To wander the streets of a bankrupt, often lawless, New York City in the early 1970s wearing a T-shirt with PLEASE KILL ME written on it was an act of determined nihilism, and one often recounted in the first reports of Richard Hell filtering into the pre-punk UK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the T-shirt but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor's older, wiser self looking back at Blank Generation. Richard Hell was an artist who could not only embody but also frame the punk urge; having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960s, he had just what was needed to make one of the defining records of the era. This study combines objective, academic perspectives along with culturally centred subjectivities to understand the meanings and resonances of Richard Hell and the Voidoids' Blank Generation.

From an early age, Richard Hell dreamed of running away. He arrived penniless in New York City at seventeen; ten years later he was a pivotal voice of the age of punk, cofounding such seminal bands as Television, The Heartbreakers, and Richard Hell and the Voidoids—whose song "Blank Generation" remains the defining anthem of the era, an era that would forever alter popular culture in all its forms. How this legendary downtown artist went from a bucolic childhood in the idyllic Kentucky foothills to igniting a movement that would take over New York and London's restless youth culture—cementing CBGB as the ground zero of punk and spawning the careers of not only Hell himself, but a cohort of friends such as Tom Verlaine, Patti Smith, the Ramones, and Debby Harry—is a mesmerizing chronicle of self-invention, and of Hell's yearning for redemption through poetry, music, and art. An acutely rendered, unforgettable coming-of-age story, I Dreamed I Was a Very Clean Tramp evokes with feeling, lyricism, and piercing intelligence both the world that shaped him and the world he shaped.

Six preeminent photographers show shots that launched their careers and document the acts that launched modern rock.

On the road with the Blank Generation, "Go Now" takes readers on a wild trip across the country and into the head of a down-on-his-luck punk musician. ""Go Now" is a vile, scabrous, unforgivable, and deserving of the widest possible audience".--William Gibson.

"To wander the streets of a bankrupt, often lawless, New York City in the early 1970's wearing a tee shirt with PLEASE KILL ME written on it was an act of arch nihilism, and one often recounted in the first reports of Richard Hell filtering into pre-punkUK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the garment but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor's older, wiser, and more knowing self. Here was an artist who could not only embody but also frame the punk urge; just what was needed to make one of the defining records of the era.Having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960's, Richard Hell and The Voidoids released Blank Generation in 1977. Pete Astor's portmanteau approach uses objective and subjective perspectives to articulate the meanings of the album, combining academic rigour with the reception-based subjectivities that are key to understanding our relationships to popular culture"--

Richard Hell may best be known as a punk icon, a founding member of seminal bands Television, the Heartbreakers, and The Voidoids, but for decades he’s been a prominent voice in American letters. Through his novels Go Now and Godlike, and his critically acclaimed autobiography, I Dreamed I Was a Very Clean Tramp, Hell has proven himself as a talented and insightful writer across many genres, in many forms. But one might argue that Richard’s true genius lies in shorter form as a writer on culture. "Love comes in spurts," Hell once sang, and that could well describe the intensity of his penetrating and wickedly droll criticism. Massive Pissed Love is a collection of Hell’s ruminations on art, literature, and music, among other things, that’s like a candy box of reading treats, a bag of shiny marbles, a cabinet of mementos and uncanny fetishes. However one thinks of it, it’s a joy to read from start to finish and a deeply necessary addition to the oeuvre of one of the sharpest minds and sensibilities at work today.