Here are 89 books that So Real It Hurts fans have personally recommended if you like
So Real It Hurts.
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I’ve been thinking about and researching obscured narratives for a long time, now. As a lawyer, I learned about how systems and structures marginalize and hide important voices because of overt discrimination and implicit biases, and I took that knowledge with me while I earned a PhD in literary studies. I’ve learned — and am still learning! — that if we want to remedy exclusions from cultural histories, we’ve gotto learn to think about what voices are missing and why. I hope reading my book and those recommended here will give you a chance to learn with me. Let’s change the ways we think about so-called “definitive” histories of music.
This is an essential book for anyone who wants to learn about women in punk—from the explosion in the UK in 1976 to the present, and across geographic spaces.
Goldman covers a broad and diverse range of artists, highlighting the critical work women have put into making punk what it is while also illuminating the ways in which punk as a DIY ethos has allowed women musicians to push back against barriers built by misogyny and discrimination to create lasting and influential records.
This book gave me in-depth information about bands I already knew and loved, and it introduced me to other women in punk across the globe. Thanks to Goldman’s book, I’ve become invested in punk from Indonesia, Mexico, Tokyo, Iran, and more. What a gift.
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…
In 2011, when my all-girl garage band began gigging around Chicago, I couldn’t tell you how many times I heard people call us “riot grrrl.” We weren’t riot grrrls; we were far too late for the movement. But for so many people, riot grrrl was the only reference point they had for scary, brash female musicians. The truth is, women were involved in the movement’s origins in every part of the world. I believe we must understand that riot grrrls weren’t the first women of punk.My book Hit Girls: Women of Punk in the USA, 1975-1983 details the stories of lesser-known but highly influential women who helped create punk and its adjacent genres.
When I was 15, Liz Phair’s album Exile in Guyville completely turned me on to indie rock. Until then, everything I heard was baked for the radio. Liz’s dry, quivering voice, slipping in and out of key, singing candidly about sex and the unspeakable aspects of relationships, challenged the boys club and spoke to me in a way that Courtney Love and Shirley Manson hadn’t. I think it was her ability to tell a story, or maybe it was that nothing seemed “over-produced.” Either way, many years later, this book gave me important insights on the way Chicago indie-rock functioned in the ‘90s and how much bullshit Liz Phair had to put up with just for being herself.
Although Exile in Guyville was celebrated as one of the year's top records by Spin and the New York Times, it was also, to some, an abomination: a mockery of the Rolling Stones' most revered record and a rare glimpse into the psyche of a shrewd, independent, strong young woman. For these crimes, Liz Phair was run out of her hometown of Chicago, enduring a flame war perpetrated by writers who accused her of being boring, inauthentic, and even a poor musician.
With Exile in Guyville, Phair spoke for all the girls who loved the world of indie rock but…
In 2011, when my all-girl garage band began gigging around Chicago, I couldn’t tell you how many times I heard people call us “riot grrrl.” We weren’t riot grrrls; we were far too late for the movement. But for so many people, riot grrrl was the only reference point they had for scary, brash female musicians. The truth is, women were involved in the movement’s origins in every part of the world. I believe we must understand that riot grrrls weren’t the first women of punk.My book Hit Girls: Women of Punk in the USA, 1975-1983 details the stories of lesser-known but highly influential women who helped create punk and its adjacent genres.
I’ve read this book twice. Both times, I couldn’t put it down. Alice Bag can tell a story, and my neurodivergent ass loves books parsed into bite-sized sections. Alice’s stories begin with her childhood and end with her becoming a teacher.
I look up to Alice and relate to her a lot. We both grew up in difficult family situations; we were both ambitious teens who were able to befriend just about anybody; and then we both learned to express our creativity and exercise our demons through punk. Growing up a bit and reigning in our talents, we both became public school teachers. Not to mention, we both love to write our memoirs. It’s cool to see her grow and reflect on her experiences, and a perfect read for anyone wanting new stories about all the characters in the early LA punk sphere.
