Here are 100 books that The Minutemen's Double Nickels on the Dime fans have personally recommended if you like
The Minutemen's Double Nickels on the Dime.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
My interest in the decade and in the Cold War came during graduate school. This was where I discovered Carl Sagan’s theory of a nuclear winter: that after a nuclear war, the debris and smoke from nuclear bombs would cover the earth and make it inhabitable for life on earth. Tracing debates between this celebrity scientist and U.S. policymakers revealed a hesitancy on either side to even consider each other’s point of view. This research made me reconsider the pop culture of my youth—films like The Day After and Wargames, music like “Shout” and “Everybody Wants to Rule the World,” and books from Don DeLillo’s White Noise to Dr. Seuss’ Butter Battle Book—and ultimately see them as part of a political contest in which lives—our lives—were in the balance.
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.
Ronald Reagan looms large in most accounts of the period, encouraging Americans to renounce the activist and liberal politics of the 1960s and '70s and embrace the resurgent conservative wave. But a closer look reveals that a sizable swath of Americans strongly disapproved of Reagan's policies throughout his presidency. With a weakened Democratic Party scurrying for the political center, many expressed their dissatisfaction outside electoral politics. Unlike the civil rights and Vietnam-era protesters, activists of the 1980s often found themselves on the defensive, struggling to preserve the hard-won victories of the previous era. Their successes, then, were not in ushering…
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.
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)
Literary Nonfiction. Music. Punk is one of the most fiercely debated post-war subcultures. Despite the attention surrounding the movement's origins, analyses of punk have been drawn predominantly from a now well-trodden historical narrative. This simplification of punk's histories erases its breadth and vibrancy, leaving out bands from Crass to the Subhumans who took the call for anarchy in the UK seriously.
Disillusioned by the commercialization of punk, the anarcho-punk scene fought against dependence on large record labels. Anarcho-punk re-ignited the punk ethos, including a return to an `anyone-can-do-it' culture of music production and performance. Anarcho-punk encouraged focused political debate and…
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.
Known mostly as the bassist for the noise band, Sonic Youth, Gordon was also a sophisticated critic and supporter of the growing punk movement in America during the 1980s. In this collection of essays (many of them originally published in art magazines), she explains one of the most distinct movements within 1980s punk – “straight edge,” refusing drugs and alcohol, thereby disassociating the classic mantra of sex, drugs, and rock n roll. With a sharp eye, she explains, “These kids are antidrugs, antidrinking, anti-Reagan, and antisex – not so much out of puritanism as from a desire to be in control, and to avoid being manipulated by the consumerist system.” She praises the Do it Yourself (DIY) spirit of 1980s punk, enjoying watching bands “jam econo” (that’s a Minutemen term). She also holds this sort of activity in contrast with the blasé spirit she gets from observing new wave nightclubs…
Throughout the 1980s and early '90s, Kim Gordon—widely known as a founding member of the influential band Sonic Youth—produced a series of writings on art and music. Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon's writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca,…
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.
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.”
Finally in paperback, the story of the musical revolution that happened right under the nose of the Reagan Eighties - when a small but sprawling network of bands, labels, fanzines, radio stations and other subversives re-energised American rock with punk rock's d-I-y credo and created music that was deeply personal, often brilliant, always challenging and immensely influential. OUR BAND COULD BE YOUR LIFE is a sweeping chronicle of music, politics, drugs, fear, loathing and faith that is already being recognized as an indie rock classic in its own right.
Among the legendary bands featured are: Black Flag, the Minutement, Mission…
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.
As the Director of the Center for Texas Music History at Texas State University, I’m excited to stay on top of all that’s being done in the field of Texas Music and let me assure you that it is a great way to spend one’s days. Texas music and culture reflect the state’s diverse and contested past, and every month, it seems that there is not only a new artist appearing on the stage to sing her or his truth but a writer helping us to understand how those truths fit into the larger narratives of Texas history.
Tara Lopez suggests something new, prioritizing punk’s diverse expression over its tired origin myths. By turning our attention to the 1990s El Paso scene that produced bands like At the Drive-In, Lopez gives us a granular, expressive take on all the things that draw us to punk: its liberatory potential, DIY ethos, and ability to impact individual lives.
Through accessible oral histories, we get a sense of how vital punk rock could be against the backdrop of border politics and in a scene off the beaten path where DIY takes on new meanings. As a punk-curious 90s adolescent myself who listened in on El Paso from Austin, Dallas, and South Texas, this account resonated deeply—there was much that was familiar, but even more to learn.
An immersive study of the influential and predominantly Chicanx punk rock scene in El Paso, Texas.
Punk rock is known for its daring subversion, and so is the West Texas city of El Paso. In Chuco Punk, Tara Lopez dives into the rebellious sonic history of the city, drawing on more than seventy interviews with punks, as well as unarchived flyers, photos, and other punk memorabilia. Connecting the scene to El Paso's own history as a borderland, a site of segregation, and a city with a long lineage of cultural and musical resistance, Lopez throws readers into the heat of…
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…
After years as a London-based music journalist for publications such as Melody Maker, Q, and The Guardian, I turned to ghostwriting rock autobiographies and discovered how much more satisfying it is to tell someone’s full, unadulterated life story rather than to feed on carefully cultivated scraps gleaned from half-hour interviews. I never imagined anybody would be as lewdly transparent as my first memoir subject, Nikki Sixx, but many others have run him close—not least Judas Priest singer Rob Halford, in 2020’s appositely named Confess. Its follow-up, Biblical, is imminent. Does it go the extra mile? I don’t think it will disappoint…
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.
“Fellow rock stars, casual members of the public, lords and media magnates, countless thousands of people will talk of their encounters with this driven, talented, indomitable creature, a man who has plumbed the depths of depravity, yet emerged with an indisputable nobility. Each of them will share an admiration and appreciation of the contradictions and ironies of his incredible life. Even so, they are unlikely to fully comprehend both the heights and the depths of his experience, for the extremes are simply beyond the realms of most people’s understanding.”
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…
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.
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.
"So Real It Hurts is the perfect title for this collection. It's a mission statement. A few bleeding slices straight from the butcher shop. A sampler from an enormous archive of work that will, no doubt, be pored over by grad students, book lovers, film historians, music nerds and straight-up perverts a hundred years from now." —Anthony Bourdain, from the Introduction
Through personal essays and interviews, punk musician and cultural icon Lydia Lunch claws and rakes at the reader's conscience in this powerful, uninhibited feminist collection. Oscillating between provocative celebrations of her own defiant nature and nearly-tender ruminations on the…
