PUNK

Bay Leaf Books, ABAA

Catalog 8 October 2017

MDC in Germany

Zines!

+ Mods, Skinheads, Ska & More!!

CONTENTS
Punk, Hardcore Items 1 – 71
Street Fashion Items 72 – 76
Mod Items 77 – 81
Ska, Reggae Items 82 – 89
Skinhead Items 90 – 105
 Catalog 8
PUNK Oct. 2017

It’s one of the joys of bookselling that we are, at times, able to handle materi-
als that are near and dear to our hearts. For me, this is one of those times
and the following pages have flooded my days with memories of a world that
now seems so distant, yet I can still hear the pounding of the drums. While
this collection focuses heavily on the early and mid-eighties heyday of hard-
core, we also have items from the first-generation punks, early new wave, and
mods and skins as well. Enjoy…

Bay Leaf Books, ABAA

G.L. Konrád, Bookseller
PO Box 243 Sand Lake, MI 49343
(231) 652-2665 bayleafbooks@sbcglobal.net www.bayleafbooks.com

Thank you for taking time to explore our list; please feel
free to call or email with any questions. All items subject
to prior sale; please call or email to reserve. Unless oth-
erwise stated, signed volumes do not have inscriptions.
Additional photographs can be emailed upon request.

Terms: All items are packed and posted with care. Unless
otherwise noted, domestic shipping via Media Mail is
$5.00 for the first item, and $1.00 for each additional
item (adjustments are made for small booklets, pam-
phlets, bookplates, etc.). Priority rates are available.
Foreign shipping is billed at cost.

Payment is accepted via all major credit cards, PayPal,

money orders or checks (U.S. funds drawn on a U.S.
bank). Trade discounts are available and institutional
purchase orders are welcome. Michigan residents must
add 6% sales tax. Approved, prompt returns accepted.

We are members of the Antiquarian Booksellers Associa-

tion of America and the International League of Antiquar-
ian Booksellers and adhere to those organizations’ stand-
ards of professionalism and ethics.
Punk, Hardcore

1. Adams, Tim. The Pope, Issue 1. Notre

Dame, IN: Tim Adams, No. 1, January 9,
1987. Self-wraps, folded but not bound, 14
by 21.5 cm, [52] pp., handful of illustrations.
Very good with light wear to the wraps,
“Actifed” in green pen on the bottom of the
front cover, and a couple of small marks in
the same green pen inside. “The best god-
damn fanzine in Indiana,” featuring inter-
views with the Descendents, Thurston
Moore of Sonic Youth, Persian Gulf, the
Dead Milkmen, and Precious Wax Drippings,
as well as records, show and zine reviews.
Heavy on the text, The Pope is a college zine
trying very hard to come across as intelli-
gent, and at times they do. $30.00

2. Ahern, Sean; Hilary Hume; Mark Nielsen; Tony Pearson. Degeneration,

Issues #1 and #2. Pacific Palisades, CA: Degeneration, issues 1 and 2, 1984.
Staple-bound self-wraps, 21.6 by 28 cm, 24 and 28 pp., illus. Very good with
light corner wear and yellowing. A great hardcore zine, packed with text and
images. Interviews with S.O.S., Against, D.O.A., Marginal Man, Ill Repute, Sta-
lag 13, Stretch Marks, Negative Approach (one of my teenage faves). All the
normal punk departments – like show and record reviews – but with a bit
more meat (no one-sentence reviews here), as well as German and Philly sce-
ne reports, op-eds, a report on the “Pig Busts in Westwood,” where the police
instituted a 10 pm curfew to flush out the punks, etc. Well done, Ahern and
crew. $80.00

3. Backwords, Ace; Bruce N.

Duncan, eds. Twisted Image,
Issue 1. Berkeley, CA: Twisted
Image, issue 1, [1982]. News-
print, tabloid format, 28 by 44
cm then folded, 16 pp. incld.
covers, illus. Good with yel-
lowing and lots of edge chips
and tears. Features a great
set of interviews with audi-
ence members at a Fear and
M.D.C. show where they
cover things like religion,
zines, violence, how much
they hate Fear, etc., fol-
lowed by a short interview
with Fear’s Lee Ving. Also
includes “A Vietnam Vet Speaks
Out,” “Berkeley Street People as Individuals,” where pho-
tos of eight local street people are accompanied by short bios, “David Bowie:
The Image Behind the Image,” plus the standard record reviews, cartoons,
“Idiots in the News,” and op-eds.
Great ads (Dischord, Thrasher,
Ripper, BOB, etc.). $40.00

4. Barbisan, John, ed. Pirates of

Doom, Issues 1 and 2. Mississau-
ga, Ontario: John Barbisan, not
dated (c. early 1986). Staple-
bound self-wraps, 21.5 by 28 cm,
[26]; [22] pp. incld. covers, illus.
Very good with minor cover wear;
the first issue has a very light diag-
onal crease to the entire zine.
Two jam-packed Toronto-area
hardcore zines featuring inter-
views with Mike Marley and the
Sailors, Dirty Rotten Imbeciles,
D.O.A., Asexuals, A Neon Rome,
Bunchofuckingoofs, Sons of Ish-
 mael, October Crisis, Hype, Charlie
Brown’s Wang, Social Suicide, Sam-
hain, and 7 Seconds, as well as
letters, record and show reviews,
Los Angeles and Toronto scene re-
ports, anti-apartheid info, poetry,
snowboarding and skating, Circle
Jerks, “graffiti around town,” etc.
$65.00

5. Bestly, Russ; Alex Ogg. The Art

of Punk: The Illustrated History of
Punk Rock Design. Minneapolis,
MN: Voyageur Press, 2012, first U.S.
printing. Hardcover with illustrated
boards, 25.2 by 28.4 cm, 224 pp.,
illus. Very good with light bumping
to the extremities, a couple tiny
digs on the fore-edge of the front
cover, a faint scratch on the front cover, and a security tag ghost on the title
page. From the publisher: “Punk rock gave birth to an art movement that was
little appreciated at the time but soon became influential around the globe.
This is the first book to chronicle the art of punk style, from concert posters
and flyers to fanzines and record sleeves, T-shirts, buttons, comic books, and
much more. The story begins with the godfathers of punk—the Velvet Under-
gound, MC5, the Ramones, New York Dolls, and Patti Smith—and the distinc-
tive aesthetic these bands launched thanks to impresarios like Andy Warhol.
Punk broke big in 1976 and 1977 with American and British groups such as the
Sex Pistols, the Damned, the Clash, the Germs, and more, and continues to-
day with bands like Green Day and Rancid. The bands created a reactionary,
do-it-yourself art designed to shock,
amaze, and stand out from the blandness
of the 1970s. This groundbreaking style
continues to impact design, music, and
fashion today. This collection of more
than 900 images is a rare look at punk
design since so much of it was made as
throwaway art and few originals have sur-
vived. The authors have collected an in-
credible gallery of images, plus interviews
with the artists, poster designers, and mu-
sicians who were there on the frontlines
of punk rock.” $35.00
6. Bored, Bill, ed. Warning: A Fanzine from
Alaska U.S.A. Anchorage, AK: Warning, Issue
10, May-June 1984. Staple-bound wraps,
offset printed, 21.5 by 28 cm, 30 pp., illus.
Good with staple holes on the fore-edge,
light staining on the front cover near the
head of the spine, and a hand-written mail-
ing address on the back cover. I rarely see
zines from Alaska, and this one is a one-stop
mag for most subcultures you can think of.
Includes Suicidal Tendencies, The Tubes,
interviews with Sluglords, Fang, and Tesco
Vee of The Meatmen, as well as letters, local
news, a ska report, skate reports, op-eds,
cartoons, lots of zine listings, band updates,
record and cassette reviews, even a snow-
board report. PACKED with text and illustra-
tions. The “Pinko Issue,” printed on pink
paper. $30.00

7. Canale, Rosaria. Void: An Alternative

Skate Publication, Issue 1. Winnetka, CA:
Rosaria Canale, issue no. 1, 1985. Staple-
bound self-wraps, 18 by 22 cm, 22 pp., illus.
Fine. An offset-printed zine, “the only active
alternative publication from the San Fernan-
do Valley.” Skating and hardcore, a classic
mix. Void includes interviews with Group of
Individuals, Negative Reaction, and Nature
Core, plus record and show reviews
(including Conflict at Fender’s in Long
Beach), and lots of skateboard stuff; a piece
on skate demos and action shots of local
skaters. All that and teenage angst to boot!
$25.00

8. [The Clash] Coleman, Ray, ed. Melody

Maker, April 23, 1977 – Clash Cover. Lon-
don: IPC Specialist and Professional Press
Ltd., 23 April 1977. Newsprint tabloid, ap-
prox. 33 by 44.5 cm, 64 pp. incld. covers,
illus. Fair with heavy edge wear, spine tears,
yellowing, some light dampstains along the
top edge, and an unfortunate 6 cm yellow stain near the right center of the
cover through p. 15. “Clash tilt for the top,” a classic Clash cover, with articles
on Iggy Pop, The Jam, Bob Marley, “Clash personality: Joe Strummer talks to
Caroline Coon,” “Punk rock: there’s money in anarchy” by Robert Partridge,
etc. $40.00

9. [The Clash] Rude Boy. Beverly Hills and Boston: Atlantic Releasing Corp.,
1980. Staple-bound wraps, 19.6 by 28 cm, 29 pp., illus. Very good with light
yellowing and a staple hole in the upper corner of the front cover. Promo-
tional “Official Booklet” for the Clash movie “Rude Boy,” which was released
in 1980. While the plotline – young dumbass leaves his crap job to roadie for
The Clash – met mixed reviews (“labored,” as Jon Savage put it1), it undoubt-
edly has some of the best live concert footage ever recorded, including The
Clash at a 1978 Rock Against Racism show at Victoria Park in Hackney. This
promo booklet includes short bios of the band members and the film’s stars, a
one-page history of punk, a list of musical numbers in the film and lyrics to
thirteen of the songs, and a synopsis of the film: “England 1978. The mood is
of disillusion, economic decline, political failure. Fascists demonstrate in the
street. The left-wing clash with the police and ‘The Clash’ take their struggle
into the concert hall, spokesman for a generation of despised, unemployed
and aimless youth. Ray Gange, unemployed and nineteen earns beer-money
nights working in a Soho sex shop…” Illustrated with great film stills and a
wonderfully scarce bit of Clash memorabilia. $150.00

10. [The Clash] Yewdall, Julian. A Permanent Record: Joe Strummer with
The 101’ers, Clash, Latino Rockabilly War + The Slits + The Modettes –
Signed. London: West Nine, 2012, first printing. Wraps, 15.5 by 23.3 cm, 348
pp., heavily illus. An unread, but shelf-worn copy with bumping to the lower
corner, a few small dings on the front cover, and some scuffing of the lami-
nate on the spine. Signed by Yewdall on the half-title page. Julian Yewdall
first met Joe Strummer while living in a London squat—at 101 Walerton
Road—in 1974. Strummer’s first band, The 101’ers—named after the squat’s
address—began as a house band with several members, including Yewdall on
backing vocals and harmonica. The group was quickly narrowed down to four
primary members, and when Yewdall didn’t make the cut he put down his
harmonica and picked up a camera. 2, 3 He set about documenting the early
London punk scene, including The 101’ers, the Clash, and The Slits, who sup-
ported the Clash during their first tour of Britain and whose lead vocalist Ari
Up was a scant fourteen years old at the time. The result is an amazing ar-
chive of photographs that focus heavily on Strummer and his rise to punk
stardom. While a handful of these photos have become iconic images of the
Clash (none more than the cover image of Joe which went on to grace a myri-
ad of T-shirts, buttons, posters, and street art), most of the shots in this book
Clockwise from left:
No. 9, 8, 10, 11
have never been published before and many are so personal they touch on
voyeurism. Includes explanatory text by the photographer. A wonderful col-
lection. $100.00

11. [The Clash] Yewdall, Julian. Joe Strummer with The 101’ers & The Clash,
1974-1976. London: Image Direct, 1992, first edition, no. 421 of 1000 printed.
Wraps, 12.5 by 19 cm, [110] pp., illus. Very good with light bumping/creasing
to the upper corner. Has a round “Joe Strummer/Image Direct” stamp on the
first leaf with “421/1000” handwritten in the middle. Surprisingly scarce, this
is Yewdall’s first foray into Clash photobooks. It begins with a brief history of
The 101’ers and the squats Yewdall shared with Strummer, followed by sixty-
six captioned full-page (mostly) photographs, including many early, striking
images of Joe in The 101’ers. Also included is a list of 101’ers gigs, recording
sessions, and records; music press reviews of The 101’ers LP “Elgin Avenue
Breakdown” (released in 1981); and a brief historical outline of the Clash.
$40.00

