Punk’s War reveals the inner workings of the Navy as only an insider can. An authentic and riveting thriller, it is a highly acclaimed novel of a fighter pilot’s experiences in the era just before 9/11. As the U.S. military currently enters another post-conflict period, the themes of leadership during crisis and accomplishing the mission make Punk’s War more relevant than ever.

Ward Carroll's electrifying debut, Punk's War, blew away readers, critics, and Navy veterans with "an intriguing look at the modern military [that] honors the men and women who serve" (Library Journal). In his second novel, Carroll brings back Navy lieutenant Rick "Punk" Reichert--with a training squadron of new pilots--on a collision course with danger and destiny. When the F-14 Tomcat of the only female flier in Punk's training class rolls wildly during a hop, nearly causing a midair collision, Punk connects the dots to a similar accident that claimed the life of one of his fellow trainers and suspects a cover-up involving the use of faulty parts. But no sooner does he bring on the heat with his allegations that a far more important crisis calls Punk's squadron into active duty. This time, it is not a training drill . . . it's America's next war.

In this third title of Carroll's series, Punk is shot down over Central Afghanistan and captured. After he escapes, Punk must navigate through the war-torn country to face a world of resistance fighters, warlords, CIA undercover ops, and corrupt officers on both sides of the fray. Original.

As an industry insider and pioneering post-punk musician, Vivien Goldman’s perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes—identity, money, love, and protest—to explore what makes punk such a liberating art form for women. With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain’s first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song “Free Money,” for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem “Identity,” with the refrain “Identity is the crisis you can't see.” Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.

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.

Germany has one of the liveliest and well-developed punk scenes in the world. However, punk in this country is not just a style-based music community. This book provides an anthropological examination of how punk reflects the larger changes and contradictions in post-reunification Germany, such as social segmentation, east-west tensions and local politics. Punk in eastern Germany is a reaction to the marginalization of the working class. As a cultural, social and economic niche, punks create their own controversial “substitute society” to compensate for their low status in mainstream society.

Punk rock culture in a preeminently average town Synonymous with American mediocrity, Peoria was fertile ground for the boredom- and anger-fueled fury of punk rock. Jonathan Wright and Dawson Barrett explore the do-it-yourself scene built by Peoria punks, performers, and scenesters in the 1980s and 1990s. From fanzines to indie record shops to renting the VFW hall for an all-ages show, Peoria's punk culture reflected the movement elsewhere, but the city's conservatism and industrial decline offered a richer-than-usual target environment for rebellion. Eyewitness accounts take readers into hangouts and long-lost venues, while interviews with the people who were there trace the ever-changing scene and varied fortunes of local legends like Caustic Defiance, Dollface, and Planes Mistaken for Stars. What emerges is a sympathetic portrait of a youth culture in search of entertainment but just as hungry for community—the shared sense of otherness that, even for one night only, could unite outsiders and discontents under the banner of music. A raucous look at a small-city underground, Punks in Peoria takes readers off the beaten track to reveal the punk rock life as lived in Anytown, U.S.A.

Educational and inspirational, this gift-worthy New York Times bestseller from the authors of Rad American Women A-Z, is a bold, illustrated collection of 40 biographical profiles showcasing extraordinary women from across the globe. Rad Women Worldwide tells fresh, engaging, and amazing tales of perseverance and radical success by pairing well-researched and riveting biographies with powerful and expressive cut-paper portraits. The book features an array of diverse figures from 430 BCE to 2016, spanning 31 countries around the world, from Hatshepsut (the great female king who ruled Egypt peacefully for two decades) and Malala Yousafzi (the youngest person to win the Nobel Peace Prize) to Poly Styrene (legendary teenage punk and lead singer of X-Ray Spex) and Liv Arnesen and Ann Bancroft (polar explorers and the first women to cross Antarctica). An additional 250 names of international rad women are also included as a reference for readers to continue their own research. This progressive and visually arresting book is a compelling addition to women's history and belongs on the shelf of every school, library, and home. Together, these stories show the immense range of what women have done and can do. May we all have the courage to be rad! For teachers, this book is appropriate for grades 6-8 and could be used in either Social Studies or English classes, or as part of a text for a multidisciplinary unit. It can also be used as a Common Core text for grades 6-8 Social Studies/History - CCSS.ELA-LITERACY.RH.6-8.1-10.

“A rallying call against authoritarianism everywhere.” —Ruth Franklin, author of the NBCC Award–winning Shirley Jackson: A Rather Haunted Life It began with a handful of East Berlin teens who heard the Sex Pistols on a British military radio broadcast to troops in West Berlin, and it ended with the collapse of the East German dictatorship. Punk rock was a life-changing discovery. The buzz-saw guitars, the messed-up clothing and hair, the rejection of society and the DIY approach to building a new one: in their gray surroundings, where everyone’s future was preordained by some communist apparatchik, punk represented a revolutionary philosophy—quite literally, as it turned out. But as these young kids tried to form bands and became more visible, security forces—including the dreaded secret police, the Stasi—targeted them. They were spied on by friends and even members of their own families; they were expelled from schools and fired from jobs; they were beaten by police and imprisoned. Instead of conforming, the punks fought back, playing an indispensable role in the underground movements that helped bring down the Berlin Wall. This secret history of East German punk rock is not just about the music; it is a story of extraordinary bravery in the face of one of the most oppressive regimes in history. Rollicking, cinematic, deeply researched, highly readable, and thrillingly topical, BurningDown the Haus brings to life the young men and women who successfully fought authoritarianism three chords at a time—and is a fiery testament to the irrepressible spirit of revolution.