Sniffin Glue

“1977 is the Queen's jubilee year, well let's make it our year as well. Let's get out and do something. Chuck away the f•••••g stupid safety-pins, think about people's ideas instead of their clothes. This "scene" is not just a thing to do in the evening. It's the only thing around that's honest...” Omnibus Press presents the definitive collection of Sniffin' Glue… And Other Rock ‘n’ Roll Habits, the most vital and cutting edge punk fanzine of its time. This book features both a digital recreation of every issue and all the original prints in their entirety. Danny Baker, who wrote for the original fanzine over four decades ago, provides a full-length interview on its impact. During its brief existence Sniffin' Glue… chronicled the birth, rise and demise of punk rock in the UK. Starting with a print run of a mere 50 copies, by Issue 3 the circulation was into the thousands. Interviews and reviews of all the key punk artists - The Damned, The Ramones, The Sex Pistols, Generation X, Chelsea, Blondie, The Jam, Iggy Pop and more - alongside news, editorials and gig reviews depict the grassroots punk scene from the inside. Its authentic voice made it a cult classic of its time and a much sought-after historical artefact to this day. On the 40th anniversary of the magazine’s final publication, Omnibus Press are providing the definitive edition of Sniffin Glue…. This is the best possible way to experience the counter-cultural revolution of the ‘70s that spread anarchy throughout the UK.

Contrastive media analysis is a vast field of academic research that - metaphorically speaking - comes in many shapes and sizes and therefore is confronted by manifold theoretical and methodological challenges. This contribution focuses on two interrelated aspects: a) the problem of equivalence as a prerequisite of comparison and b) the comparative constellation and its effects on the interpretation of cultural variance. It is important to mention that the discussion in this paper is set against the backdrop of a genre-based approach. Starting from the - initially rather unspectacular - observ.

In 1976 when Punk Rock was born, "Sniffin' Glue" magazine was the genre's very own magazine. Now the original "Sniffin' Glue" team returns with a retrospective of the Punk era, featuring hundreds of original photos and original text.

Rock Criticism from the Beginning is a wide-ranging exploration of the rise and development of rock criticism in Britain and the United States from the 1960s to the present. It chronicles the evolution of a new form of journalism, and the course by which writing on rock was transformed into a respected field of cultural production. The authors explore the establishment of magazines from Crawdaddy! and Rolling Stone to The Source, and from Melody Maker and New Musical Express to The Wire, while investigating the careers of well-known music critics like Robert Christgau, Greil Marcus, and Lester Bangs in the U.S., and Nik Cohn, Paul Morley, and Jon Savage in the U.K., to name just a few. While much has been written on the history of rock, this Bourdieu-inspired book is the first to offer a look at the coming of age of rock journalism, and the critics that opened up a whole new kind of discourse on popular music.

The historical significance of music-makers, music scenes, and music genres has long been mediated through academic and popular press publications such as magazines, films, and television documentaries. Media Narratives in Popular Music examines these various publications and questions how and why they are constructed. It considers the typically linear narratives that are based on simplifications, exaggerations, and omissions and the histories they construct - an approach that leads to totalizing “official” histories that reduce otherwise messy narratives to one-dimensional interpretations of a heroic and celebratory nature. This book questions the basis on which these mediated histories are constructed, highlights other, hidden, histories that have otherwise been neglected, and explores a range of topics including consumerism, the production pressure behind documentaries, punk fanzines, Rolling Stones covers, and more.

A visual history of the artists, fans, and fanzines of widely influential British punk. Zerox Machine is an immersive journey through the vibrant history of British punk and its associated fanzines from 1976 to 1988. Drawing on an extensive range of previously unpublished materials sourced from private collections across the United Kingdom, Matthew Worley describes and analyzes this transformative era, providing an intimate glimpse into the hopes and anxieties that shaped a generation. Far more than a showcase of covers, Zerox Machine examines the fanzines themselves, offering a rich tapestry of firsthand accounts, personal stories, and subcultural reflections. With meticulous research and insightful analysis, this book captures the spirit and essence of British youth culture, shedding new light on a pivotal movement in music history and offering a unique alternative history of Britain in the 1970s and ’80s.

No-holds-barred political strategist Warren Kinsella’s colourful, no-holds-barred look at punk rock, and how it influenced him and millions of other kids to strive for nothing less than changing the world. Playing bass for Calgary punk-rock quartet the Hot Nasties might seem a strange way for one of Canada’s top political strategists to have spent his formative years, but in Fury’s Hour — Warren Kinsella’s exploration of punk’s history and heroes, its factions, failures and triumphs — he shares his unique view into a subculture that has long encouraged people to think big about the world. From early meetings with icons Joey Ramone and Joe Strummer, Kinsella has gone on to interview a who’s who of punk: Sex Pistols Johnny Rotten and Glen Matlock, Fugazi’s Ian MacKaye, Billy Idol, DOA’s Joey “Shithead” Keithly, Bad Religion’s Brett Gurewitz, Blink 182, Good Charlotte and many more. Since he was a teenager, Kinsella has challenged his heroes to put into words the true value of the music. How, after decades of co-optation by the record industry, neo-Nazis and misdirected radicals, are new generations continuing what he calls punk’s “search for the real”? In Fury’s Hour, with the iconoclasm and passion that have marked his career in politics, Warren Kinsella searches for the soul of a sound that invigorated the way he and millions of others have grown up — finding a way to turn anger into energy.