12. [The Clash] Joe Strum-

mer and the Mescaleros
Concert Poster – Signed by
Artist. Philadelphia: Electric
Factory Concerts, [1999].
Screen-printed, single-sided
poster in black and yellow on
heavy white paper, 30.5 by
60.9 cm. Fine. Number 3 in
a limited printing of 200,
signed by artist Dave Maver
in the lower right corner. A
striking image for a 24 No-
vember 1999 concert with
Joe Strummer and the
Mescaleros and The Pietas-
ters at Philadelphia’s Theatre
of Living Arts. Formed in
1999, The Mescaleros were
Strummer’s last band before
his death in 2002. $50.00
13. Clement, Patrick. North East Punk Flyers: The 80’s. Boston: F.N.S. Pro-
ductions, 2003. Staple-bound self-wraps, offset-printed with a two-color cov-
er, 21 by 26 cm, 44 pp., illus. Fine. A relatively recent publication that repro-
duces around 150 punk flyers and ads, from one to nine to a page. No dates
for the flyers are given, but the reproductions are clear and many of the de-
signs are spectacular. Included are flyers for the Circle Jerks, Black Flag, Dead
Kennedys, Reagan Youth, GWAR!, Youth of Today, Necros, Meatmen, Nega-
tive Approach, Minor Threat, Subhumans, Corrosion of Conformity, The Ex-
ploited, 7 Seconds, Cro-Mags, Bad Brains, Misfits, Sonic Youth, G.B.H., Suicidal
Tendencies, Agnostic Front, D.O.A., and many more. There’s work by the
overrated Raymond Pettibon, great straight edge flyers, and some of the best
cut-and-paste I’ve ever seen. An impressive collection. Includes essays by
designer Winston Smith, the man behind the Dead Kennedy’s “In God We
Trust” album cover, and Connecticut hardcore flyer artist Jim Martin. $50.00

14. Colby, Robert Alan. Frenzy: Boston’s New Wave Rock Mag, Issue 1. Bos-
ton: Frenzy, 1977 (no month listed). Newsprint, tabloid format, 28.5 by 44.5
cm and folded, 16 pp. incld. covers, illus. Light edge wear, yellowing through-
out. A scarce early new wave mag from Boston which features an extensive,
seven page article on former Velvet Underground member Willie “Loco” Alex-
ander and his band Boom-Boom, an interview with Richard Nolan of Third Rail
(a Velvet Underground-style band founded in 1974), a piece by Pseudo Carol
about her video installation at the Museum School in Boston, and a synopsis
on up-and-coming Boston new wave bands. $50.00

15. [CRASS] Gee Vaucher “Introspective” Exhibition Poster – Signed. San

Francisco: Jack Hanley Gallery, 14 Dec. 2007 – 19 Jan. 2008. Glossy two-sided
poster, 27.9 by 43.2 cm. Light handling creases with a faint drip mark near
the lower left corner. Signed by Vaucher in silver paint marker. Gee Vaucher
(1945 – ) is best known for her collage and photo- and video-montage work in
the anarchist collective and band Crass, including her distinctive collage and
painted record sleeves, like the “Stations of the Crass” cover which unfolded
into a poster and adorned the walls of many a punk home. However, Gee has
spent five decades, along with her collaborative partner Penny Rimbaud, cre-
ating politically-charged art. She has worked as a political illustrator for the
New York Times and New York magazine, and her image of the Statue of Liber-
ty, titled “Oh America,” was used on the cover of the UK Daily Mail after the
election of Donald Trump, with the headline “What have they done?” This
poster, for Vaucher’s first retrospective exhibit, features “Oh America” on the
front, with Rimbaud’s matching text on the verso. “Oh, America, cries she
with silent lips, give me the ghosts of the people who you destroyed and
whose Nation you stole, that I might learn their ancient wisdom and be shone
a pathway to solace. Give me the spirits of those who across dark seas you
Clockwise from
top left: No. 18,
19, 20, 21

Facing page,
clockwise from
top left: No. 13,
15, 14, 17, 16
shipped here in shackles, that the bondage of history might be destroyed and
they reunited with their forefathers…” $175.00

16. Crawford, John. All the Drugs You Can Eat Fanzine #1. Kinnelon, NJ:
John Crawford, Vol. 1 No. 1, 1983, 200 printed. Staple-bound self-wraps, 16
pp., illus. Very good with faint yellowing and light cover wear. Produced by
John Crawford, the illustrator behind the Baboon Dooley comics. “I’m putting
this out because Maximum Rock and Roll mailed me some pretty harsh state-
ments they’ve written about myself. Real intimidation stuff. They’ve totally
misinterpreted what it is I do. Why? Damn if I can tell, maybe they don’t like
the cartoons or something. Maybe they’re nuts. Can I help it if so much of
the stuff I read in MRR cracks me up? Yes, it is true that alot [sic] of my comic
strips are inspired by that magazine. But anyway, as far as I’m concerned
those self-styled moral authorities can go stuff it where the sun don’t shine
and nothing grows. I for one speak my mind and I do not plan to knuckle un-
der to their goon squad tactics.” The entire zine deals with this Crawford/
MRR feud – especially his distaste for founder and editor Tim Yohannan – that
seems to have sparked with some nasty letters from Crawford, and an equally
vociferous response from MRR’s Jeff Bale. Crawford: “Maximum Rock and
Roll is an attempt to take control of the scene away from the musicians and
their friends and place it in the hands of marxist politicians.” Bale: “I hold you
in the lowest contempt.” Of course, both comments are out of context and
there is so, so much more. Sections include “The Ballad of Tim Why,” “The
Honeymoon is Over and the Bride is Pissed,” “The Great Rock and Roll Swindle
Pt. 4,” “How the Hippies Lost the War,” etc. The cover and title of this zine
are a knock-off of the 1970s hippie mag All You Can Eat, which was “put out
by the then Maoist hippy radical Tim Yohannan.” $100.00

17. Davis, Julie, ed. Punk. London: Millington (Davison Publishing Ltd.), 1977,
first edition. Wraps, 20.8 by 27.9 cm, [128] pp., illus. Good with uneven yel-
lowing and light wear to the wraps, with lower corner creases. A scarce, early
book on [mostly] British punk, just a year into the movement, as it happened
by those making it happen. An assortment of show reviews, interviews and
editorials from young women and men who “have been putting together their
own magazines about punk rock for the last year.” Some of the authors in-
clude Jane Suck, Nag, Sex Ade, John Goto, Alan Anger, Charlie Chainsaw, and
Erica Echenberg, covering the Damned, Slits, Cortinas, Television, Adverts,
Buzzcocks, Vibrators, Siouxsie and the Banshees, The Boys, Johnny Thunder
and the Heartbreakers, Alternative TV, The Lurkers, The Jam, Generation X,
Sex Pistols, Chelsea, X Ray Spex, Ramones, 999, Slaughter and the Dogs, John-
ny Moped, Stranglers, Eater, Squeeze, Penetration, XTC, and the Clash. Inter-
views include Dave Vanian of the Damned, the Slits, Pete Shelly of the
Buzzcocks, TV Smith from the Adverts, Ian “Knox” Carnochan of the Vibrators,
Siouxsie Sioux, Paul Weller of The Jam, Poly Styrene from X Ray Spex, Johnny
Ramone, etc. A few of the editorials include “Girl Bands” and “Fascism” by
Lucy Toothpaste, “Sod the Press” by Alan Anger, and “Sex and Mental Oppres-
sion” by Tony D (“I’m not IN ANY WAY saying that to topple the system and
achieve physical and mental freedom is by becoming a sexless moron…”).
Heavily illustrated with superb images, and the final page lists addresses for
the contributor’s zines including 48 Thrills, Ripped & Torn, Strangled, and
Shews. A wonderful book. $150.00

18. Eastern Front Punk Festival Program. Berkeley: Wes Robinson, 1981.
Staple-bound self-wraps, newsprint, [16] pp., illus. Near fine with yellowing.
Organized by promoter Wes Robinson, the Eastern Front festival was held on
July 25 and 26, 1981 and featured D.O.A., Flipper, The Slits, War Zone,
T.S.O.L., 7 Seconds, The Offs, Snakefinger, and more. Held at the Berkeley
Aquatic Park, the stage was a flatbed trailer with a sea of dirt that became the
mosh pit. “You could tell how much the punks liked each band,” remembered
Joey Keithley of D.O.A., “by the size of the dust storm kicked up in front of the
stage.”4 The program includes the show line-up and one-page photos and/or
short write-ups on D.O.A., The Slits, Snakefinger, The Wounds, The Fix, The
Lewd, Flipper and 7 Seconds. Scarce. $40.00

19. Goodman, Jeffrey, editor-in-chief. Punk Rock Vol. 1 No. 1. New York:
Stories, Layouts and Press, Inc., December 1977, Vol. 1 No. 1. Staple-bound
wraps, glossy color cover, 20.5 by 27.5 cm, 66 pp. Good with light creases and
scuffing to the covers, a 5 cm split at the tail of the spine, and heavy yellowing
to the leaves. An example of mass media attempting to squeeze a few dollars
out of the punk movement, Punk Rock was published by Myron Fass, “one of
the most successful independent publishers in history.”5 Fass was best known
for his horror pubs, but he would publish anything he thought would sell –
softcore porn, guns, UFOs… punk. Punk Rock lasted for three issues (Vol. 1
No. 1, and Vol. 2 Nos. 1 and 2), and is quite scarce. The premier issue features
articles about New York (“America’s new wave capital”), the Sex Pistols, The
Dead Boys, Blondie, Deaf School, Boston’s DMZ, Devo, Television, and inter-
views with Patti Smith, Iggy Pop and The Stranglers. “Yes, indeed, each month
we’ll be bringing you the nastiest pictures, the hottest features, and all the
punk trash we can haul out before deadline time rears its ugly head.” $75.00

20. Goodman, Jeffrey, editor-in-chief. Punk Rock Vol. 2 No. 2. New York:
Stories, Layouts and Press, Inc., April 1978, Vol. 2 No. 2. Staple-bound wraps,
glossy color cover, 20.5 by 27.5 cm, 66 pp. Good with light creases and
scuffing to the covers and yellowing to the leaves. Includes a six-page photo
spread of the Pistols (and a great cover featuring Johnny Rotten), the Hot
Rods, David Bowie, Patti Smith, The Dead Boys, The Erasers, Cheap Trick
(whose PR people were promoting as a punk band), Blondie, Peter Frampton
(“Peter ain’t no punk, he’s a wimp”), and Iggy Pop (“man or worm?”). $75.00

21. Gregorio, Ron; Xenia Xyxpa, eds. Hard Times Vol. 1 No. 1. Maywood, NJ:
Hard Times Magazine, August 1984, Vol. 1 No. 1. Staple-bound, glossy wraps,
21.5 by 28 cm, 13 pp., illus. Good with light cover and edge wear, spine creas-
es, and a small chip from the lower corner of the front cover. A well-done
hardcore (and related) zine that manages to pull off a combination of music
and politics. The bulk of Hard Times is taken up with three great interviews
with Hüsker Dü, Charlie Harper of the U.K. Subs, and Glenn Danzig and Eerie
Von of Samhain. Now we’re not talking “Fresh Air with Terri Gross,” but in
the world of HC zines this is quality work. The rest of the mag is devoted to
Nicaragua and the Sandinistas after five years of rule, American intervention,
and the upcoming elections. Considering that this is original material written
by someone who actually spent time in Nicaragua, this is quite a story for a
HC zine! $45.00

