A compelling visual portrait of a time, place, and subculture that raised a middle finger to modern society Oh So Pretty: Punk in Print 1976-80 is an unrivalled collection of visually striking ephemera from Britain’s punk subculture. It presents 500 artefacts - 'zines,' gig posters, flyers, and badges - from well-known and obscure musical acts, designers, venues, and related political groups. While punk was first and foremost a music phenomenon, it reflected a DIY spirit and instantly recognizable aesthetic that was as raw and strident and irrepressible as the music. As disposable as the items in this book once were, together they tell a story about music, history, class, and art, and document a seismic shift in society and visual culture.

The product of decades of work and multiple self-published editions, Going Underground, written by 1980s scene veteran George Hurchalla, is the most comprehensive look yet at America’s nationwide underground punk scene. Despite the mainstream press declarations that “punk died with Sid Vicious” or that “punk was reborn with Nirvana,” author Hurchalla followed the DIY spirit of punk underground, where it not only survived but thrived nationally as a self-sustaining grassroots movement rooted in seedy clubs, rented fire halls, Xeroxed zines, and indie record shops. Rather than dwell solely on well-documented scenes from Los Angeles, New York, and Washington, DC, Hurchalla delves deep into the counterculture, rooting out stories from Chicago, Philadelphia, Austin, Cincinnati, Miami, and elsewhere. The author seamlessly mixes his personal experiences with the oral history of dozens of band members, promoters, artists, zinesters, and scenesters. Some of the countless bands covered include Articles of Faith, Big Boys, Necros, Hüsker Dü, Bad Brains, Government Issue, and Minutemen, as well as many of the essential zines of the time such as Big Takeover, Maximum RocknRoll, Flipside, and Forced Exposure. Going Underground features over a hundred unique photos from Marie Kanger-Born of Chicago, Dixon Coulbourn of Austin, Brian Trudell of LA, Malcolm Riviera of DC, Justina Davies of New York, Ed Arnaud of Arizona, and many others, along with flyers from across the nation.

David II (1329–1371), son of the hero King of Scots, Robert Bruce (1306–1329), has suffered a harsh historical press, condemned as a disastrous general, a womaniser and a sympathiser with Scotland's 'auld enemy', England. Bringing together evidence from Scotland, England and France, Michael Penman offers a different view: that of a child king who survived usurpation, English invasion, exile and eleven years of English captivity after defeat in battle in 1326 to emerge as a formidable ruler of Scotland. Learning from Philip VI of France and Edward III of England in turn, David became the charismatic patron of a vibrant court focused on the arts of chivalry: had he lived longer, Scotland's political landscape and national outlook might have been very different to that which emerged under his successors, the Stewart kings. But David's was also a reign of internal tensions fuelled by his increasingly desperate efforts to determine the royal succession, overawe great magnates like his heir presumptive, Robert the Steward, and persuade his subjects of the need for closer relations with England after sixty years of war.

Music.

This original collection of insight, analysis and conversation charts the course of punk from its underground origins, when it was an un-formed and utterly alluring near-secret, through its rapid development. Punk is Dead: Modernity Killed Every Night takes in sex, style, politics and philosophy, filtered through punk experience, while believing in the ruins of memory, to explore a past whose essence is always elusive.

An astonishing collection of over 700 original scans of printed ephemera and memorabilia from the prime years of the punk and post-punk movements. Since finding punk in the summer of 1976, Andrew Krivine has amassed one of the world's largest collections of punk graphic design and memorabilia, with part of his collection exhibiting at the Cranbrook Art Museum in Michigan, before moving to the New York Museum of Arts and Design, and many other such spaces around the world in 2020 and 2021. This book represents the cream of that collection--over 700 original scans of posters, flyers, covers, and ads from the prime years of the movement, which changed the world of graphic design forever. Too Fast to Live tells of one man's obsession with creating an unparalleled collection of punk memorabilia. The illustrative content of the book is verified, critically assessed, and given provenance by an array of graphic design experts, academics, and commentators, among them Steven Heller (former art director at the New York Times), Russ Bestley, Professor Rick Poynor, Malcolm Garrett, and Pulitzer and National Book Award-winning editor Michael Wilde. The unique mix of imagery and text makes this arguably the most essential and definitive work on the graphic design revolution within the punk and post-punk movements of America and the U.K.

"Stealing all transmissions is a love story. Its the story of how The Clash fell in love with America, and how America loved them back. The romance began in full in 1977, when select rock journalists and deejays aided the bands quest to depose the rock of indolence that dominated American airwaves. This history situates The Clash amid the cultural skirmishes of the 1970s, and culminates with their September 1979 performance at the Palladium, in New York City. This concert was broadcast live on WNEW, and it concluded with Paul Simonon treating his Fender bass like a woodsmans ax. This performance produced one of the most exhilarating Clash bootleg recordings, and the photo of Simonons outburstwhich graced the cover of the London Calling LPwas recently deemed the greatest rocknroll photograph of all time. That night marked one of the last opportunities for American audiences to see The Clash as a punk band, vying between conviction and uncertainty, before they became a seriously brilliant rock group. Stealing represents a distinctive take on the history of punk, for no other book gives proper attention to the forces of free-form radio, long-form rock journalism, or Clash bootleg recordingsmany of which are now widely available on the web."--Publisher description.