scene to El Paso's own history as a borderland, a site of segregation, and a city with a long lineage of cultural and musical resistance, López throws readers into the heat of backyard punx shows, the chaos of riots in derelict mechanic shops, and the thrill of skateboarding on the roofs of local middle schools. She reveals how, in this predominantly Chicanx punk rock scene, women forged their own space, sound, and community. Covering the first roots of Chuco punk in the late 1970s through the early 2000s, López moves beyond the breakout bands to shed light on how the scene influenced not only the contours of sound and El Paso but the entire topography of punk rock.

A twisting path through Austin’s underground music scene in the twentieth century’s last decade, narrated by the people who were there.

It’s 1990 in Austin, Texas. The next decade will be a tipping point in the city's metamorphosis from sleepy college town to major city. Beneath the increasingly slick exterior, though, a group of like-minded contrarians were reimagining an underground music scene. Embracing a do-it-yourself ethos, record labels emerged to release local music, zines cheered and jeered acts beneath the radar of mainstream media outlets, and upstart clubs provided a home venue for new bands to build their sound.

This vibrant scene valued expression over erudition, from the razor-sharp songcraft of Spoon to the fuzzed-out poptones of Sixteen Deluxe, and blurred the boundaries between observer and participant. Evolving in tandem with the city’s emergence on the national stage via the film Slacker and the SXSW conference and festivals, Austin’s musical underground became a spiritual crucible for the uneasy balance between commercial success and cultural authenticity, a tension that still resonates today.

The first book about Austin underground music in the ’90s, A Curious Mix of People is an oral history that tells the story of this transformative decade through the eyes of the musicians, writers, DJs, club owners, record-store employees, and other key figures who were there.

Was punk just another moment in music history, a flash in time when a group of young rebels exploded in a fury of raw sound, outrageous styles, and in-your-face attitude? Greil Marcus, author of the renowned Lipstick Traces, delves into the after-life of punk as a much richer phenomenon—a form of artistic and social rebellion that continually erupts into popular culture.

In more than seventy short pieces written over fifteen years, he traces the uncompromising strands of punk from Johnny Rotten to Elvis Costello, Sonic Youth, even Bruce Springsteen. Marcus's unparalleled insight into present-day culture and brilliant ear for music bring punk's searing half-life into deep focus. Originally published in the U.S. as Ranters and Crowd Pleasers.

Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.

This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands--demands on society, art, and all the governing structures of everyday life--seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris--based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and '60s; the rioting students and workers of May '68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage "Anarchy in the U.K." and "God Save the Queen."

Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.

Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. “I am an antichrist!” shouted singer Johnny Rotten—where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands—demands on society, art, and all the governing structures of everyday life—seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris—based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and ’60s; the rioting students and workers of May ’68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage “Anarchy in the U.K.” and “God Save the Queen.”Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.

After punk’s arrival in 1976, many art students in the northern English city of Leeds traded their paintbrushes for guitars and synthesizers. In bands ranging from Gang of Four, Soft Cell, and Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these artists-turned-musicians challenged the limits of what was deemed possible in rock and pop music. Taking avant-garde ideas to the record-buying public, they created Situationist antirock and art punk, penned deconstructed pop ditties about Jacques Derrida, and took the aesthetics of collage and shock to dark, brooding electro-dance music. In No Machos or Pop Stars Gavin Butt tells the fascinating story of the post-punk scene in Leeds, showing how England’s state-funded education policy brought together art students from different social classes to create a fertile ground for musical experimentation. Drawing on extensive interviews with band members, their associates, and teachers, Butt details the groups who wanted to dismantle both art world and music industry hierarchies by making it possible to dance to their art. Their stories reveal the subversive influence of art school in a regional music scene of lasting international significance.

Uncompromising and innovative, hardcore punk in Washington, DC, birthed a new sound and nurtured a vibrant subculture aimed at a specific segment of the city's youth. Shayna L. Maskell explores DC's hardcore scene during its short but storied peak. Led by bands like Bad Brains and Minor Threat, hardcore in the nation's capital unleashed music as angry and loud as it was fast and minimalistic. Maskell examines the music's aesthetics and the unique impact of DC's sociopolitical realities on the sound and the scene that emerged. As she shows, aspects of the music's structure merged with how bands performed it to put across distinctive representations of race, class, and gender. But those representations could be as complicated and contradictory as they were explicit.

A fascinating analysis of a punk rock hotbed, Politics as Sound tells the story of how a generation created music that produced--and resisted--politics and power.

Punk rock culture in a preeminently average town

Synonymous with American mediocrity, Peoria was fertile ground for the boredom- and anger-fueled fury of punk rock. Jonathan Wright and Dawson Barrett explore the do-it-yourself scene built by Peoria punks, performers, and scenesters in the 1980s and 1990s. From fanzines to indie record shops to renting the VFW hall for an all-ages show, Peoria's punk culture reflected the movement elsewhere, but the city's conservatism and industrial decline offered a richer-than-usual target environment for rebellion. Eyewitness accounts take readers into hangouts and long-lost venues, while interviews with the people who were there trace the ever-changing scene and varied fortunes of local legends like Caustic Defiance, Dollface, and Planes Mistaken for Stars. What emerges is a sympathetic portrait of a youth culture in search of entertainment but just as hungry for community—the shared sense of otherness that, even for one night only, could unite outsiders and discontents under the banner of music.

A raucous look at a small-city underground, Punks in Peoria takes readers off the beaten track to reveal the punk rock life as lived in Anytown, U.S.A.

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.

Patti Smith arrived in New York City at the end of the Age of Aquarius in search of work and purpose. What she found—what she fostered—was a cultural revolution. Through her poetry, her songs, her unapologetic vocal power, and her very presence as a woman fronting a rock band, she kicked open a door that countless others walked through. No other musician has better embodied the “nothing-to-hide” rawness of punk, nor has any other done more to nurture a place in society for misfits of every stripe.

Why Patti Smith Matters is the first book about the iconic artist written by a woman. The veteran music journalist Caryn Rose contextualizes Smith’s creative work, her influence, and her wide-ranging and still-evolving impact on rock and roll, visual art, and the written word. Rose goes deep into Smith’s oeuvre, from her first album, Horses, to acclaimed memoirs operating at a surprising remove from her music. The portrait of a ceaseless inventor, Why Patti Smith Matters rescues punk’s poet laureate from “strong woman” clichés. Of course Smith is strong. She is also a nuanced thinker. A maker of beautiful and challenging things. A transformative artist who has not simply entertained but also empowered millions.

The central experience of the Ramones and their music is of being an outsider, an outcast, a person who’s somehow defective, and the revolt against shame and self-loathing. The fans, argues Donna Gaines, got it right away, from their own experience of alienation at home, at school, on the streets, and from themselves. This sense of estrangement and marginality permeates everything the Ramones still offer us as artists, and as people. Why the Ramones Matter compellingly makes the case that the Ramones gave us everything; they saved rock and roll, modeled DIY ethics, and addressed our deepest collective traumas, from the personal to the historical.