22. Hannon, Sharon M. Punks: A Guide to an American Subculture (Guides

to Subcultures and Countercultures Series). Santa Barbara, CA: Greenwood
Press (ABC-CLIO, LLC), 2010, first printing. Hardcover with glossy, illustrated
boards, 16 by 24 cm, xix 181 pp., 18 black and white photos. Fine, unread
copy. The evolution of punk in America. “In the 1950s it was the beats. In
the 1960s it was the hip-
pies. In the 1970s it was
the punks, the next utterly
unique, music-fueled sub-
culture to reject the world
set out before them—with
a vengeance—and in doing
so, change that world in
unforgettable, unpredicta-
ble ways. Unlike other vol-
umes on the punk era that
focus on just the music—
and primarily on British
punk bands—Punks: A
Guide to an American Sub-
culture spans the full ex-
panse of punk as it hap-
pened in the United States,
from the late-1960s blast of
Iggy Pop and the Stooges to
the full explosion of punk in
the mid-1970s to its next-generation resurgences and continuing after-
shocks.” $20.00

23. Holstrom, John; Eddy “Legs” McNeil, eds.; Ged Dunn, publisher. Punk
Magazine No. 8, March 1977. New York: Punk Magazine, No. 8, March 1977.
Staple-bound wraps, 21.5 by 27.5 cm, 37 (3) pp., illus. Very good with very
light cover wear, a “D” sticker and mailing label (to Frank Rose at Oui Maga-
zine – Rose was a staff writer at Oui, Rolling Stone, etc.) on the front cover.
Debuting in December 1975, this is the magazine that named the movement. 6
Punk’s unique mixture of music, cartoons and art not only gave voice to a new
generation of teens and trouble-makers, it, along with CBGBs, built an indus-
try for the musicians. When the Ramones started attracting record company
attention, Jon Savage tells us, “it was partly due to Punk’s successful transla-
tion of CBGBs into a package that record executives […] could readily under-
stand.”7 What’s so fascinating about Punk is that it’s actually good. Music
journals are often all style and no substance, or vice versa, and punk mags are
no exception. Punk related to its readers so well because the magazine’s staff
were punks – even if they didn’t know it yet – and the publication was a defin-
ing waypoint in the evolution of punk rock. This issue includes the Ramones,
Legs’ interview with Hitler (fake), Mary Harron’s interview with Johnny Rotten
(real), The Tubes, The Fast, and Willie “Loco” Alexander, as well as letters,
essays, lots of cartoons, and Steve Taylor’s wonderful Sex Pistols cover.
$150.00

24. Incoherent House, Issue 1. San Francisco: Incoherent House (ed. by Bill,
Grux, Mitzi and Becky), nd (c.1984-85 based on records mentioned in the
zine). Thread-bound wraps; three Xeroxed sheets, folded and loosely bound
with red thread and glued to the cover sheet is what looks like textured gold
wrapping paper, glued onto that are individual letters cut from red wrapping
paper that spell out the title of the zine – very labor intensive, 14 by 21.5 cm,
[8] pp. plus covers, illus. Very good with light wear to the lettering on the
front cover. Includes a single-page interview with Eddie of Aunt Curehead, a
few cartoons/illustrations, and a four-page interview with members of the
Minutemen. $20.00

25. Koenig, David. In Memory Of… Issue One. Linden, NJ: David Koenig,
c.1989. Staple-bound self-wraps, 21.5 by 27.9 cm, 10 pp., illus. Good with
creases and edge wear, light stains on the back cover, a few small edge tears,
and faint creases from being folded in quarters. Produced in the period
where hardcore had simmered down and small gigs were few and far be-
tween, In Memory Of… was more of a collector’s trade list than zine covering
current shows and scene news. “Inside this issue is some reviews, my trade
list & wants, article about record collecting and an ad gallery of old hardcore
records.” Koenig writes “there is definately [sic] a lull in the N.Y.C. scene. Sure
there are hundreds of people into it, but they only show up when there is a
big show. What is needed is new bands, more shows and definately more
fanzines. To me, this is one of the most important things in hardcore. Fan-
zines equal creative freedom.” $30.00

26. Konrad, Gabe. Icky Pop, Nos. 1 – 6 & 8 with Eight Local Show Flyers.
Grand Rapids, MI: Gabe Konrad, numbers 1 – 6 and 8 (no. 7 was issued as a
cassette tape), nd (looks to be early June 1984 through Summer 1985). Xer-
oxed self-wraps in various formats, approx. 14 by 21.5 cm, nos. 1-6 are 8 pp.
each, no. 8 is 12 pp., illus. Near fine. A nice run of a relatively long-lived Mid-
west zine that brings back quite a few memories for me (ahem). Contains the
typically-blunt show and record reviews, angry tirades, and lifted material.
They feature three incredibly short interviews with members of the Necros,
Fang, and J.F.A., and longer interviews with Michigan bands ADC, Meat Joy,
Coagulated Child, and The Bodeans (a punk group that was later forced to
change its name to The Reel Bodeans by lawyers for Slash Records and their
client The BoDeans). What’s interesting is the mix of hardcore, industrial
(that’s pre-house, noise industrial), and experimental music that was typical
of smaller cities where the scene was large enough to spawn several bands,
but not so large that the scene was divided between musical styles. It wasn’t
unusual for industrial, hardcore, traditional punk, and experimental techno to
share the stage on a Saturday evening, and Icky Pop reflects this with a Throb-
bing Gristle review next to the Misfits, and the Crass in one issue and an origi-
nal essay on William S. Burroughs in the next. Also included are eight show
flyers from Grand Rapids venues from 1984 and ‘85; Feline Cow Vengeance,
ADC, Pope 87, and Grey Tissue at Viking Hall, 21.4 by 28.2 cm, tape remnants
and a few tears; two different flyers for Born Without a Face, The Bodeans,
and Grey Tissue at The Warehouse, 21.4 by 28.2 cm, both very good with faint
wear; MMM (Mike Mengs Music, I believe), Grey Tissue, and Brer Hominids at
The Warehouse, 21.4 by 28.2 cm, very good with light wear; “Marching to be
Martyrs,” a promotional flyer for the industrial band Grey Tissue, 21.4 by 28.2
cm, near fine; and two different flyers for “The Night of Death” with the West
German experimental artist Steven Puls (Steven Zeeland), Grey Tissue, Tom
Poon for Congress, and Brer Hominids, 21.4 by 28.2 cm and 28 by 43 cm, the
smaller is very good with light wear, the larger is fair with staple holes and
tears. $150.00
 Clockwise
from top left:
No. 27, 27,
28, 31, 30, 29

Facing page:
No. 26
27. L., Brad; Skot A.; Mia Culpa; Marian K., eds. Damage: An Inventory, Is-
sues 1 and 2. San Francisco: Damaged Goods Company, Vol. 1 No. 1 July
1979, Vol. 1 No. 2 August/September 1979. Newsprint, tabloid format, ap-
prox. 29 by 44 cm and folded, 36; 40 pp. incld. covers, illus. Yellowing with
light cover and edge wear with a few small edge tears and a couple of light
drip marks on the bottom edge of the front cover of issue two – the first issue
is a little rougher than the second. A scarce post-punk, new wave paper that
covered the San Fran and L.A. scenes, as well as national and international
groups. The first issue, with Jello Biafra of the Dead Kennedys on the cover,
features a Euro scene report, New Youth Productions, and interviews with
street artist DA, Robert Hanrahan (manager of the Dead Kennedys and The
Offs), The Urge, No Sisters, Gender Nervous, the Bags, and MX-80 Sound.
Also included is a striking two-page communique from Coum Transmissions,
“that centrosomic body releasing the energies and actions of a group of Eng-
lish artists whose most familiar public form is Throbbing Gristle.” The second
issue, with Patricia Morrison of the Bags (and later The Sisters of Mercy and
The Damned) on the front cover, features Devo, Pink Section, The Don’ts,
Rock Against Racism, and interviews with Adam and the Ants, artist Bruce
Conner, Queenie Taylor (Bill Graham’s assistant), Brendan Mullen of the
Masque punk club in Hollywood, the U.K. Subs, and the Human Hands. Both
issues include fiction, editorials, photography, and art. An important early
Cali paper not only for its coverage of bands, but club owners, managers, and
promoters as well. $200.00

28. Lombardi, Tony; Steve Kiviat; Sue German; Elliot Klayman, eds.
Thrillseeker, Issue 1. Bowie, MD: Thrillseeker, no. 1, September 1982. Staple-
bound card wraps, 21.5 by 28 cm, 55 pp., illus. Good with cover wear and
stains. An early DC hardcore/straight edge zine with great cover graphics and
very text-heavy. This impressive zine includes interviews with Black Flag’s
Henry Rollins, D.O.A., Sonic Youth, the Flesheaters, Greg Hetson of the Circle
Jerks, Jello Biafra of the Dead Kennedys, Exene Cevenka, John Doe and Billy
Zoom of X, Fear’s Lee Ving, and Void. Also included are lots of record reviews,
show reviews (sometimes displaying the animosity between DC and NY punks,
and a great piece about going on tour with Scream and G.I. to California, be-
ing interviewed by Tim Yohannan on the Maximum Rock and Roll radio show
(“all Tim Y. wanted to talk about was the straight edge”), and the Cali kids
(“the crowd in SF is weird, really image conscious Oi-clones”). Great section
on local band and show news – gossip from HC’s early days. $100.00

29. Lorbit, Jim; Jon Starks;Brett Tobias, eds. Freedom is Cancer, Issue 1.
Reading, PA: Jim Lorbit, Issue 1, June 1985. Staple-bound self-wraps, 21.5 by
28 cm, [20] pp. incld. covers, illus. Good with light cover and edge wear and
light creases from being folded in fourths. While the zine intro says, “we
wanted to do something a bit different from the way most fanzines are done,”
this is actually a great zine in the classic HC mold with page after page of news
clippings (lots on Reagan, “a far right who’s who,” mystery rodents, teen ram-
pages, etc.), Proudhon quotes, collage art, a Nicaragua fact sheet, etc.
There’s even some music: two pages on Bristol, England’s Disorder, and an
interview with The Crucifucks, one of the great punk bands to come out of
Michigan. $40.00

30. Lyon, Noah. Retard Riot, Issue 1. Clintondale, NY: Noah Lyon, May 2000,
first edition of “a few hundred.” Staple-bound self-wraps, [40] pp., illus. Very
good with light cover and corner wear, and a pinhole in the upper left corner
of the zine. The premier issue of Retard Riot, a punk (at least at its concep-
tion) and art zine that’s seen over 40 issues. Lyon (1979 –) is a multidiscipli-
nary artist based in New York City. He works in drawing, painting, artist's
books, sound art, and installation, and his work is in the permanent collec-
tions of the Tate Britain, the Museum of Modern Art, The Menil Collec-
tion, and The Whitney Museum of American Art. For the first issue, Lyon
“wrote pretty much everything, this goes for the pictures and drawings as
well,” and includes poetry, lifted news articles (a punk zine staple), Non
Phixion (the NY hardcore hip-hop group), a super short interview with Steve
Jones of the Sex Pistols, a review of John Waters’ “Pink Flamingos,” the Andre
the Giant sticker campaign, record reviews, cartoons, and stuff. Lots of stuff.
A great zine with a title you don’t want to say out loud. Early issues are
scarce. $100.00

31. McNally, Aileen; Jill Cunniff, eds. The Golfing Experience, Issue 1. New
York: The Golfing Experience, No. 1, Summer/Fall 1986. Staple-bound card-
wraps, offset-printed, 23 by 30.5 cm, 38 pp., illus. Good with cover wear,
creases and faint stains. One of those zines that you hoped would make it,
but you know deep down that they didn’t. A nice mix of short stories, trave-
logues, record reviews, great photos, and good interviews – a couple of which
were with gen-u-ine stars. They include Killdozer, Jesus and Mary Chain,
Frightwig, Soul Asylum, a lengthy interview with the Butthole Surfers, and a
real get – Shane MacGowan of the Pogues. The editors learned that Shane
“laughs like Grover on Sesame Street, and that he was a major figure during
the punk rock heyday at London’s Roxy Club (probably because he had the
greenest teeth).” Shane did, by the way, get some new teeth in 2015. $40.00

32. [MDC] Six Photographs of M.D.C. Live in Germany. Six photos of M.D.C.
(aka Millions of Dead Cops, Millions of Dead Children, Multi-Death Corpora-
tions) performing at Ajz in Bielefeld and the Live Station in Dortmund, Germa-
ny in 1987. The photos, which focus mainly on singer Dave Dictor, were taken
for a German zine whose name has, unfortunately, been lost to time. All are
very good with light bumping to a few
corners. M.D.C., a far-left hardcore band,
originated in Austin, before relocating to
San Francisco, and finally to Portland.
Fast and aggressive, the band remains
active, including their 2016 remake of
“Born to Die:” “No Trump, no KKK, no
fascist USA.” While the band’s various
names and album graphics are terrifying
to the average non-initiate, these shock
tactics offered an attention-grabbing way
to broadcast their anti-authoritarian and
leftist message. After all, as Greil Marcus
puts it, “to make true political music, you
have to say what decent people don’t
want to hear.”8 $30.00

