The definitive monograph of Glen E. Friedman, a pioneer of skate, punk, and hip-hop photography, including much never-before-published work. Glen E. Friedman is best known for his work capturing and promoting rebellion in his portraits of artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Run-D.M.C., and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan "Ollie" Gelfand, Duane Peters, and Stacy Peralta, and a very young Tony Hawk. Designed in association with celebrated street and graphic artist Shepard Fairey, this monograph captures the most important and influential underground heroes of skateboarding, punk, and hip-hop cultures. My Rules is an unprecedented window into the three most significant countercultures of the last quarter of the twentieth century, and Friedman’s photographs define those important movements that he helped shape. A remarkable chronicle and a primer about the origins of radical street cultures, My Rules is also a statement of artistic inspiration for those influenced by these countercultures.

A stunning collection of the most iconic photographs ever taken of Black Flag, along with never-before-seen shots and a foreword by Chuck Dukowski. 256 jam-packed pages, over 300 photographs, and over 70% of the photos have never been seen. What I See: The Black Flag Photographs of Glen E. Friedman is an incredible compilation of all of Friedman's most iconic and recognizable images (from 1980 to 1983), of this seminal American punk band, as well as over one hundred never-before-seen photos made during those phenomenal peak years in the group's history. The book includes a foreword by Chuck Dukowski, a cofounder and bass player of Black Flag. Friedman's own introduction to the book takes readers through his journey with the group, from the very first time he saw them play, to his perspectives on the music of the era, to the how, why, and what Black Flag were doing at the time. His words provide additional context to the imagery, explaining what drove him to create his art alongside the band. From the streets around Black Flag's single-room home base/office, rehearsing for their first album, handing out flyers, wheat-pasting posters, driving for hours to a show and returning the same night, house parties, clubs, to the big stage and the beach, Glen E. Friedman was there with his heart, soul, and most importantly his camera. In What I See, he shares with us and inspires us with these images that were made over an incredibly volatile three-year time span.

Considered an important photographer of his generation, Glen E. Friedman has been a unique documentarian since the age of 12, and soon thereafter his first published photo appeared in SkateBoarder magazine. Over the past 25 years he has photographed some of the most idealistic, interesting and rebellious cultural icons around, documenting the rise of the hard-core punk rock scene in the late 70's/early 80's with such bands as Black Flag, Dead Kennedy's, Minor Threat and even producing the 1st album for Suicidal Tendencies (also from DogTown) and later the rise of rap music in the mid 1980's with groups such as Public Enemy, Run-DMC, and the Beastie Boys. He was one of the first to publicize these groups nationally and many of his photographs are recognized as the subjects' definitive portraits. Glen E. Friedman has compiled images from his 25-year involvement within the rebelious cultures of skateboarding, punk and hip-hop music into two collections, Fuck You Heroes (1994) and Fuck You Too (1996). Selections from these books became the Fuck You All photography exhibit, which has toured internationally since 1997. In 1998 Friedman released The Idealist which showcases his unique perspective and asthetic.

Fugazi, one of music's most revolutionary and gloriously indefinable bands, played their first concert on September 3rd, 1987. Now, twenty years to the day later 'Keep Your Eyes Open- The Fugazi photographs of Glen E. Friedman' is released. The 112 page book presents Friedman's unparalled photographic documentation of the band through nearly 200 color and black & white photographs taken both on and offstage between 1986 and the band's last US concert in 2002. "While most photgraphers were taking photos of Fugazi, Glen was making photos with us."- Ian MacKaye

A beautifully curated collection from celebrated photographer Glen E. Friedman's early years. The Idealist is a retrospective collection of Friedman's aesthetics, [featuring] some of the images for which he is justly acclaimed and many others that will be new to his fans, ranging from DogTown skateboarders, and hard-core heroes to hip-hop icons, cityscapes to portraits, public intellectuals to historical monuments. --BOMB The Idealist showcases the photography of Glen E. Friedman, who the Washington Post calls, One of the greats of his generation. The Idealist is the work of a true visionary, effortlessly mixing landscapes, still life, and documentary photography in an exploration of his own innate idealism. The images are enhanced with original comments from some of the most progressive and politically controversial thinkers of our time--Ralph Nader, Reverend Al Sharpton, Ian MacKaye, Cornel West, and Ian F. Svenonius. This collection of photographs from 25 years (1976-2001) of Friedman's work concentrates on his visual aesthetic and is the public introduction to his striking fine-art photography. Though he continues a heavy focus on both imagery and message, only a few of his traditional photographs of legendary people in the hip-hop, punk, and skate communities will be recognized. The Idealist traces Friedman's development as a fine artist as his subject matter includes a breathtaking international scope of landscapes, still life, and documentary, highlighting his capacity to capture essential moments of most anything he sets his eyes on, to help us open ours.