The proximity of the East L.A. barrio to Hollywood is as close as a short drive on the 101 freeway, but the cultural divide is enormous. Born to Mexican-born and American-naturalized parents, Alicia Armendariz migrated a few miles west to participate in the free-range birth of the 1970s punk movement. Alicia adopted the punk name Alice Bag, and became lead singer for The Bags, early punk visionaries who starred in Penelope Spheeris' documentary The Decline of Western Civilization.
Here is a life of many crossed boundaries, from East L.A.'s musica ranchera to Hollywood's punk rock; from a violent male-dominated family…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
In 2011, when my all-girl garage band began gigging around Chicago, I couldn’t tell you how many times I heard people call us “riot grrrl.” We weren’t riot grrrls; we were far too late for the movement. But for so many people, riot grrrl was the only reference point they had for scary, brash female musicians. The truth is, women were involved in the movement’s origins in every part of the world. I believe we must understand that riot grrrls weren’t the first women of punk.My book Hit Girls: Women of Punk in the USA, 1975-1983 details the stories of lesser-known but highly influential women who helped create punk and its adjacent genres.
I’m a sucker for memoirs. And English teachers. Nancy is both. She teaches language arts at a public school in Massachusetts. But most importantly, she can tell a story. The book is a series of memories from the Philly and Boston hardcore scenes in the early ‘80s. It’s hard to put down, and it’s a really necessary account that tells of all the ways women were present and participating in what has always been referred to as a movement of exclusive, testosterone-induced navel-gazing.
From disenchanted Catholic schoolgirl and glam maniac to instigator on the 1980s hardcore punk scene, Nancy Barile discovered freedom at a time when punk music was new and dangerous. She made her place behind the boards and right in the front row as insurgents such as SSD, Minor Threat, Bad Brains, Dead Kennedys and Black Flag wrote new rules and made history. She survived punk riots and urban decay, ran the streets with outcasts, and ultimately found true love as she fought for fairness and found her purpose. "Thank God we had girls like Nancy back then to keep things…
My interests as a historian involve examining how Americans organize to
change policy or politics through affiliations beyond political parties
and, by extension, thinking about how culture is made and supported
through institutions and businesses. These messy networks and
relationships ultimately define how we relate to one another in the U.S.
Indie music scenes are one way to trace all of these relationships,
from federal policy governing radio stations and what goes out over the
airwaves to the contours of local music scenes, to the business of
record labels, to ordinary DJs and music fans trying to access
information and new sounds that they love.
Before getting to radio, alternative scenes came together in the 1970s and 1980s through informal networks of shared tapes, backyard concerts, and zines. These scenes had politics all to themselves, which revolved around concepts of “authenticity.”
Duncombe’s book not only captures the range and meaning of zines in all their forms, but it unravels the deeper meaning of these DIY publications. As he writes, “Zinesters believe that authenticity can be found only in a person unshackled by the contrivances of society.” Zines thus offered the purest expressions of self, in theory, but soon, the zine scene developed its own codes of conduct and traditions – practices though that would inform the sound and practice of college radio.
What I love about this book is that it delves into theory (zinesters were like Rousseau? Who knew?!) but remains accessible, using the theory only to enlighten underappreciated aspects of zine culture.
An engaging and scholastic presentation of zines and modern culture
Much history and theory is uncovered here in the first comprehensive study of zine publishing. From their origins in early 20th century science fiction cults, their more proximate roots in 1960s counter-culture and their rapid proliferation in the wake of punk rock, Stephen Duncombe pays full due to the political importance of zines as a vital network of popular culture. He also analyzes how zines measure up to their utopian and escapist outlook in achieving fundamental social change. Packed with extracts and illustrations, he provides a useful overview of the…
My two passions in life are music (especially punk rock) and history, so obviously books about music history really hit the spot for me. As both a fan and a writer / performer, learning about the history of the music I love is very important (not to mention entertaining) for me. Here are some of my favourites.
This book has been my bible for most of my adult life - reading it as a teenager changed everything. Rollins' diaries from the gruelling years of grunt level touring with arguably the most important punk band of them all (Black Flag), it has to be read to be believed, and will make you grateful for everything you have in life, whilst also tweaking your hunger for the road.