33. Miner, John E. Exhibit Poster for the

Punk Rock Poster Show 1977-2002 –
Signed. Screen-printed in white, light
blue, gray and red on heavy black paper,
29 by 44.3 cm. Fine. Pencil signed by Miner in the lower right corner,
numbered 12/100 in the lower left. This exhibit
featured original screen-printed posters by Min-
er—like this one that was offered for sale at the
show—and “classic punk flyers from the vaults
of Hermann Senac,” an LA-based collector and
drummer who played for several punk bands.
Held at the Dragon Bar & Lounge in Covina,
California on February 23rd, 2002. $150.00

34. [Minor Threat, Straightedge, DC Hard-

core] DC Hardcore Concert Flyer Featuring
Minor Threat. [Washington, DC]: No pub-
lisher, [1982]. Offset-printed concert flyer,
framed in black wood frame, visible area of flyer
measures 27.5 by 40.8 cm, frame measures 42.5 by 55.6 cm. One of
the more scarce DC flyers, this bold, graphically striking poster features an all-
DC lineup with Minor Threat, Faith, Artificial Peace, Iron Cross (one of Ameri-
ca’s earliest skinhead bands), Void, and Double-O at DC’s Wilson Center (16th
and Irving) in 1982. Formerly in the collection of Jeff Nelson, Minor Threat’s
drummer. Professionally matted and framed with Artcare archival materials
 and UV-filtering glass
by New Image in Phila-
delphia. An amazing
artifact from one of
hardcore’s more influ-
ential bands. $500.00

35. Monem, Nadine

Käthe, ed. Riot Grrrl:
Revolution Girl Style
Now! London: Black
Dog Publishing, Ltd.,
2007. Wraps, 19 by 27
cm, 189 pp., illus. Un-
read copy with only
faint signs of shelf
wear to the covers.
From the publisher:
“Told from the per-
spective of those di-
rectly involved, Riot
Grrrl: Revolution Girl
Style Now! is a unique-
ly comprehensive ex-
ploration of this pio-
neering scene and its
interlinked music, art and zine communities. Profiling bands from the move-
ment's ground-breaking beginnings through to those still prominent, including
Bratmobile, Bikini Kill, Huggy Bear, Lungleg, Mambo Taxi and Le Tigre. Riot
Grrrl narrates the changing face of guerrilla
activism through exploring the movement's
characteristic art and aesthetic, discussing
collectives such as the Guerrilla Girls and sur-
veying the influential zine movement. Featur-
ing a foreword from Beth Ditto alongside con-
tributions from a diverse array of musicians,
artists, fanzine writers and activists. The book
charts the movement's genesis in proto-riot
grrrls such as Patti Smith, Yoko Ono and Sonic
Youth's Kim Gordon and explores its contin-
ued influence on a diverse range of contem-
porary artists including Electrelane and The
Gossip. Visually stunning, filled with photo-
graphs, posters, record covers, rare fanzines and artwork from the key protag-
onists, the book is a comprehensive view of the principles and champions of
one of punk's most influential movements. At times shocking, always inspir-
ing, Riot Grrrl: Revolution Girl Style Now! is a fascinating and important book.”
Chapters include: The Legacy and Contemporary Landscape of DIY feminist
Cultural Activism; Poems on the Underground; Riot Grrrl Writing; Art, Politics
and How One Grrrl Joined the Feminist Riot; An American Riot Grrrl Timeline;
A British Riot Grrrl Timeline; a Riot Grrrl Directory; and a Riot Grrrl Zines Direc-
tory. $40.00

36. Normoyle, Keith; John Kearney, eds. Twist & Shout, Issue 1. Montreal:
Twist & Shout, nd [1977], Volume 1 Issue 1. Staple-bound card wraps, 21 by
27.5 cm, 44 pp., illus. Very good with light edge wear and corner creases.
"Welcome to the premiere edition
of Twist & Shout. T&S is the
world's first ‘ROCKZINE’ that de-
votes all its' pages to the music of
yesterday, today and tomorrow. It
is our aim to be as informative and
precise as humanly possible in our
articles, interviews and discogra-
phies. An extremely important
segment of T&S is our Vinyl De-
lights, with reviews on L.P.'s, 45s
and E.P.'s; Twisters, our up to the
date report on music happenings;
and Paper POP, a section of books
that are written on the world of
music. T&S believes that for the
most-part other music oriented
publications lack in this very vital
area. Although the reviews are
opinionated, the aim is to make
you, our readers, at least informed." While the zine includes interviews with
Bill Nelson and members of the Sparks, and a feature on Status Quo, my main
interest here is a five-page feature and discography on punk, including reports
from “the two current hotbeds” of the movement, London and New York.
"Punk is music of simplicity and is the basics of what rock is all about,” writes
Normoyle. “The progressive side of rock is a non-entity. Music in the Seven-
ties has taken the winding path miles upon miles away from the basics and
has landed itself in a world of synthesizers, moogs, Philharmonic Orchestras,
laser beam light shows, all encased in a synthetic glass bubble completely
remote from the audience. This is not to say that this area of involvement is
not without purpose, but a need for an earthy real sound that can be pro-
duced with a minimum of plastic aids is also needed. Punk or whatever one
chooses to call it must always exist, for without its existence music will then
as we know disappear. Three cheers for punk and for its vital energy." $40.00

37. Open Road Club. San Diego’s Daily Impulse: A Bi-Monthly Anti-
Authoritarian NewsJournal, Issue 1. San Diego: Open Road Club, Vol. 1 No. 1,
April 1 – May 31, 1985. Wraps, 21.5 by 28 cm, 8 pp. incld. covers, illus., laid-in
subscription letter and anti-draft flyer (see below). Very good with minor
wear. A mix of punk and anarchism, heavy on the anarchism, from the Open
Road Club, “a loose network of anarchist individuals and groups.” Includes
alerts (farmworker boycott, Nicaraguan invasion, and draft picket plans), a
lengthy report on punks vs. police at the Anarchy ’84 Picnic, the Hardcore ’85
Picnic (with a back cover ad), movie and restaurant (“Cheap Eats”) reviews,
the Anti-Sex League (“a local group of authoritarians are attempting to ban
‘adult bookstores’ from the downtown area”), and an essay titled “What Do
Anarchists Want?” Laid in is a red “Resist the Draft – Fuck the Pentagon!”
flyer with some striking graphics (21.5 by 28 cm, printed recto only, very
good). Intense, angry… and well written. $65.00

38. Peekay and Plucky, eds. Shews: Part of London’s New Wave, No. 2. Lon-
don: Shews Magazine, nd [1977]. Staple-bound self-wraps, 21 by 29.7 cm, 15
pp., illus. Very good with light wear to the wraps. One of the “archetypes” of
U.K. fanzines9, Peekay and Plucky offer up a look at the fast-moving London
punk scene. Includes an interview with Blondie (who in Blondie, I’m not sure)
that moves quickly from interesting to inane (“WHAT’S YOUR FAVOURITE
FOOD? Corn Chips. WHAT’S YOUR FAVOURITE COLOUR? Corn chips.”), as well
as a centerspread of Sex Pistols photos, record reviews, updates on the Heart-
breakers, 999, Generation X (“Billy looks great on stage and must spit out as
Top: No. 39 Bottom: No. 38
Top: No. 41 Bottom: No. 40
much as he drinks”), The Vibrators, etc. Music-wise, 1977 seemed like a
pretty good year. $50.00

39. Poseur for Punks and Mods, January 1982 Catalog. Hollywood: Poseur,
January 1982. Staple-bound self-wraps, 18 by 21.5 cm, 20 pp., heavily illus.
Heavy wear to the wraps; lengthwise crease from being folded in half, stapled
and mailed; mailing label partially peeled off; doodles and phone numbers on
the covers, and pen notations next to items wanted on three pages. Includes
flyer advertising Poseur’s Propa-Ganda zine. A catalog for the punk fashion
shop founded by British designers Pamla Motown and Jim O’Connor in 1978
on Sunset Boulevard. Prior to teaming up with O’Connor and founding their
own firm, Motown was working for the London boutique Mr. Freedom which
opened in 1969. 10 Motown and O’Connor designed clothing for mass market
retailers, private clients like members of the band Roxy Music, and a line of
punk T-shirts for Macy’s. Upon moving to Los Angeles, the team founded
Poseur on Sunset Blvd. When the shop moved to Melrose Avenue in the early
1980s, it helped put that famous street on the map. This catalog features a
variety of punk and new wave buttons, stickers and T-shirts, as well as stud-
ded leather wristbands, bondage pants and shirts, a few sweatshirts and ties
for the mods, etc. Poseur was probably the first one-stop-mail-order-shop in
the United States for punk, new wave and rock attire and accessories. While
Pam and Jim were always up front about their business—they were called
Poseur after all, and their zine was Propa-ganda—they were one of the few
outlets for young American punks looking for Sex Pistols and Black Flag
buttons, Fear T-shirts, and Crass and Exploited stickers. And if you wanted a
Sid Vicious chain necklace (you could just go to the hardware store), they had
you covered. $85.00

40. Poseur Magazine, Issue #2. Hollywood: Poseur, [February] 1978, issue
no. 2. Staple-bound self-wraps, 21.5 by 35.5 cm, 16 pp. incld. covers, illus.
Very good with light edge wear and corner creases, and light creasing along
the top edge. The second issue (of at least five) of the first zine produced by
Pamla Motown and Jim O’Connor of Poseur, and the first issue produced in
Los Angeles (issue one was produced during their short time in New York).
Includes reviews of local stores—including Frederick’s of Hollywood, Nudie’s
Rodeo Tailor, and Zed of London record shop—and show reviews, including
the Dils and Avengers at the Masque, Devo and Mink DeVille at the Civic,
and—wait for it—the Sex Pistols at Winterland, “behind the ‘sacrilege,’ gobs
& snot lie some very honest, thinking individuals who happen to play incredi-
ble, primitive, groin-level rock n’ roll and most importantly have a fucking
good time doing it!!!” Some of the show reviews are as much about what
people wore as the bands. Also featured are the Clash, book reviews (Punk by
Julie Davis and 1988: The New Wave Punk Rock Explosion by Caroline Coon),
and why they call their shop Poseur. Rare. $150.00
41. Poseur Propa-ganda, Issue #4. [Hollywood]: Poseur, September-
December 1982, issue no. 4. Staple-bound self-wraps, 21.7 by 27.9 cm, 12
pp., illus. Near fine with light yellowing. The fourth issue of Poseur’s second-
generation zine focuses primarily on the shop, with new products, shop news,
customer photos, letters, etc. They announce that they are now, at long last,
able to import Dr. Martens boots, “the favorite footwear of all skins, punks
and Herberts in England,” and the classic 10-eye Docs grace the great graphic
cover. In the Q&A section, Jim offers a snapshot of the mix of music and
styles American punks enjoyed, “Some people, particularly English, have com-
mented that they find it odd that we provide punk and mod and skinhead
items. We see no real division between any of the post punk inspired catego-
ries. All these styles are working class fashions which Pam and I have ‘been
into’ since any of them began. We’ve always found them exciting and I think
the so called divisions are invented by the journalists who of course are not
involved in punk.” $100.00

42. [Punk] Mid-1980s Punk Rock Box. Grand Rapids, MI: 1983-1992. Lined
metal roller skate box with stickers, 39 by 32 by 16 cm. Scratches and scuffs
to the paint; with chips, general wear, and some peeling of the stickers. This
unique item belonged to a young punk from the Grand Rapids, Michigan area.
It was a repurposed roller skate box, purchased from a thrift shop, and used
to store cassette tapes. Spray painted black, with electrical tape wrapping the
handle, some of the stickers include West Michigan hardcore and industrial/
experimental bands like Born Without a Face, The Bodeans, Blind Alley,
Slaughter House, The Fury, Grey Tissue, Blight, and Rights of the Accused, and
national (and international) acts like Crass, Coil, Negativland, Pariah, Channel
3, Suicidal Tendencies, Crime, G.B.H., the Clash, and Fang. There are also
stickers from the fanzines Depression, Icky Pop and T42, Wax Trax Records,
Peavy amps, and Saudi Arabia/Desert Storm. The case was in use from early
1983 until early 1992, while the owner was involved in the Michigan hardcore
and industrial scene. Later, he joined the U.S. Army and served in the first
Gulf War (hence the Saudi stickers). The owner published Icky Pop zine (item
no. 26) and was a member of two bands named on the box. More details
about the owner will accompany the case. $250.00

43. [The Ramones] Two Photographs of The Ramones Live in Germany.

