" 'Guitar Army' was our manual for revolt. It's a rainbow-colored 'Howl,' still resonating today with the singular value of idealism."-Michael SimmonsJohn Sinclair, manager of the notorious Detroit band MC5 and leader of the leftist revolutionary vanguard White Panther Party, is the still-charging embodiment of a dazzlingly optimistic time in which change felt necessary and possible.Sinclair was the martyr of the original war on drugs, sentenced to ten years in prison for possession of two marijuana joints. 'Guitar Army' is the iconographic book that proclaimed "Rock and Roll is a Weapon of Cultural Revolution" for young, revved-up readers in 1972. Its author was released from prison just three days after 15,000 people came to see John Lennon, Yoko Ono, Archie Shepp, Allen Ginsberg, and other musicians and leaders demand his freedom.The updated 'Guitar Army' includes two dozen previously unpublished period photographs, recent writings from John Sinclair, and an introduction from Michael Simmons that leads the reader through the revolutionary times to Sinclair's life today.A bonus CD contains rare music recordings of MC5 band members, the revolutionary rock group UP!, Black Panther Bobby Seale on the White Panthers, and original White Panther Party rallies.

Prison writings of John Sinclair "the father of the midwest rock and roll scene" in the early 1970s.

Amidst the recent flourishing of Sixties scholarship, Imagine Nation is the first collection to focus solely on the counterculture. Its fourteen provocative essays seek to unearth the complexity and rediscover the society-changing power of significant movements and figures.

A narrative history of the birth of rock 'n' roll in Detroit

WINNER OF THE 2019 SCOTIABANK GILLER PRIZE An internationally bestselling debut novel: an energetically told, funny and moving book about how strangers become family. Reproduction tells a crooked love story which takes strange, winding paths shaped by community, family and fleeting interactions that leave an inedible imprint. Felicia, a nineteen-year-old West Indian student, and Edgar, an impetuous heir of a wealthy German family, meet when their ailing mothers are assigned the same hospital room. An odd-couple relationship blooms between Edgar and Felicia, ripe with miscommunications and reprisals for perceived and real offences that have some unexpected results. Fast-forward, their son Armistice is a teenager fixated on a variety of get-rich-quick schemes that are as comic as they are indicative of the immigrant son's fear of falling through the cracks. When Edgar re-enters Felicia's life at a typically inopportune moment, the book's exhilarating final act is set in the motion and Reproduction is revealed.

In a career spanning more than 40 years, legendary rock photographer Neil Zlozower has documented an amazing who's-who of the most influential and dynamic guitarists from the late 1960s to today. Six-String Heroes collects live, candid, and studio shots of 150 of the greatest guitar players in rock, metal, punk, blues, and beyond, including Eric Clapton, Jeff Beck, Ritchie Blackmore, Slash, Jimmy Page, Keith Richards, Zakk Wylde, Dimebag Darrell, Tom Morello, Carlos Santana, Les Paul, John Lee Hooker, Chuck Berry, Pat Metheny, Al Di Meola, Joe Satriani, Yngwie Malmsteen, Edward Van Halen, Angus Young, and many more. Also featuring a foreword by Steve Vai, and including text from unpublished interviews with the guitarists throughout by music journalist Steven Rosen, Six-String Heroes is a celebration of the music, the players, and the instrument.

Ultimate Heavy Metal Guitars profiles 80+ heavy metal guitarists from the 1970s to today, featuring performance photography and an authoritative text detailing the careers and gear of each.

"Rock and roll's most iconic, not to mention wealthy, pioneers are overwhelmingly white, despite their great indebtedness to black musical innovators. Many of these pioneers were insensitive at best and exploitative at worst when it came to the black art that inspired them. Tear Down the Walls is about a different cadre of white rock musicians and activists, those who tried to tear down walls separating musical genres and racial identities during the late 1960s. Their attempts were often naïve, misguided, or arrogant, but they could also reflect genuine engagement with African American music and culture and sincere investment in anti-racist politics. Burke considers this question by recounting five dramatic incidents that took place between August 1968 and August 1969, including Jefferson Airplane's performance with Grace Slick in blackface on the Smothers Brothers Comedy Hour, Jean-Luc Godard's 1968 film, Sympathy for the Devil, featuring the Rolling Stones and Black Power rhetoric, and the White Panther Party at Woodstock. Each story sheds light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These radical white rock musicians believed that performing and adapting black music could contribute to what in the Black Lives Matter era is sometimes called "white allyship." This book explores their efforts and asks what lessons can be learned from them. As white musicians and activists today still attempt to find ethical, respectful approaches to racial politics, the challenges and victories of the 1960s can provide both inspiration and a sense of perspective"--

The Triumph of Vulgarity in a thinker's guide to rock 'n' roll. Rock music mirrors the tradition of nineteenth-century Romaniticsm, Robert Patison says. Whitman's "barbaric yawp" can still be heard in the punk rock of the Ramones, and the spirit that inspired Poe's Eureka lives on in the lyrics of Talking Heads. Rock is vulgar, Pattison notes, and vulgarity is something that high culture has long despised but rarely bothered to define. This book is the first effort since John Ruskin and Aldous Huxley to describe in depth what vulgarity is, and how, with the help of ideas inherent in Romaniticism, it has slipped the constraints imposed on it by refined culture and established its own loud arts. The book disassembles the various myths of rock: its roots in black and folk music; the primacy it accords to feeling and self; the sexual omnipotence of rock stars; the satanic predilictions of rock fans; and rock's high-voltage image of the modern Prometheus wielding an electric guitar. Pattison treats these myths as vulgar counterparts of their originals in refined Romantic art and offers a description and justification of rock's central place in the social and aesthetic structure of modern culture. At a time when rock lyrics have provoked parental outrage and senatorial hearings, The Triumph of Vulgarity is required reading for anyone interested in where rock comes from and how it works.

The history of anarchist-Marxist relations is usually told as a history of factionalism and division. These essays, based on original research and written especially for this collection, reveal some of the enduring sores in the revolutionary socialist movement in order to explore the important, too often neglected left-libertarian currents that have thrived in revolutionary socialist movements. By turns, the collection interrogates the theoretical boundaries between Marxism and anarchism and the process of their formation, the overlaps and creative tensions that shaped left-libertarian theory and practice, and the stumbling blocks to movement cooperation. Bringing together specialists working from a range of political perspectives, the book charts a history of radical twentieth-century socialism, and opens new vistas for research in the twenty-first. Contributors examine the political and social thought of a number of leading socialists—Marx, Morris, Sorel, Gramsci, Guérin, C.L.R. James, Hardt and Negri—and key movements including the Situationist International, Socialisme ou Barbarie and Council Communism. Analysis of activism in the UK, Australasia, and the U.S. serves as the prism to discuss syndicalism, carnival anarchism, and the anarchistic currents in the U.S. civil rights movement. Contributors include Paul Blackledge, Lewis H. Mates, Renzo Llorente, Carl Levy, Christian Høgsbjerg, Andrew Cornell, Benoît Challand, Jean-Christophe Angaut, Toby Boraman, and David Bates.