"Vague" began, as it happened, a few months after "England's Dreaming" left off: in the post-punk diaspora of late 1979. Turning nineteen years old in sunny Salisbury, Tom Vague began by featuring local punk bands as well as all the major acts that passed through or nearby - the Banshees, the Cure, the Ruts, Joy Division, Red Krayola, the Gang of Four, Clash, Adam and the Ants. It wasn't a pure punk fanzine - it was too late for that - but matched punk irreverence with the overall feeling of experimentation that still existed at the end of the 1970's. Over the first few issues, "Vague" continued to work out the possibilities of independence - in all senses of the word - that had been pioneered in 1976 by Mark Perry (fanzines) and in 1977 by Buzzcocks and the Desperate Bicycles (seven inch records). The whole point about fanzines and DIY singles was that you didn't have to do what everyone else did. So "Vague" mixed up reviews with Perry Harris' cartoons and what Tom describes as 'stream of consciousness prose' that reflected the chaos and the intimacy of the moment. Vague followed the post-punk strands - from the Ants to Goth to Crass to Psychobillies and Positive Punks - through to the mid 80's, and Tom's commentary precisely dates the changes. In the notes for Issue 12, July 1982, he observes that 'it was around this time that the number of exaggerated Mac Curtis haircuts increased around London and Theatre of Hate indirectly started the punkabilly cult, which consisted of disillusioned young Ants fans and reformed punky types, largely Londoners. Suddenly everyone started to look like Kirk Brandon'. Tom Vague recorded the present without any thought to posterity. Because he noted the moment so thoroughly, he became a historian, providing a record of Punk's most obdurate and persistent strands. In documenting the chaos of the 1980's from within, he has preserved a forgotten narrative of that decade: not Live Aid, New Romantic Pop or Thatcher, but a dogged and anarchic strand of youth culture that persisted into the flowering of rave in the early 90's. This collection should be read by any serious enquirer into the period." (Jon Savage : 2017)

What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment? Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period of cultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity. Contemporary reflections by those who shaped avant-garde and contestatory culture in the UK, US, Brazil and Poland in the 1970s and 1980s. Alongside these are contributions by contemporary artists, curators and scholars that provide critical perspectives on post-punk then, and its generative relation to the aesthetics and politics of cultural production today.

WINNER OF THE RALPH J. GLEASON AWARD INCLUDES FOREWORD BY JOHNNY MARR Award-winning, Sunday Times bestselling author Jon Savage's definitive history of punk, its progenitors, the Sex Pistols, and their time: the late 1970s. A pop-culture classic full of anecdote, insight and exclusive interviews, England's Dreaming tells the sensational story of the meteoric rise and rapid decline of the last great rock 'n' roll band and the cultural moment they came to define. 'The definitive history of the English punk movement.' NEW YORK TIMES BOOK REVIEW 'Still the strongest history of punk.' GUARDIAN 'The best book about punk rock and pop culture ever.' NME

England's Dreaming is the ultimate book on punk, its progenitors, the Sex Pistols, and the moment they defined for music fans in England and the United States. Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

As one of the people who defined punk’s protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher’s work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all ‘isms’, her work offers a unique take on the history of feminist art.

'No Feelings', 'No Fun', 'No Future'. The years 1976–84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.

Guerin's classic anthology of anarchism translated and reprinted, available for the first time in a single volume.

The words of this Mexican American working-class hero brought to English-language readers for the first time.

Bolivia's powerful social movements and the forces they're up against.