Two photos of The Ramones at a concert in 1987, taken for a German zine
whose name has been lost to time. Both images feature all four band mem-
bers. While not crystal clear, these are scarce snapshots of some of the
founders of punk. On the verso, “Ramones” is written in Sharpie, there are
date stamps of 10’87, and there is a stamp from the record shop that original-
ly purchased the zine’s archives. $40.00

44. [The Ramones] Capitol Theatre Promo Brochure for The Ramones. Pas-
saic, NJ: Capitol Theatre, 1979. Single sheet, folded, 14 by 21.5 cm, [4] pp.,
illus. Fair with creases from being folded in quarters, and scuff marks near the
bottom of the front cover and the inside of the front cover. “John Scher pre-
sents at the Capitol Theatre Saturday, February 10, 1979, The Ramones, Spe-
 No. 43

No. 44
cial Guest Star, David Johansen
Group.” Includes a half-page photo No. 43
of The Ramones along with a brief
bio, a bio and small pic of the Johan-
sen Group, and coming events (Elvis
Costello, Cheech & Chong, Molly
Hatchet…). Great cover illustration
of a woman wearing a top made of
safety pins. $20.00

45. [The Replacements] Walsh, Jim. The Replacements: All Over But the
Shouting, An Oral History – Signed. St. Paul, MN: Voyageur Press, 2007, first
printing. Hardcover with dust jacket, black cloth with silver spine titles, 15.4
by 23.5 cm, 304 pp., black and white photographs. Very good with minor
bumping at the head and tail of the spine; in a very good jacket. Signed by Jim
Walsh on the front free endpaper. From the publisher: “Formed in a Minne-
apolis basement in 1979, the Replacements were a notorious rock ’n’ roll cir-
cus, renowned for self-sabotage, cartoon shtick, stubborn contrarianism,
stage-fright, Dionysian benders, heart-on-sleeve songwriting, and – ultimately
– critical and popular acclaim. While rock then
and now is lousy with superficial stars and glossy
entertainment, the Replacements were as warts-
and-all ‘real’ as it got. In the first book to take on
the jumble of facts, fictions, and contradictions
behind the Replacements, veteran Minneapolis
music journalist Jim Walsh distills hundreds of
hours of interviews with band members, their
friends, families, fellow musicians, and fans into
an absorbing oral history worthy of
the scruffy quartet that many have
branded the most influential band
to emerge from the ’80s. Former
manager Peter Jesperson, Paul Stark and Dave Ayers of Twin/Tone Records,
Bob Mould and Grant Hart of rivals Hüsker Dü, the legendary Curtiss A, Soul
Asylum’s Dan Murphy, Lori Barbero of Babes in Toyland, R.E.M.’s Peter Buck,
power-pop hero Alex Chilton, Craig Finn of The Hold Steady, and replacement
Replacements Slim Dunlap and Steve Foley: all have something to say about
the scene that spawned the band. These and dozens of others offer insights
into the Replacement’s workings – and the band’s continuing influence more
than fifteen years after their breakup. Illustrated with both rarely seen and
classic photos, this, finally, is the rollicking story behind the turbulent and
celebrated band that came on fast and furious and finally flamed out, chroni-
cled by one eyewitness who was always at the periphery of the storm, and
often at its eye.” $60.00

46. Rettman, Tony; Freddy Cricien, foreword. NYHC: New York Hardcore
1980-1990. Brooklyn, NY: Bazillion Points, 2015, second printing. Custom
leather binding (see below), black endpapers, 18 by 25 cm, 382 pp., illus. Fi-
ne. An amazing document on the birth and evolution of the New York hard-
core scene. “Known for its stylish 1970s punk rock scene, New York City
matched the grim urban reality of the 1980s with a rawer musical uprising:
New York hardcore […] With a backdrop of despair, bands like Agnostic Front,
Cro-Mags, Murphy’s
Law, and Youth of Today
[not to mention Adrena-
lin O.D., Bad Brains,
Cause for Alarm, Death
Before Dishonor, Reagan
Youth, Sick of it All, the
Misfits, Warzone, etc.]
confronted their reality
with relentlessly ener-
getic gigs at CBGB, A7,
and numerous squats in
the area. With a fore-
word by Freddy Cricien
of Madball, who made
his stage debut with
Agnostic Front at age 7,
Tony Rettman’s ambi-
tious oral history cap-
tures ten years of strug-
gle, including the scene’s
regional rivalries with
D.C. and Boston, the
 birth of moshing, the coming together
of hardcore and heavy metal, the
straightedge movement, and the un-
likely influence of Krishna conscious-
ness.” Issued only as a softcover, this
copy has a
custom bind-
ing made from
a vintage leather jacket. The leather has been fes-
tooned with hand-sewn, DIY Agnostic Front, Bad
Brains and Cro-Mags patches, an embroidered Youth
of Today patch, and the symbol of NYHC painted on
the spine. A stunning copy. Heavily illustrated with
black and white photos and numerous show flyers,
this book is as graphically pleasing as it is important in
the history of American punk and hardcore. $400.00

47. Rigano, Andrea. Lungo La Strada. Verona, Italy: Kob Records, c. 1999.
Wraps, 23.8 by 16.2 cm, [110] pp. Very good with light wear to the covers
and corners. Rigano’s collection of photos from concerts taken over a three-
year span in Italy. “Along the Road” includes shots of Agnostic Front, d.r.i.,
Murphy’s Law, Dropkick Murphys, Pennywise, Sub Zero, The Vandals, Less
Than Jake, Blink 182, a number of Euro bands, etc. “Punk, Oi!, ska, straight
edge, emo, crust… it’s all the same, and that’s what this collection wish [sic] to
show…” A single page of text followed by black and white photos. $50.00

48. Roberts, Robert, ed. Twisted, Issue 1. Seattle, WA: Twisted, No. 1, July
1977. Staple-bound glossy wraps, 20.5 by 26.8 cm, 24 pp., illus. Very good
with light cover wear and spine creases; the newsprint pages are yellowed.
“Another rock ‘n’ roll magazine,” Twisted seemed to follow the formula
where you talk about the same stuff everyone else was talking about – in this
case Iggy Pop and Blondie – add amateur writers and lackluster layout and
you’ve got a magazine. The photos do help make up for it, with great shots of
the aforementioned Iggy and Debbie Harry. This premier issue includes the
Screamers, Ramones, The Damned, The Knobs, The Tubes (and a great ad for
The Tubes on the back cover). The big get here is the interview with Danny
Fields, the manager and publicist who signed and managed Iggy and the
Stooges, signed the MC5 and managed the Ramones, and worked in various
roles with Jim Morrison and the Velvet Underground. $50.00

49. Sabin, Roger; Teal Triggs, eds. Below Critical

Radar: Fanzines and Alternative Comics from 1976
to Now. Hove, England: Slab-O-Concrete, [2000].
Glossy wraps, 21 by 25 cm, 111 pp., illus. Near fine.
From the now defunct publisher: “Twenty-five
years of print (and web) anarchy from the fringe
publishing culture. This is the first study on both
fanzines and alternative comics, from the end of
the hippie underground press to the start of the
Internet publishing boom. Publications covered
include Sniffin’ Glue, Buffy zines and Ghost World
as well as the Konvention of Alternative Komix. Essay contributors include
Gary Groth of Fantagraphics and Steven Heller, author and NY Times art edi-
tor.” Factsheet Five, Punk Magazine, Murder Can Be Fun… $30.00

50. Samiof, Steven; Melanie Nissen; Claude Bessy; Philomena, eds. Slash,
Issue 1. Los Angeles: Slash, Vol. 1 No. 1, May 1977. Newsprint tabloid, 29 by
38 cm, 20 pp. incld. covers, illus. Light yellowing and edge wear; some light
yellowing across the center of the
front cover from where it had been
folded in half. The premier issue of
the well-written and relatively long-
lived music journal – with one of the
most famous cover images in punk-
dom. This publication was “born out
of curiosity and out of hope. Curiosi-
ty regarding what looks like a possi-
ble rebirth of true rebel music, hope
in its eventual victory over the bland
products professional pop stars have
been feeding us. May the punks set
this rat-infested industry on fire. It
sure could use a little brightness!”
Includes an interview with members
of the Damned—whose frontman,
Dave Vanian, graces the cover—“Local Shit” (a short update on the local sce-
ne), a Screamers pictorial, and show reviews of Television at the Whiskey, the
Damned at the Starwood, and Iggy Pop at the Santa Monica Civic. The single
and album reviews show the auspicious time in which Slash was born; “White
Riot” by the Clash, “Anarchy in the U.K.” by the Sex Pistols, “The Idiot” from
Iggy Pop, “Leave Home” by the Ramones, etc. “No Elvis, Beatles or Rolling
Stones in 1977!” $125.00

51. Schwartz, Andrew; Howard Klein,

eds. New York Rocker, April-May
1978. New York: Over The Hill Publi-
cations, Inc., Vol. 1 No. 12,
April-May 1978.
Newsprint tab-
loid, 29 by 42.5
cm, black and
white with a two-
color cover, [56] pp.
incld. covers, illus.
Very good with faint
yellowing and minor
edge wear. Schwartz’s
first issue as editor after
NYR’s creator Alan Betrock left the
mag. The “UK Today” special issue
featuring the Clash on the cover, a great image of Joe Strummer on the back
cover, and a well-illustrated four-page article on the Clash. Also included are
articles on the X-Ray Spex, The Boys, Bob Geldof, Tom Robinson, “British
Bands – A to Z,” UK rockabilly, Red Star Records, TVT, Roky Erikson, a photo
spread of Mirielle Cervenka (a “New York underground personality with ex-
traordinary style,” owner of the jewelry store Junk, and manager of Teenage
Jesus and the Jerks), and interviews with David Johansen, Mark Perry of Alter-
native TV, Ian Dury, and Howard Devoto of the Buzzcocks (by Jon Savage).
There are also op-eds, record reviews, show reviews (including the Jam), sce-
ne and band reports, and photo spreads by Anna Sui, Marcia Resnick, and
Shahn Kermani. A serious attempt at music journalism mixed with an annoy-
ing affinity for fashion. $65.00

52. [Scream] Four Photographs of Scream Live in Germany. Four photos of

the DC hardcore band Scream, taken for a German zine whose name has been
lost to time, at a concert at the Life Station in Dortmund, Germany in 1987.
Three of the images are of singer Peter Stahl (in a Rock Against Reagan T-
shirt), and one is of his brother, guitarist Franz Stahl. While there has been
 some shuffling of the lineup over the
No. 52 years – including Dave Grohl of the Foo
Fighters on drums from 1986-1990
(though he isn’t seen in the pics) – the
original lineup are still touring today.
One image reads “photo all by Janet” on
the back. All are very good with light
bumping to a few corners. $20.00

53. [Coleman] Coleman, Ray, ed. Mel-

ody Maker, June 4, 1977 – Sex Pistols
Cover. London: IPC Specialist and Pro-
fessional Press Ltd., 4 June 1977. News-
print tabloid, approx. 33 by 44.5 cm, 72
pp. inlcd. covers, illus. Complete but
poor with wear, tears and chipping to
the edges (especially the spine), nibbles
on the lower corner (mouse?), a large
tear across p. 19/20, and light yellowing.
“Street Life,” features an image of Johnny Rotten and Sid Vicious getting tick-
eted by a London bobby. Includes “Local censors out in force to ban punk
rock groups,” “Rotten! Sex Pistols talk to Alan Jones”—“We’re the only honest
band that’s hit this planet in about two thousand million years”—“Kick out
the hams [sic]” on MC5, a full-page ad for “In The City,” the new album from
The Jam, and a 13 by 9 cm ad for a Ramones/Talking Heads concert at Lon-
don’s Roadhouse. $45.00

