It was an incredible year; probably the last time a youth subculture would grow to have such a huge, worldwide effect. And it all started with a few kids in The Roxy, a scruffy, one-time gay bar in London's Covent Garden. I was lucky enough to be there to capture it. But it wasn't always easy.

The summer of 1976 through the summer of 1977 was the most significant year in British rock history. This collection of memories of concerts and cultural flash points focuses on what was happening on the streets and in the clubs.

The product of decades of work and multiple self-published editions, Going Underground, written by 1980s scene veteran George Hurchalla, is the most comprehensive look yet at America’s nationwide underground punk scene. Despite the mainstream press declarations that “punk died with Sid Vicious” or that “punk was reborn with Nirvana,” author Hurchalla followed the DIY spirit of punk underground, where it not only survived but thrived nationally as a self-sustaining grassroots movement rooted in seedy clubs, rented fire halls, Xeroxed zines, and indie record shops. Rather than dwell solely on well-documented scenes from Los Angeles, New York, and Washington, DC, Hurchalla delves deep into the counterculture, rooting out stories from Chicago, Philadelphia, Austin, Cincinnati, Miami, and elsewhere. The author seamlessly mixes his personal experiences with the oral history of dozens of band members, promoters, artists, zinesters, and scenesters. Some of the countless bands covered include Articles of Faith, Big Boys, Necros, Hüsker Dü, Bad Brains, Government Issue, and Minutemen, as well as many of the essential zines of the time such as Big Takeover, Maximum RocknRoll, Flipside, and Forced Exposure. Going Underground features over a hundred unique photos from Marie Kanger-Born of Chicago, Dixon Coulbourn of Austin, Brian Trudell of LA, Malcolm Riviera of DC, Justina Davies of New York, Ed Arnaud of Arizona, and many others, along with flyers from across the nation.

This original collection of insight, analysis and conversation charts the course of punk from its underground origins, when it was an un-formed and utterly alluring near-secret, through its rapid development. Punk is Dead: Modernity Killed Every Night takes in sex, style, politics and philosophy, filtered through punk experience, while believing in the ruins of memory, to explore a past whose essence is always elusive.

For The Stranglers, 1977 was a vital year. Not quite punk, certainly not pop and often at odds with live audiences and the music press alike, their approach was such that nothing could stop them. With hits like 'Peaches', 'No More Heroes' and 'Something Better Change', there was everything to play for despite a variety of confrontations and controversies. With two commercially and musically strong albums - Rattus Norvegicus (their debut) and No More Heroes - released within just months of each other, the story of The Stranglers in 1977 is one that needs to be told. With vintage interviews and reviews in abundance, this book comprehensively documents it all with immense detail.

Traces the history of punk music from its underground roots to the mainstream charts, from Britain to the U.S., including bands such as the Sex Pistols, the Buzzcocks, and the Talking Heads, and figures such as Sid Vicious and Iggy Pop.

In March 1977, John "Johnny Rotten" Lydon of the punk band the Sex Pistols looked over the Berlin wall onto the grey, militarized landscape of East Berlin, which reminded him of home in London. Lydon went up to the wall and extended his middle finger. He didn't know it at the time, but the Sex Pistols' reputation had preceded his gesture, as young people in the "Second World" busily appropriated news reports on degenerate Western culture as punk instruction manuals. Soon after, burgeoning Polish punk impresario Henryk Gajewski brought the London punk band the Raincoats to perform at his art gallery and student club-the epicenter for Warsaw's nascent punk scene. When the Raincoats returned to England, they found London erupting at the Rock Against Racism concert, which brought together 100,000 "First World" UK punks and "Third World" Caribbean immigrants who contributed their cultures of reggae and Rastafarianism. Punk had formed networks reaching across all three of the Cold War's "worlds". The first global narrative of punk, Punk Crisis examines how transnational punk movements challenged the global order of the Cold War, blurring the boundaries between East and West, North and South, communism and capitalism through performances of creative dissent. As author Raymond A. Patton argues, punk eroded the boundaries and political categories that defined the Cold War Era, replacing them with a new framework based on identity as conservative or progressive. Through this paradigm shift, punk unwittingly ushered in a new era of global neoliberalism.

1976 Punk, Cricket and London's Burning is the story of the rise of punk as both a genre of rock and a cultural movement. In divided 1970s Britain, resentment to the establishment and old order was growing with yearnings for a new beginning. Despair and anger for the working-class young was everywhere. They were being sold a version of no hope Britain that was grey, bleak, bankrupt and unemployed with no future. Britain seemed broken and at the same time, the music was remote, insipid and uninspiring. Added to this misery was the ugly and repulsive spectre of the far-right rising in influence, sowing racial tensions and clashes in opposition to rising immigration. Yet hope was brewing. Punk was becoming the voice of young people, disgruntled with how things were! At last, there was energy and excitement. Billy Idol, Siouxsie Sioux and the Bromley Contingent were creating a new scene. The Clash and Joe Strummer were going to save the young. But they needed help and the spirit of Gene Vincent was on hand. Meanwhile, on the other hand, the people still looked to the great game of cricket. The West Indies team were touring England. They had a rising star called Viv Richards who looked special, very special. The West Indians, living in Britain, needed a hero. Viv needed a mentor, and WG Grace was there for him. 1976 would be the summer of Viv Richards scoring boundaries endlessly and the searing pace of Michael Holding sending Tony Greig's stumps into orbit blowing in the winds of redemption. The fires of Babylon were burning bright. The summer of 1976 ends with the Notting Hill riots where cricket, punk and Don Letts come together to save the day. 1976 Punk, Cricket and London's Burning is a nuanced and original look at these hard times for Britain - the perspective of icons since passed, looking on at the brewing trouble, and hoping to share their wisdom to mend it.