Selected writings on three decades of popular music from one of the most influential critics of his generation. Spanning three decades worth of astute, acerbic, and overall astounding music writing, Kick Out the Jams is the first large-scale anthology of the work of renowned critic Dave Marsh. Ranging from Elvis Presley to Kurt Cobain, from Nina Simone to Ani DiFranco, from the Beatles to Green Day, the book gives an opinionated, eye-opening overview of 20th-century popular music—offering a portrait not just of an era but of a writer wrestling with the American empire. Every essay bears the distinct Dave Marsh attitude and voice. That passion is evident in a heart-wrenching piece on Cobain’s suicide and legacy; a humorous attack on “Bono’s bullshit;” an indignant look at James Brown and the FBI; deep, revelatory probes into the work of underappreciated artists like Patty Griffin and Alejandro Escovedo; and inspiring insight into what drives Marsh as a writer, namely “a raging passion to explain things in the hope that others would not be trapped and to keep the way clear so that others from the trashy outskirts of barbarous America still had a place to stand—if not in the culture at large, at least in rock and roll.” If you want to explore the recent history of pop music—its politics as well as its performers—Kick Out the Jams is the perfect guidebook.

The first memoir by Wayne Kramer, legendary guitarist and cofounder of quintessential Detroit proto-punk legends The MC5 "Voyeuristically dramatic." -THE NEW YORK TIMES BOOK REVIEW In January 1969, before the world heard a note of their music, the MC5 was on the cover of Rolling Stone. Led by legendary guitarist Wayne Kramer, the band was a reflection of the times: exciting, sexy, violent, chaotic, and even out of control. The missing link between free jazz and punk rock, the MC5 toured the country, played alongside music legends, and had a rabid following, their music acting as the soundtrack to the blossoming blue collar youth movement. Kramer wanted to redefine what a rock 'n' roll group was capable of, and though there was power in reaching for that, it was also a recipe for personal and professional disaster. The band recorded three major label albums but, by 1972-it was all over. Kramer's story is (literally) a revolutionary one, but it's also the deeply personal struggle of an addict and an artist, a rebel with a great tale to tell. From the glory days of Detroit to the junk-sick streets of the East Village, from Key West to Nashville and sunny L.A., in and out of prison and on and off of drugs, Kramer's is the classic journeyman narrative, but with a twist: he's here to remind us that revolution is always an option.

Chris Smith tells the fascinating stories behind the most groundbreaking, influential, and often controversial albums ever recorded.

"Julie Houts has cultivated a devoted following as "Instagram's favourite illustrator" (Vogue) by lampooning the conflicting messages and images women consume and share with the world every day. A collection of darkly comic illustrated essays, Literally Me chronicles the daily exploits of "slightly antisocial heroines" (Refinery29) in vivid, excruciatingly funny detail, including: -The beauty routine of a deranged bride who aspires to be "truly without flaws" on her wedding day -What happens when Kylie Jenner has an existential crisis and can no longer "step out" -A journey to Coachella by the Four Horsewomen of the Apocalypse -The true dating confessions of a fembot -The terrifying description for Alice Staunch's book How to be the Perfect Feminist -The diary of Fiddle Ficus, a tree that lives inside a CÉLINE store, and much more. Literally Me marks the launch of a brilliant new social satirist. Julie's singular voice and beautiful illustrations reveal the truth about the absurdity of life in the social media age: the line between becoming a total `Girlboss' and a 21st-century American Psycho is razor-thin."--Dust jacket.

"Everything you need to know to turn your love of music--and desire to play it--into something real"--P. [4] of cover.

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.