“Everybody got it wrong… it was an effort to rip people off,

to make as much money as possible.” – Jamie Reid

“Crime is one of the greatest forms of sensuality.” – Mal-

colm McLaren

54. [Sex Pistols, Malcolm McLaren] Coleman, Ray, ed. Melody Maker, June
16, 23 & 30, 1979 – Three Part Article on Malcolm McLaren. London: IPC
Specialist and Professional Press Ltd., 16, 23 and 30 June 1979. Newsprint
tabloids, three issues, approx. 33 by 44.5 cm, 72; 80; 72 pp. inlcd. covers, illus.
Fair with edge wear and tears, spine wear and yellowing; June 30 issue has a
small, old tape repair to the spine. “The rise and fall of Malcolm McLaren,”
three issues featuring “a three-week series on the man who sold the Sex Pis-
tols” in which Michael Watts talks with McLaren, Jamie Reid, Vivienne West-
wood, Steven Fisher (McLaren’s lawyer), Richard Branson and others about
 Clockwise from
top left: No. 53,
54, 54, 54, 56, 55
the formation, promotion and bleeding dry of the Pistols. The article—
totaling about 20 pages and the June 16 cover—gave credit where credit was
due. “As a manager [McLaren] had flair,” but as Branson put it, “Malcolm
didn’t engineer the Grundy show or Rotten’s hairstyle; he wasn’t the whole
reason for the Sex Pistols being as successful as they were.” These issues also
include pieces on Iggy Pop, Nina Hagen, reggae group Israel Vibration, The
Pretenders, Siouxsie and the Banshees, and great full- and half-page ads for
Devo, The Specials, Sid Vicious’ “C’mon Everybody” single, U.K. Subs, and The
Who. $150.00

55. [Sex Pistols] Cox, Alex; Abbe Wool. Casting Call Flyer for “Love Kills” (Sid
& Nancy). [Los Angeles]: Zenith Productions, 1985. Broadside, printed recto
only, 21.7 by 27.8 cm. Very good with light corner creases and a single pin
hole at the center top. A casting flyer for extras for Cox and Wool’s 1986 Sid
Vicious biopic “Love Kills,” which was renamed “Sid & Nancy.” “wE neEd
these tYpeS: pUnks, neW WavErs, bikeRs, CoWboYs/cOwgirls, sId ViCious &
NanCy SpunGeN Look-AliKes, long-HaiRs ---- aNd wE NeeD yOU to DreSs in
1978 fAsHionS anD style. IF wE cHooSe YoU, yOU’ll Be paid $35 fOr each daY
yOu wOrK, plUs lunch!!!!” Auditions were held in LA on November 9, 1985.
The film starred Gary Oldman as Vicious and while the film was generally a
critical success, most old school fans of the Pistols found it dreadful, as did the
band’s former front man, John Lydon (Johnny Rotten) who, when asked if the
film got anything right, said “Maybe the name Sid.”11 $50.00

56. [Sex Pistols] Lydon, John; Keith and Kent Zimmerman. Rotten: No Irish,
No Blacks, No Dogs, The Authorized Autobiography of Johnny Rotten of the
Sex Pistols – Signed. New York: St. Martin’s Press, 1994, first printing. Hard-
cover with dust jacket, black paper over black cloth spine with silver spine
titles, 16 by 24 cm, ix 329 pp., 28 black and white photos. Near fine in very
good jacket with light yellowing on the rear panel. Signed “Johnny Rotten was
here!” on the half-title page (it looks as if he started with a marker that was
dying and finished with a new marker). From the publisher: “Punk has been
romanticized and embalmed in various media. It has been portrayed as an
English class revolt and a reckless diversion that became a marketing dream.
But there is no disputing its starting point. Every story of punk starts with its
idols, the Sex Pistols, and its sneering hero was Johnny Rotten. In Rotten,
Lydon looks back at himself, the Sex Pistols, and the "no future" disaffection
of the time. Much more than just a music book, Rotten is an oral history of
punk: angry, witty, honest, poignant, and crackling with energy.” And why
not get the facts from the King Punk himself – “Here I am all these years later
and all these people are telling me what punk means, but every single one of
these arseholes out there can go fuck themselves.” I earned the title King Of
 No. 26

No. 13

No. 26

No. 26

No. 16 No. 19
No. 15
Punk and I am, therefore… so until I
concede my crown, no one will tell
me what to do!”12 $125.00

57. [Sex Pistols] Moorcock, Michael.

The Great Rock ‘n’ Roll Swindle: A
Novel by Michael Moorcock, In-
spired by the Film. London: Virgin
Books Ltd., 1980, first printing.
Newsprint in newspaper format,
two sections, approx. 35 by 58 cm
and then folded, [24] pp. incld. co-
vers, illus. Fair with edge wear and
tears, yellowing, and a small stain
on the top and bottom edges. A
novelization of the movie in ten
lessons: How to Manufacture Your
Group; Establish the Name; Sell The Swindle; Do Not Play, Do Not Give the
Game Away; How To Steal As Much Money As Possible From The Record
Company Of Your Choice, etc. Heavily illustrated with movie stills and promo
shots, “the cheapest novel of 1980” was wonderfully designed by Pearce
Marchbank, and the graphics are more pleasing than the text. The film itself,
released the same year, was directed by Julien Temple and offered a stylized
version of the creation, fame and breakup of the Pistols – much from the
viewpoint of manager Malcolm McLaren. $35.00

58. Sex Pistols. “Pretty Vacant / No Fun” 45 with

“Nowhere Busses” Sleeve Designed by Jamie Reid.
[London]: Virgin Records Ltd., VS 184, 1977. Vinyl
45 with “Pretty Vacant” on the A-side and Stooges
cover “No Fun” on the B-side. Original printing
with the “Nowhere Busses” on the verso. Jamie
Reid, best known for his “God Save the Queen”
graphics, appropriated the bus image from a
“Situationist pamphlet produced by David Jacobs in
Berkeley in 1973.”13 In book lingo, the 45 is near
fine with no scratches; the sleeve is very good
with light edge wear and staple holes in the up-
per right corner. $25.00

59. [Sex Pistols] Scrapbook of Sex Pistols Clip-

pings plus 50+ Loose Clippings. Belfast, North-
ern Ireland: Collected by Eileen Walsh, c. 1978-
No. 59
1981. Housed in a Dickson Robinson Group (made in Great Britain) children’s
scrapbook, staple-bound wraps, 24 by 36.5 cm, [32] pp. Overall condition is
very good with light wear to the covers and corners of the scrapbook. Most
of the bound clippings were mounted with glue and remain firmly attached;
some clippings were mounted with bluetac and most of those are loose, and
one article is attached with tape. All the scrapbook pages are filled and noth-
ing appears to be missing. The loose clippings are all very good. Assembled
by Ms. Walsh “from around age 16,” with most of the work being done in
1978-79. The album includes 40 pieces, with many full-page and double-page
spreads. The clippings that have a publication’s name and/or dates include
Super Sonic (Oct. 1979), New Musical Express (NME, July, August, Dec. 1978,
Feb., July, Dec. 1979), Sounds, Pink, Smash Hits, Sunday People (Feb. 1979),
Daily Mirror (Feb. 1979), and the Irish Independent (Feb. 1979). While the
clippings lean heavily towards Johnny Rotten, there are plenty of Sid and the
band, and several clippings about Sid’s death; “Sid’s Last Exit After Orgy,”
“The Fix,” “Sid Vicious Drugs Death,” “Final Curtain of a Violent Young Life,”
and “Sid Vicious – Now a Poison Probe.” There are 54 loose clippings, ranging
from inch-square images of Rotten to large NME double-page spreads, includ-
ing adverts and articles on “The Great Rock ‘N’ Roll Swindle.” There are a cou-
ple multi-page articles, including “The Punk Process” by Jon Savage (The
Face). The loose clippings that have a publication’s name and/or dates in-
clude Smash Hits (April 1979), Record Mirror (June 1979), NME (Feb., April,
Oct. 1979, Feb., June 1980), Super Sonic, Pink, Starlight (April 1979), Boy Oh
Boy!, and The Face (Dec. 1981). Despite starting in 1978, this is a wonderful
collection of Pistols material – most of which has been lost to time. While
there are great pieces from the rock press, and scarce clippings related to Sid
Vicious’ death, it’s amazing how often the Sex Pistols – and especially Johnny
Rotten – appeared in the teen heartthrob and celebrity mags; “Rotten to the
Core,” “Rotten is No Rod [Stewart],” “Rotten Mug,” “Johnny’s so Rotten,”
“What a Rotten Trick,” and “Ravishing Rotten”
– “Aaaah, the lovely Johnny! A dead cert for
the Top Three in anybody’s chart! He’s so cute,
you can forget all those stupid spitting ‘n’
swearing scenes the Pistols staged to get no-
ticed. Johnny’s quite acceptable now.”
$400.00

60. [Sex Pistols] Scrivener, Tony. Agents of

Anarchy with After Anarchy: Day by Day Box
Set – Signed. Agents of Anarchy: Surrey: Kings-
fleet Publications, 1992. Glossy wraps, 21 by
29.8 cm, 112 pp., illus. Light edge and corner
wear. This copy has a scrap of paper with the
 author’s name and address, hand-
written by Scrivener, attached to the
inside of the front cover. After Anar-
chy: [Surrey]: Tony Scrivener, 2003.
“Exclusive box set edition,” complete,
which includes a “presentation
box” (brown card box with After Anar-
chy graphics affixed to one side, 31 by
31 cm), the After Anarchy book (staple
-bound wraps, 21 by 29.8 cm, 70 [2]
pp., illus.), a Pistols “family tree,” a
promotional poster (33 by 48.5 cm,
folded), a promo flyer, a certificate of
authenticity,
and a printed card folder to hold all the materials. All
are in very good condition with a few small corner
creases and bumps. The box has creasing on one
edge from being squished a bit at some point. Every
piece in the box set is signed by Scrivener. Agents of
Anarchy was a labor of love—or a complete obses-
sion—that tracked the members of the Sex Pistols,
and all the bands they were members of, from their
final Winterland gig in 1978 to 1986, including PiL, the
Rich Kids, Greedy Bastards, and The Professionals, and
even Bananarama (Paul Cook was a session drummer
for them) and Iggy Pop (Glen Matlock played bass for
Pop’s band while on tour in 1979). Arranged chronologically, in brief diary-
like entries, many of the notes are simply concert dates (i.e. “13 November
1983 / PiL: Birmingham Odeon”), but many are more detailed, like

10 October 1978
Sid and Nancy probably give their last photo session at the Chel-
sea Hotel. In one photo, Sid holds the knife which brought about
Nancy’s death a few days later.

4 November 1978
Sid Vicious is interviewed in New York jail.

19 July 1986
Full page adverts appear in the music press for ‘Love Kills’ – Joe
Strummer taken from the ‘Sid and Nancy’ movie soundtrack.

July 1989
 Outrageous Artistic Freedom Exhibit at Young Unknowns Gallery,
London SE1. Jamie Reid displays some work there.