When Lara was four years old, her father moved from Rochester, New York, to Anchorage, Alaska, a distance of over 4,000 miles. She spent her childhood chasing after him, flying a quarter of the way around the world to tug at the hem of his jacket.
I’ve published eleven classic-style space opera novels, a novella, and many short stories. Before becoming a writer, I spent twenty years in US Air Force in space operations; even though my books are light on science, I really was a rocket scientist! Plus, I’ve read science fiction since I was barely a teen, starting with Heinlein and McCaffery, and am always looking for my next favorite author!
Clair Johnson is determined to prove herself and find out what really happened to her mother. Neither of those things happen the way she expects.
This is an easy read, with interesting world building, and a realistic set of characters. I enjoyed the setting, the friend group, and the intrigue a lot!
In a world of music videos on television, punk rock, and roller derby, the race for space is finally on in this young adult SF adventure!
The United Federation has set a goal of sending a manned rocket to the moon; but rival countries will stop at nothing to plant their flags first—no matter the cost.
For Claire Johnson, that cost might be her life.
The seventeen-year-old spunky waitress wants nothing more than to honor her mother's memory by gaining entrance to the United Federation Space Program and doing her part for the mission. Yet her father wants Claire as…
My two passions in life are music (especially punk rock) and history, so obviously books about music history really hit the spot for me. As both a fan and a writer / performer, learning about the history of the music I love is very important (not to mention entertaining) for me. Here are some of my favourites.
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.
The nation's capital gave birth to the most influential punk underground of the '80s and '90s. Dance of Days recounts the rise of trailblazing artists such as Bad Brains, Henry Rollins, Minor Threat, Rites of Spring, Fugazi, and Bikini Kill.
I was a participant in the D.C. punk scene during the 1980s and helped start an organization known as Positive Force. I remember hearing about the group “Parents of Punkers,” the head of which compared punk to a violent cult. They would go on television and scare watchers about what their kids might be doing. I remember at the time that this missed the realities of my own experiences and made me want to protest this moral panic. But I knew this required some distance from the “punk rock world” I had inhabited. I kept thinking about writing this book and the timing was right.
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…
In recent years, the Minutemen have enjoyed something of a revival, due to both a chapter in Michael Azerrad's book "Our Band Could Be Your Life", and a feature length documentary film, "We Jam Econo", showcasing the band's legacy. (And having a song serve as the theme for MTV's "Jackass" show doesn't hurt, either.) To date, though, the band's actual work hasn't been the subject of much attention - everything has focused on either the interpersonal relationships that made the Minutemen so distinctive or the sudden and tragic death of guitarist/singer D. Boon. This book shines a light on the…
This memoir chronicles the lives of three generations of women with a passion for reading, writing, and travel. The story begins in 1992 in an unfinished attic in Brooklyn as the author reads a notebook written by her grandmother nearly 100 years earlier. This sets her on a 30-year search…
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
When Jennifer Egan published “Found
Objects” “Safari,” and “Ask Me If I Care” in The New Yorker I knew she
was onto something, but I wasn’t prepared for the cumulative effect of A
Visit from the Good Squad, which bounces between past and present (and,
occasionally, into the future).
One character asks, “Time’s a goon, right?”
Time is, though I hadn’t considered how until surrendering to Egan’s vision,
which spans from NYC to Africa to PowerPoint. Whether this is a collection of linked
stories or novel or some other hybrid form is irrelevant; the book is pure sorcery.
It was one of the thrills of my career to bring Egan to Omaha in 2019 to lecture
to the University of Nebraska MFA in Writing.
WINNER OF THE PULITZER PRIZE FOR FICTION NEW YORK TIMES TOP 10 BOOKS OF 2010
Jennifer Egan's spellbinding novel circles the lives of Bennie Salazar, an aging former punk rocker and record executive, and Sasha, the passionate, troubled young woman he employs. Although Bennie and Sasha never discover each other's pasts, the reader does, in intimate detail, along with the secret lives of a host of other characters whose paths intersect with theirs, over many years, in locales as varied as New York, San Francisco, Naples, and Africa.
We first meet Sasha in her mid-thirties, on her therapist's couch in…
