45 books like Is It My Body?

If Andrew Hunt’s book covers swaths of American popular culture to reveal levels of public dissent, Martin’s book takes a similar approach, but with a particular focus on grassroots activism. Across the U.S., activism took many forms. The Nuclear Freeze campaign, with its simple call to halt the arms race, inspired (in June 1982) the largest public protest in American history. Others rebelled against Reagan’s painfully slow response to even recognize the AIDS epidemic, while on college campuses students rallied against Reagan’s policies towards apartheid-era South Africa. Martin’s examination of how various strands of feminism reacted to the conservative backlash of the Reagan Era is an especially welcome addition to the decade’s historiography.

From Martin’s expansive look at things, let’s move onto a more granular approach – Fournier’s Double Nickels. Fournier focuses on just one band and an album (albeit a double record album and one of the best to come out of punk in the 1980s). The Minutemen played a fast, discordant music that sounded like jazz as much as hardcore thrash music. Fournier’s examination turns up something few people consider, that punk wasn’t all about blistering music but rather sophisticated in its nature. Fournier documents how the bassist in the band, Mike Watt, had extended conversations with one of the most important artists associated with 1980s punk – Raymond Pettibon (who as of now has made his way into accomplished art museums and galleries). They talked about everything from Ludwig Wittgenstein to James Joyce. Band members supposedly got into heated debates about history and would stop at public libraries while… show more.

Albeit about Britain more than America, the authors collected together here show how easy it was for young punks to move from just listening to music to political engagement. Most of it being direct action: squatting abandoned buildings or civil disobedience against the nuclear arms race. The most accomplished band here was Crass who had an immense impact in the United States and who drew from different sources, including, I quote, “Ghandian principles, radical philosophy, the aesthetic of the Beat and Bohemian poets, and the words of Rimbaud and Baudelaire, as much as… the formal anarchist tradition.” It’s unfair that many believe punk just to be nihilistic and violent – and the authors here show why (it should be pointed out that Worley has his own book on this, which is also quite good: No Future)

No list of books on the indie music scenes of the 1980s is complete without this classic tale of the rise of commercial tensions regarding indie rock bands.

Music offered a form of rebellion against conformity – and punk challenged the corporate music industry of the 1970s with its DIY code and aesthetics. But in its wake, new forms of rebellion and alternative pathways to success emerged – at least for a time.

These bands that Azerrad chronicles became the giants of this alternative scene, and they were the sound of college radio. As Azerrad writes, corporate labels co-opted new wave in the early 1980s, “but they couldn’t co-opt punk’s infrastructure—the local underground scenes, labels, radio stations, fanzines, and stores. They, perhaps more so than any particular musical style, are punk’s most enduring legacy.” 

If you’ve ever found yourself commuting by bicycle across a city on a wet winter’s night, or wondered about riding across the country, there are nuggets of raw truth and solidarity in the essays, interviews, stories, artwork, and poetry that compromise The Best of Boneshaker.

Ten years in the making, this throwback, almanac-inspired collection features contributors that range from Lee Ranaldo (of Sonic Youth) to writer Kjerstin Johnson, poets Michael Bazzett and Susan Moore, and Colorado Book Award-winning author and journalist Jonathan Waldman.

It’s been called a delightful companion for you and your bike, and for good reason. If you’re looking for inspiration to get out on your bike more often, it lies within these pocket-sized pages.  

The phrase “girl in a band” in the title got me to pick this book up off a table in the bookstore. I am the kind of guy who will pick up five or so books at a bookstore, take them over to the most comfortable spot I can find, and read the first few pages to see if I want to buy any of them.

The writer Kim Gordon was in an indie post-punk band called Sonic Youth, and I had just barely heard of them. After three years in Sonic Youth, Kim marries one of her fellow band members, and they stay married for 29 years. This book starts when the two of them take the stage together for the last time as they head for divorce and the band's breakup.

“They say when a marriage ends,” Gordon writes on the first pages, “that little things you never… show more.

It’s not an easy task to convey the carnal intensity and animal abandon of a performer whose default mode has always been unadulterated excess, but Paul Trynka’s masterful study of Iggy Pop hit the motherlode. Trynka went the extra mile and then some, tracking down hundreds of key witnesses to, and victims of, Pop’s creative chaos, and even attending his high school reunion (which is more than Iggy did). Jaw-dropping anecdotes were legion (taking a mid-gig dump behind the speakers, anyone?) and Trynka captured the driven essence of this brittle soul, perennially fighting the world while never even knowing why.

Marky's drinking almost managed to do what even the hate-love-hate triangle between Joey, Johnny and Dee Dee couldn't do, namely derail the band.

But what makes his book truly special for me is not so much his account of what he calls his "dog days" but his life before becoming a Ramone. He was in a hard rock band called Dust, he played in Richard Hell's Voidoids and he auditioned for the New York Dolls. If he had gotten this job, and he came very close, he would have been in no less than three seminal and legendary New York bands. 

In her life and in her writing, Lydia Lunch is able to alchemize the agony of existence into euphoria more effectively than any artist that I can think of. I could have put any of her titles (Paradoxia, Will Work for Drugs, The Gun is Loaded, etc.) on this list. Her narratives – all true stories from her past – hit like a ton of bricks and leave your own blood on the page. Lydia views the world through carnage visors and takes no prisoners on her journey, weaponizing the abuse she experienced in childhood against authority as an adult. The seamy underbelly of her world is black and white with thunder strokes of red. While reading this collection of personal essays and interviews, you can viscerally hear her spooky, cigarette-burned voice as if she is whispering the prose directly into your ear from behind.

Tells the story of the further development of punk in Washington DC, and the birth of a thousand subgenres, from emo to post-hardcore and beyond, and punk's embracing of a more aware political consciousness, as well as a broader musical spectrum.