"The author takes us on a journey into an absurd afterlife called PUNK LAND: the punk version of Heaven. The story follows Goblin, a deformed young hermit who is perfectly happy haunting an abandoned gatehouse far outside of civilization with his pet dildo, Frog Strips, until two strangers named Nan and Mortician arrive at his doorstep with a crazy story that turns his quiet post-life existence upside-down. Goblin soon finds himself mixed up in a war between corporate punks and traditional punks that he really couldn't care less about. But without the help of Goblin, Mortician's sperm, and a blue-mohawked female assassin named Shark Girl, the utopian anarchy in Punk Land will surely be lost"--Publisher's description.

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.

In this far-reaching anthology, David Ensminger delves underground to explore the oft overlooked community of badass women who shaped the punk scene. There is a common thread of women being excluded and gatekept from the hardcore music scene but this anthology challenges that notion and shows that women have still been able to overcome, kick ass, and shred alongside the best of them. Biographies, interviews, band anecdotes, and never-before-published photos showcase the talent and artistry of bands like Bikini Kill, The Guttersluts, Bratmobile, Spitboy, the Germs, The Slits, and dozens more. Through its intimate aesthetic analysis and raw zine-like presentation, this is an essential resource for anyone looking to discover, rediscover, and cherish punk history. Includes a foreword by Katy Otto of Trophy Wife and Exotic Fever Records

Music journalist Diehl traces the history of Rnew punkS and exposes how this once cult sound became a mainstream phenomenon.

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.

Coming home from college to her grandfather's prosperous North Carolina vineyard, Mavis Black takes the measure of the emotional distance she has traveled from the people closest to her heart--the members of her eccentric Southern family. "A marvelous first novel".--"Washington Post".

An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.