The timeline is followed by a detailed discography of the Sex Pistols, PiL, and
related bands. Heavily illustrated with some wonderful, uncommon images.
While Agents is a common book, After Anarchy—Scrivener’s self-published
follow up—is quite scarce. The book itself is an expanded version of Agents,
with additional and more detailed entries that extend into 1996, a new intro-
duction, an updated discography, and short where-are-they-now
-type pieces. While this volume isn’t as
profusely illustrated as its predeces-
sor, it does have several current imag-
es of buildings that were, in the day,
used as Pistols rehearsal spaces, flats,
concert halls, press shoot locales, etc.
Like a stalker’s notebook, After Anarchy
is the ultimate guide to the day-by-day
life of the Pistols (and their friends).
$300.00

61. Shaw, Greg, ed., publisher. Bomp! Issue #17. Burbank, CA: Bomp Enter-
prises, Ltd., November 1977, no. 17. Staple-bound, glossy wraps, 21.2 by 27.5
cm, 63 pp. Near fine with only faint signs of cover wear. A prime example of
a zine going pro (and then dying). Bomp!, which began as Who Put the
Bomp!, was started in 1970 as a mimeographed affair before adapting to a
standard periodical format. It lasted for twenty-one issues. The publisher,
Greg Shaw, was a record collector who
came from the world of sci-fi zines and
“is cited as having introduced the term
‘fanzine’ into the vocabulary of music
fandom. He defined fanzine in this
case as a term ‘for mags which were
about single bands or branches of the
rock family tree’”14 – a very broad defi-
nition. Issue 17 features “England’s
Screaming – A Special Close-Up on the
British Punk Explosion!!” with an icon-
ic image of Mr. Rotten on the cover.
To squelch complaints that Bomp! was
introducing too much new music, Gary
Sperrazza, the new managing editor,
writes “Neither Greg nor I can con-
done a mass public’s tolerance of stag-
No. 62
nancy.” Included are “A [illustrated] Chronology of the
U.K. Punk Scene,” Greg Shaw’s essay on the develop-
ment of punk and new wave in England and the States,
punk politics (“the kids are mostly right”), “The Home-
Grown Record Revolution,” The Dictators, the Zeros,
DMZ, The Weirdos, and Blondie, along with the regular
zine and record reviews, new releases, discographies,
and editorials. $30.00

62. Sommerstein, Carley. Cranial Crap, Five Issues and

a Photo. Westfield, NJ: Carley Sommerstein, nos. 112,
116, 117, 118, and 120, all 1981. Single-sided loose-leaf,
21.5 by 35.5 cm, issue 112 is 1 p., issues 116, 117 and
120 are 4 pp. ea., issue 118 is 3 pp., illus. The multi-page
issues are bound together with small brass safety pins.
Good with light wear and a few tiny stains. While I per-
sonally recall many zines produced by women in the
early- to mid-1980s, I see very few of them now and
that’s one reason why this small run is such a great find.
While Crap includes all the punk zine standards—
including show and record reviews—this zine has a more
personal edge and features op-eds on school, New Jer-
sey, sex (“why are band fuckers band fuckers?”), book
reviews (The Basketball Diaries by Jim Carroll and Sub-
culture: The Meaning of Style by Dick Hebdige), love and
hate mail, and a two-page interview with the writer and
artist Edward Gorey. And while the editor obviously
loves hardcove (take a look at her bedroom!), the zine is
a mix of HC, New Wave (though one contributor calls
New Wave “uncommitted crap”) and pop-punk, includ-
ing the Dead Kennedys and The Psychedelic Furs, Black
Flag and David Bowie, The Cramps and The Go-Go’s. A
surprisingly long-lived zine, if you go by the issue num-
bers, from a young woman who’ll “be 17 soon.” Includ-
ed is a 4X6 color photo snapshot of Carly, the editor, “in
her punk rock room,” dated 12/82. She’s wearing a
Westfield Phys. Ed. T-shirt, which she refers to as
“Wastefield” in Cranial Crap, sitting in front of a wall of
show flyers for the Necros, Black Flag, Red Cross, Misfits,
Flipper, Violent Apathy, Minor Threat, etc. (very good
with one corner trimmed – see image). Westfield, twen-
ty minutes from Newark and less than an hour from
NYC, was close to the action. Cranial Crap, “all the news
that’s crap we print.” $100.00
 63. [Stiff Little Fingers] Scrap-
book of Stiff Little Fingers Clip-
pings and Memorabilia. No
place: no indication of who
originally created the scrap-
book, assembled c.1980-
1983. Production scrapbook
with SLF graphics and titles
pasted on the front cover,
staple-bound wraps, 24.5 by
37.5 cm, [32] pp. of which all but three are used.
Light cover wear and scuffing with heavy corner
wear and creases. A great scrapbook from an obvi-
ous SLF fan. The Stiff Little Fingers were a Belfast-
based punk band that formed in 1977. They start-
ed off as a cover band15 but quickly started writing
original material. Their first album, Inflammable
Material (1979)—and its lead track “Suspect De-
vice”—have become classics. They disbanded in
early ’83 (they regrouped in 1987 and remain ac-
tive). The scrapbook starts with a handwritten list
of concerts seen from 1980 to ’82, including the
Plymouth Poly, Plymouth Top Rank, Bristol Colstan
Hall, Hammersmith Palais, Bristol Locarno, and the
Brixton Ace, along with a few ticket stubs. The
album is filled with near 100 clippings, adverts,
song lyrics, price labels from LPs, etc. Also included
are mimeographs of short interviews with each
member of the Fingers and some mimeod pics of the band that I believe are
from the SLF Fan Club newsletter. $125.00

64. Street Sounds Collective; Paul Hallam; Don-

na Damage; G. Llewellyn Barker, et al. Street
Sounds Nos. 1 – 11. Cobham, Surrey: Hawkins
& Joseph, Issue 1, October 2012 through Issue
11, May 2015, published quarterly. Two for-
mats: Issues 1 – 4, staple-bound newsprint self-
wraps, 18 by 26 cm, 32 – 40 pp.; Issues 5 – 11,
staple-bound tabloid-format, newsprint, ap-
prox. 29 by 37 cm, 40 pp. ea., all heavily illus-
trated. Faint cover wear only. A brilliant rag,
still being published, that focuses on British
street music including punk, Oi!, reggae, ska,
psychobilly, and a touch of metal and hardcore. Pro-
duced by folks who are living the lifestyle, the passion for
the music drips from the pages. Bands covered focus on
classic street groups, classics still working, and current
bands in the classic vein, including Infa Riot, The Crunch,
Argy Bargy, The Selecter, The Stone Foundation, Stomper
98, Section 60, Rancid, The Jam, Squeeze, The Who, Cock
Sparer, The Spe- cials, Cockney Rejects, Meatmen,
Crass, The Spitfires, Gonads, The
Neville Staple Band, Sham 69, Se-
cret Affair, Clash, The Chords, Eng-
lish Beat, Booze & Glory, Dead
Kennedys, NOFX, The Pukes, Paul
Weller, 1969 OK, Boston Rats,
Diabatz, Jimmy Cliff, Dropkick
Murphys, Bar Stool Preachers,
Bodysnatchers, The Boys, Bad
Manners, The Ampheta-
meanies, Dexys Midnight Run-
ners, The Exploited, and many
more. The articles are even
more varied than the bands, and
a small selection includes punk
literature, rockabilly, subculture
fashion (mods, casuals, skinheads,
2-Tone), the 2-Tone village of Cov-
entry, Mexican skinhead tattoo
art, original rude girl Jennie Belles-
tar, the Punk & Disorderly Festival, skinhead art, Ital-
ian mods, football, a guide to polishing Dr. Martens,
Beijing punks, Bovver books and the golden age of
pulp fiction, “Street Sounds tackles the European
Union,” the Singapore scene, Quadrophenia, humor-
ous punk albums, the new breed of UK psychobilly,
a guide to skinhead reggae, and punk and Oi! in Argentina. Of course, there
are all the regular departments we’ve come to expect in punk zines: book,
film, album, and show reviews, scooters, cartoons, op-eds, poetry, “comedian
of the month,” etc. Great stuff! $75.00

65. Thorkelsson, Eric; Keith Alderidge, eds.

Thrash Trax, Issue 1. Surrey, British Co-
lumbia: Thrash Trax, [1981]. Staple-bound
self-wraps, 21.5 by 28 cm, [12] pp. incld.
covers, illus. Very good with a Zulu Rec-
ords price label on the front cover. A pho-
to-heavy Canadian zine featuring Dis-
charge, Stretch Marks, an interview with
The Neos, record reviews, etc. It also fea-
tures a two-page interview with Vancou-
ver’s D.O.A., one of the founding bands of
the hardcore scene, where they touch on
their new album, the classic “Hardcore 81.”
$30.00

66. Thrills, Adrian. 48 Thrills, Issue 3. Hertsfordshire, England: Adrian Thrills,

Issue 3, March 1977. Ten leaves printed recto only, stapled in upper corner,
21 by 29.5 cm, illus. Very good
with light edge wear, and a small
stain on the last leaf. A contem-
porary of Ripped & Torn and
Sniffin’ Glue, this great early punk
zine features The Cortinas
(whose guitarist, Nick Sheppard
replaced Mick Jones in the Clash
in 1983 and played on their last
album, Cut the Crap, which
should have just been called
Crap), news on The Jam’s first
single (“In the City”), a sort of
interview/quotes from lyrics
thing with The Adverts (best
known for their peppy “Gary Gil-
more’s Eyes,” which made it onto
the Brit singles charts), a review
of the just released first album
from The Damned (“they seem to
have lost some of the real hunger
that you always noticed at their early gigs” [they had been together for less
than a year at this point]), and an interview with members of Chelsea (after
William Broad, aka Billy Idol, and two other members left to form Generation
X). There’s also an enthusiastic review of the new Clash “White Riot / 1977”
single, “The lyrics are short and to the point, no fuckin’ about, just like The
Clashes [sic] rock n roll.” Created by Adrian Thrills, who went on to become a
music journalist for the likes of the Daily Mail and the Independent.16 $150.00

“You could open Search & Destroy to any page and learn
something amazing.”
– Jello Biafra17

67. Vale, V., ed. Search & Destroy, Issues 1 – 11, Complete Run. San Francis-
co: Search & Destroy, nos. 1-11, 1977-1979, all published, first printings, with
issue one being the state without the red content/title stamps on the front
cover. Newsprint, tabloid format, 29 by 45 cm and folded, 16-32 pp. each.,
illus. All are in very good condition with only light cover wear. Search & De-
stroy was simply in a class of its own. It seethed “a punk aesthetic with an
intelligence, obnoxiousness and passion”18 found in few other sources. The
writing was not only literate, but literary, and the design was graphically stun-
ning with amazing photography (in fact, issue 11 was an all-photo issue that
makes me think that they wanted to use up all the great images they had be-
fore S&D ended). Of course, music was the heart of S&D and it “gives the
fullest picture of what it was like to be in the punk underground at the very
beginning.”19 They focused heavily on interviews with band members and
featured the likes of Crime, Mary Monday, Nuns, Deaf School, Iggy Pop, the
Avengers, Ramones, Weirdos, the Clash, Dils, Devo, Zeros, Johnny Moped, the
Damned, Patti Smith, Blondie, The
Residents, Black Randy, Television,
Alternative TV, Dead Boys, Mumps,
Helen Wheels, Sham 69, Nico, Suicide,
Screamers, Talking Heads, Sex Pistols
(including a great back cover ad in
issue 4), Crisis, Dickies, Pere Ubu,
Throbbing Gristle, UXA, Negative
Trend, Buzzcocks, Sleepers, DNA, Sub-
way Sect, Cabaret Voltaire, Dick Envy,
Roky Erickson, the Cramps, Mutants,
Chrome, Siouxsie and the Banshees,
Snatch, David Johansen, Flesheaters,
The Offs, SST, the Bags, Dead Kenne-
dys, Rad Command, Ray Campi and His
Rockabilly Rebels, X, D.O.A., the
 Feederz, Plugz, The Con-
trollers, etc. Also covered
are Mabuhay Gardens, Se-
ditionaires and Vivian West-
wood, filmmakers John Wa-
ters, Russ Meyer and Amos
Poe, poet Chinas Cominas,
David Lynch’s film
“Eraserhead,” William S.
Burroughs, J.G. Ballard,
show reviews, zine listings,
editorials, and comics.
After Search & Destroy
Vale went on to publish
RE/Search, a truly alter-
native publishing house
that exists to this day.
$600.00
68. Varvaris, Bill; David Sapin, eds. Surfin’ Bird, Issues 1, 2 and 3. Montreal:
Surfin’ Bird, issue one is dated November 1978, issues 2 and 3 are not dated
[1979]. Staple-bound self-wraps, approx. 21.5 by 28 cm, 27 – 37 pp., illus.
Issue one is fair with dampstaining that has rippled the covers and first and
last pages, stains on the covers, light edge and corner wear; issue two is very
good with light wear and a phone number in red pen on the front cover
(next to Mick’s face); issue three, which is printed on newsprint, is good with
yellowing and light wear, with Lorne Ranger’s phone number in pencil on the
front cover, “GABBA” in red pen under the Ramones on the front cover, and
“CHOM fuckoff” in red pen on the back cover (CHOM is a Montreal radio sta-
tion). “Montreal’s own rock mag,” Surfin’ Bird leaned heavily on punk and
New Wave despite having Springsteen on their first cover (Bruce always gets a
pass) and a fair amount of late-‘70s rock, with features on the Battered Wives,
Elvis Costello (not big fans), The Chromosomes (a powerhouse of early Cana-
dian punk), Devo, Blondie, Martha and the Muffins, Sex Pistols, Ramones, the
Clash, The Jam, etc., and interviews with Dee Dee Ramone, Teenage Head,
The Screamers, and a record company exec who was interviewed on behalf of
The Residents. Other than coverage of the big touring bands and record re-
views, the Bird covered a growing Montreal scene that was instrumental in
the evolution of Canadian punk. “The magazine that will NEVER print a head-
line made up of different letters cut from magazines.” $120.00

