* Would you flee in terror if confronted with a room full of sweaty people in spandex thongs?* Are you not immune to the occasional Van Halen-style air guitar jump?* Have you been known to push aside your coffee table and dance like crazy in your living room?If you answered "yes" to any of these questions, here at last is your workout book. As simple as throwing on that old Ramones (or even White Stripes) record, punk meets a high- and low-impact workout in an exercise craze that is spreading like wildfire amongst teens and aging rockers alike: Punk Rock Aerobics. Unlikely bedfellows though they seem, punk has always been about image-from Iggy's abs to the Sex Pistols' carefully cultivated outfits. Back in the good old days cigarettes would suffice to keep rockers slim, but to have real punk energy, say these rockers-turned-certified- aerobics-instructors, you need to drop those chips and get off the couch.Chock-full of easy-to-follow moves in an accessible, home-exercise-friendly format, Punk Rock Aerobics contains photos and instructions for DIY, heart-pumping (and thigh-slimming) retro moves like the "Air Guitar," the "Skank," and the "Fire Hydrant," while suggesting songs by the Sex Pistols, Blondie, and the Stooges for a perfect workout soundtrack. With sidebars and Q&A's with rockers like J. Mascis and Evan Dando, this is definitely "not your mom's aerobics class" (Boston Globe).

Washington, D.C.-based rock 'n' roll antihero Ian F. Svenonius provides an unparalleled and exquisitely provocative how-to guide for rock bands.

Punk Rock Yoga Manifesto: Look, Work, Accept, Transcend. The Punk Rock Yoga style was born in 2003 and has flowed across North America and into Europe. This book articulates the style's philosophy, where you will explore the teachings of yoga through a modern lens and discover how to employ its wisdom in your daily life. You will learn about Yoga with a capital "Y"-moving beyond the poses, into the realm of personal transformation. The Punk Rock Yoga Manifesto takes a direct and pragmatic approach to yoga philosophy, discussing behavioral guidelines, personal temperaments, meditation practices, energy centers, and the role of poses and breath work. This book inspires self-reflection and challenges you to look at, work on, accept, and ultimately transcend everything that restrains you from personal evolution.

Harry Papadopoulos began his photographic career outside the Apollo in Glasgow, flogging photographs to gig-goers. He soon moved to London, and from 1979 to 1984 worked as a staff photographer for Sounds, for which he provided countless front covers. During those five years he covered Blondie, David Bowie, Devo, Joy Division, Bryan Ferry, Siouxsie and the Banshees, The Clash, The Specials, Wham!, ABC, Edwyn Collins, The Associates and many, many more. Harry's London flat also became home to fellow Scots such as Aztec Camera, Orange Juice and the Bluebells. Savour Peter Capaldi, years before he mutated into Malcolm Tucker, looking cute and wholesome as frontman of Glasgow band The Dreamboys(with US chat show host Craig Ferguson on drums) and relive the inky-fingered days of the 1980s music press with this fascinating look at the work of guerrilla lensman Harry Papadopoulos.

For punk rockers, music and art have often been used as tools for resisting and accommodating the interests of society's dominant classes. During the late 1970s, a predominantly white, male working/middle-class counterculture began to develop what is now known as punk rock. This book shows how punk rock serves to both subvert and accommodate the interest of late-capitalist American society by looking at the trends in the ideas, values, and beliefs transmitted through punk lyrical messages, specifically through the content of three punk record labels and how they have evolved over time. The impact of punk will continue because it is a product of the changing face of alternative cultural spaces - spaces that impact and are impacted by increasingly hostile and exploitive relationships between and within oppressor and oppressed groups.

A mind-expanding dive into a lost chapter of 1968, featuring the famous and forgotten: Van Morrison, folkie-turned-cult-leader Mel Lyman, Timothy Leary, James Brown, and many more Van Morrison's Astral Weeks is an iconic rock album shrouded in legend, a masterpiece that has touched generations of listeners and influenced everyone from Bruce Springsteen to Martin Scorsese. In his first book, acclaimed musician and journalist Ryan H. Walsh unearths the album's fascinating backstory--along with the untold secrets of the time and place that birthed it: Boston 1968. On the 50th anniversary of that tumultuous year, Walsh's book follows a criss-crossing cast of musicians and visionaries, artists and hippie entrepreneurs, from a young Tufts English professor who walks into a job as a host for TV's wildest show (one episode required two sets, each tuned to a different channel) to the mystically inclined owner of radio station WBCN, who believed he was the reincarnation of a scientist from Atlantis. Most penetratingly powerful of all is Mel Lyman, the folk-music star who decided he was God, then controlled the lives of his many followers via acid, astrology, and an underground newspaper called Avatar. A mesmerizing group of boldface names pops to life in Astral Weeks: James Brown quells tensions the night after Martin Luther King, Jr. is assassinated; the real-life crimes of the Boston Strangler come to the movie screen via Tony Curtis; Howard Zinn testifies for Avatar in the courtroom. From life-changing concerts and chilling crimes, to acid experiments and film shoots, Astral Weeks is the secret, wild history of a unique time and place. One of LitHub's 15 Books You Should Read This March

This study of Bob Dylan’s art employs a performance studies lens, exploring the distinctive ways he brings words and music to life on recordings, onstage, and onscreen. Chapters focus on the relationship of Dylan’s recorded performances to the historical bardic role, to the American popular song tradition, and to rock music culture. His uses of both stage and studio to shape his performances are explored, as are his forays into cinema. Special consideration is given to his vocal performances and to his use of particular personae as a performer. The full scope of Dylan’s body of work to date is situated in terms of the influences that have shaped his performances and the ways these performances have shaped contemporary popular music.