In this excerpt of British punk history book, ‘No Machos or Pop Stars’, the Mekons, Gang of Four, and Delta 5 put their anti-hierarchical, anti-capitalist, feminist theory to the test.
Henry David Thoreau was the original punk. A punk of individual liberty, authenticity, and the rejection of conformity amidst a mindless society.
Joe Strummer’s fear of becoming bored or stuck provoked him and the Mescaleros to turn over new stones any chance they could. This new set is comprehensive.
No group combined the rebellious, enterprising ambition of the punk movement with the grand and performative nature of major pop superstardom like Blondie did.
On Kal Marks’ My Name Is Hell the vocal production is cleaner with the band’s new line-up, capturing the dynamic between Shane’s nonchalant singing and vocal cord-tearing screams.
It was not without admirable aplomb that Times Square attempted to capture the punk movement in its zeitgeist the way Saturday Night Fever did with disco.
Danny Garcia’s chaotic, discursive documentary Nightclubbing, argues that Max’s Kansas City, not CBGB’s, was the true font of American punk rock.
Not About to Die is a bootleg cassette of scrappy Wire demos recorded in the late 1970s that circulated in the early 1980s. It’s finally an official release.
The punk rock version of James Dean, Sid Vicious solidified his fame by dying young, leaving behind memories of his notorious behavior and the mystery of his girlfriend’s murder.
Berlin’s newest festival, Tempelhof Sounds, begins with plenty of love and grace, as several UK, German, and even Belarusan bands take over a delectable presummer evening.
Michael Goldberg captures The Avengers’ Jimmy Wilsey and his downward trajectory with spare, slow, searching lines much like the guitarist summoned from his instrument.
Kathleen Hanna’s “Mirrorball” is the effusive first single from LAND TRUST, a benefit album spearheaded by Bikini Kill alumni and featuring feminist punks.