An endearing book of photographs of legendary skateboarding pioneer and Z-Boy Jay Adams during his childhood years, taken by Adams’s stepfather Kent Sherwood and now back in print for the first time since Adams’s passing. Skateboarding legend Jay Adams’s sudden and unexpected death at the age of fifty-three shocked the world. Media outlets including the New York Times, the Washington Post, CNN, the Hollywood Reporter, ESPN, MTV, the Telegraph, and People magazine to name only a few, paid tribute to Jay Adams; the broad coverage he received speaks to the immense influence Adams had on the sport of skateboarding and the subsequent culture he helped grow and shape. Universe is pleased to bring back into print the little-known book of photographs of Jay Adams’s earliest days as a surfer and skateboarder, taken by his stepfather Kent Sherwood. Sherwood is directly responsible for unleashing Adams’s talent on the world: he introduced Adams at a very young age to surfing and skateboarding. Sherwood, a self-taught photographer, began shooting the young Jay Adams at play, surfing, and skating with his friends, including Tony Alva, Wentzle Ruml, and Shogo Kubo, among others. Jay Boy is an endearing, intimate look at the gifted Adams and his friends, and includes sweet and revealing thoughts about his past, written in his own hand before he passed away. It is certain to appeal to any fan of skateboarding.

Revolutionary ideas on how to use markets to achieve fairness and prosperity for all Many blame today's economic inequality, stagnation, and political instability on the free market. The solution is to rein in the market, right? Radical Markets turns this thinking on its head. With a new foreword by Ethereum creator Vitalik Buterin and virtual reality pioneer Jaron Lanier as well as a new afterword by Eric Posner and Glen Weyl, this provocative book reveals bold new ways to organize markets for the good of everyone. It shows how the emancipatory force of genuinely open, free, and competitive markets can reawaken the dormant nineteenth-century spirit of liberal reform and lead to greater equality, prosperity, and cooperation. Only by radically expanding the scope of markets can we reduce inequality, restore robust economic growth, and resolve political conflicts. But to do that, we must replace our most sacred institutions with truly free and open competition—Radical Markets shows how.

From the deepest depths of punk rock's 1970s primordial wastelands, through the stygian goth swamps of the 1980s, and on into the bloodstained arenas of 1990s heavy metal, Eerie Von witnessed it all. Beginning as the unofficial photographer for punk legends The Misfits and later taking charge of the bass guitar as a founding member of underground pioneers Samhain and metal gods Danzig, the evil eye of Eerie Von's camera captured the dark heart of rock's most vital and bleeding-edge period, a time when rock and roll was not only dangerous, but downright menacing. Eerie Von's lens has documented everything from The Misfits' humble beginnings in Lodi, New Jersey, to the heights of Danzig's stadium-rock glory alongside metal superstars Metallica. As well as an essential visual document of music history, Eerie's road stories of triumph and damnation bring to life an era the likes of which will never again be seen.

The seminal artist’s recent art and poster works, and his triumphant return to his street-art roots with murals, all in work never before published. Shepard Fairey rose out of the skateboarding scene, creating his “Andre the Giant Has a Posse” sticker campaign in the late ’80s, and has since achieved a mainstream recognition that most street artists never find. Fairey’s “Hope” poster, created during Obama’s 2008 presidential campaign, is arguably the most iconic American image since Uncle Sam. Fairey has become a pop-culture icon himself, though he has remained true to his street-art roots. OBEY: Covert to Overt showcases his most recent evolution from works on paper to grander art installations, cross-cultural artworks, and music/art collaborations. The book also includes his ubiquitous streetwear and chronicles his return to public artworks. His signature blend of politics, street culture, and art makes Fairey unlike any other subculture/street artist working today. This book showcases the significant amount of art he has created the last several years: street murals, mixed-media installations, art/music events, countless silk screens, and work from his extremely successful OBEY brand.