69. Wilson, Brent; Roger Bridges, eds. The Grim Ripper: Floridian HC/Skate
Zine, Nos. 1, 2 and 3. Miami: The Grim Ripper, not dated but show reviews
and other dates within put the zines at late-84 and 1985. Staple-bound self-
wraps, 21.5 by 28 cm, 18, 20 and 24 pp., illus. Very good with minor wear;
issue one has light yellowing; the cover of issue two advertises a “Samhain
poster inside” which isn’t present. One of the better skate zines I’ve seen,
filled with illustrations and photos of skaters as well as record and show re-
views, “Spot Check” (great local skate spots), write-ups on skate demos, lots
of op-eds, interviews with Decry, Lethal Yellow, and skater Robbie Weir. Fan-
tastic art! In a short review of a Ramones show, the author was underage and
couldn’t get in the door, but Joey Ramone let them in. Great stuff. “Skate like
there’s no tomorrow … because there isn’t.” $120.00

70. Yohannan, Tim,

ed., et al. Maxi-
mumrocknroll, First
Ten Issues with “Not
So Quiet on the West-
ern Front” Double LP
with “Issue 0.” Berke-
ley: Maximum
Rock’n’Roll, Vol. 1 No.
1, [July-August] 1982
through No. 10, De-
cember 1983. Staple-
bound newsprint, 21
by 27 cm (give or take), not paginated,
heavily illus. All near fine with yellow-
ing to the newsprint. LP: San Francis-
co: Alternative Tentacle Records,
[1982]. Two LPs in original sleeve
with original plastic wrap and pro-
mo labels and “bonus zine.” Rec-
ords and zine are fine in near fine
sleeve. Maximumrocknroll (also
referred to as Maximum Rocknroll,
Maximum Rock’n’Roll, and MRR,
depending on where you look in
the zine) was originally a radio
show started in 1979, but the print version
was founded in 1982 after “issue 0” was an insert in the “Maximum Rock n
Roll Presents Not So Quiet on the Western Front” record on Jello Biafra’s Al-
ternative Tentacles label. The double LP was packed with nearly 50 songs by
as many bands and was hugely influential across the United States, probably
spawning a thousand hardcore groups. Bands like MDC (Millions of Dead
Cops), Flipper, Fang, Dead Kennedys, and 7 Seconds sold albums, and the
MRR insert was a hit. Later that year, the “first official issue” was released
and the bi-monthly mag has been in publication ever
since. Starting as a heavily regional zine, MRR quickly
evolved into a national and international publication,
with show, record and zine reviews, interviews, and
strong-willed op-eds—“a bold, well-developed social
direction,” as one letter writer put it—
a facet of MRR that put
them on the map. Ear-
ly issues are scarce,
and a clean run of the
first ten is almost un-
heard of. $600.00

71. Zyg, ed. Pirate Faction, Issue 1. Toronto:

Pirate Faction, Winter 1985. Staple-bound
self-wraps, 21.5 by 28 cm, 26 pp. incld. co-
vers, illus. Only the faintest signs of cover
wear. Toronto punks really take the pirate
life to heart (see also item no. 4). The first issue of Pirate Faction, though the
editor tells us that it is also the second issue of Irate Faction; “the name was
changed due to change of editor and, hence, editorial policy.” All very official.
Includes interviews with Adrenalin O.D., Picture Frame Seduction (from
Wales), and the Stretch Marks, as well as Kansas City, St. John’s Newfound-
land, Belgian, Fresno California, and Welsh scene reports, show reviews
(Flipper, Vampire Lezbos), the Animal Liberation Front, lots of album and zine
reviews, press clippings, cartoons, and all the regular stuff. Everything you
want a hardcore zine to be; cut and paste layout, grainy photos, angry writers
threatening to get political… awesome. $30.00

Street Fashion

72. BOY; Kitsch. BOY / Blackmail / In-

cluding the Legendary Kitsch-22 Designs.
London: BOY, 1980, first edition. Card
wraps with black plastic comb binding, 18
by 21.5 cm, [50] pp., illus. Near fine with
a faint scratch on the front cover. A
beautiful copy of this scarce first catalog
from Stephane Raynor’s fashion house
BOY of London. BOY was founded in
197620 (with the London shop opening in
’77) and their wares quickly became both
notorious and desirable. Early campaigns
were designed by Throbbing Gristle’s
Peter Christopherson, and clothing de-
signed by Raynor, John and Molly Dove of Kitsch-22, and others made the
label popular with early punks and club kids. By the early 1980s BOY bondage
pants and T’s could be found world-wide, and “the label’s famously riotous
catwalk presentations (as much art happenings as they were runway shows)
were the wildest events in the fashion calendar.”21 Despite this, BOY folded in
1985. In 2007 the label was reborn, but
as a ghost of its former self – a very
pricey ghost. The catalog features a
frontis photo of a group of punks in front
of BOY’s London digs, a one-page intro-
duction to BOY, images from Chris-
topherson’s crime scene promotion, a
short bio of Kitsch-22 (best known for
their breast T-shirts) and a Kitsch collage,
a six-page listing of their clothing, and
thirty-six pages of photos (including four pages in color). Most of the fashion
shots are nothing short of striking, with young punks modeling bondage trou-
sers and skirts, zip and harness shirts, anarchy shirts, lips T-shirts (“these
beautiful mouths were used to sell tractors, cornflakes and toilet cleaner”),
Sid, Siouxsie and Bowie T’s by Kitsch, the infamous Throbbing Gristle T-shirt
designed by Genesis P-Orridge with Gary Gilmore in the electric chair,
tattooed Kitsch “Tits” T’s, and a little Nazi imagery just because. Fantastic.
$500.00

73. Elms, Robert. The Way We Wore: A

Life in Threads – Signed with Promotional
CD. London: Picador, 2005, first printing.
Hardcover with dust jacket, black cloth with silver
spine titles, 14 by 22.5 cm, 278 [1] pp. Very good
with light shelf wear and yellowing to the text
block; in a very good jacket. Signed by Robert Elms
on the half-title page. CD: [London]: Independiente
Ltd., 2006. CD with 18 tracks in jewel case with an
8 pp. booklet detailing the tracks and how they relate to street fashion. CD is
fine in a very good case with one crack on the back side. From the publisher:
“The Way We Wore is a passionate and personal account of the dazzling array
of street styles and trouser tribes Britain produced from the 1950s to 1990s.
Robert Elms' memoir takes us from Teddy Boys to Acid house, from Notting
Hill to Soho. A love letter to London Town and the overdressed, undervalued
youth who made this city such a hotbed of cool. This is the story of a life's
obsession. From Ben Sherman shirts to boxtop loafers, from bondage trou-
sers to Comme de Garcons, Elms has been there, seen it, and worn it out. It's
about why you'd rather not go out at all than go out in the wrong sort of
brogues, and why you just had to have a Budgie Jacket to cut it in the play-
ground in 1970. It is ultimately a hilarious, passionate social history of London
street fashion from the Teddy Boys and rude boys battling it out in his home-
land of Notting Hill in the 50’s to its end in Acid House in the 90’s. A fond
memoir of working class lads in tumultuous times and lary schmutter. One
day in 1965 the five-year-old Robert Elms fell in love with clothes. His brother
had just returned to the family’s Burnt Oak council house in a new suit he’d
picked up from a tailor in Kilburn. Otis Redding was playing in the front room.
This, as his mum would say, was ‘all the go’ – whatever that meant. This, Elms
realised, was what you grew up for.” Includes skins, mods and punks. The CD
includes tracks from Lord Kichener, Otis Redding, The Upsetter, Toots and the
Maytals, Mott the Hoople, David Bowie, Patti Smith, the Clash, Spandau Bal-
let, etc. From the liner notes, Elms states “The whole teen cult caper, from
Teddy Boys to Acid House, was driven by the twin engines of clothes and mu-
sic, threads and tunes, in that order. Clothes come first, the look predates
and often pre-determines the sound. For British kids at least, music is second-
ary to fashion. Very few kids can play instruments, but everybody wears gear.
They can all pull on a pair of strides or colour their hair from a bottle pur-
loined from Boots. The look led a merry dance as Mods became Skinheads,
Suedeheads begat Glam, which gave way to Soul-boy, which was the precur-
sor of Punk, which morphed into New Romantic. At every stylistic twist and
turn, with every new shape of collar or make of shoe, there were, though,
pivotal records to preen and pose to.” $75.00

74. Hewitt, Paolo; Paul Weller, intro. The Soul Styl-

ists: Forty Years of Modernism. Edinburgh: Main-
stream Publishing, 2001, second printing. Hardcov-
er with dust jacket, black cloth with silver spine ti-
tles, 16 by 24 cm, 189 pp. Very good with light cov-
er and edge wear; a few light scuffs on the back
cover of the book. From the front flap: “The Soul
Stylists is about forty years of Modernism. A world
of clothes and music, highly influential but one de-
liberately hidden away for years from mainstream
media. This book explores the enduring relation-
ship that exists between American black music and
British working-class style, tracing a Mod tradition that began in Soho just
after the Second World War and continues to this day. From Mod to Casual,
from Skinhead to Northern Souler, the soul stylists are an amazing family
joined together by a tradition of secrecy, exclusivity and absolute indifference
towards the outside world. They pass unnoticed because soul stylists always
shun the spotlight. To them, attention to detail is far more important than
attention seeking. And here in this book, for the very first time, are some of
their stories.” $20.00

75. Hewitt, Paolo; Terry Rawlings. My Favourite Shirt: A History of Ben Sher-
man Style. London: Ben Sherman Group Ltd., 2004, first printing. Hardcover
with illustrated boards, 22 by 28.3 cm, 153 [9] pp., illus. Very good with light
corner bumping and some very light fold marks (almost not noticeable) on the
first 26 pages (some sort of binding thing?). A wonderful book that delves
into Ben Sherman, the man and the marque, while looking at British subcul-
ture as well. Heavily illustrated in full color, it includes lengthy sections on
mods and skinheads, as well as ska, rock ‘n’ roll, the birth of name-brand
clothing, Sherman’s personal influences, James Moffatt (aka Richard Allen) of
skinhead pulp fame, early advertising, etc. Certainly more of a book about
the brand than the following Sims volume, but a great book nonetheless.
Hardcovers of this work are becoming scarce. $85.00

76. Sims, Josh. Ben Sherman: 50 Years of British

Style Culture. London: Ben Sherman Group Ltd.,
2013, first printing. Hardcover with illustrated
boards, 22.7 by 28.6, 183 [1] pp., illus. Near fine.
Created for the 50th anniversary of Ben Sher-
man—makers of the iconic British shirts—this
book is more than a company history, but a his-
tory of style itself. British subculture style. It
opens, of course, with Ben Sherman, but the
following chapters detail teddy boys—and teddy
girls—rockers and the leather jacket, mods, Northern Soul, punk, skinheads, 2
-Tone, and casuals. The essays explore each of these subcultures, and how
their style influenced their taste in music, and how music influenced their
style. Heavily illustrated in color and black and white, including many full-
page images, featuring several unpublished images, album covers, vintage
adverts, movie stills, concert flyers, and classic shots of the Clash, The Select-
er, The Who, Sex Pistols, Madness, and more. Wonderful stuff. $175.00

MOD

77. Mods and Rockers “Battle of Hastings” Press Photo. London: Keystone
Press Agency Ltd., 4 August, 1964. Press photo, 25.7 by 20.3 cm. Minor wear
and rubbing at corners. An outstanding image of Mods parading along the
center of Hastings. Verso are Keystone stamps and a mimeo caption glued
on: “4-8-64 / The ‘Mods and Rockers’ – Battle of Hastings.. Keystone Photo
Shows:… Scene in the centre of Hastings – as ‘Mods and Rockers’ stroll around
– they were kept on the move by the Police – to stop them getting into mis-
chief…” Mods in their Bank Holiday finest, a few parkas in the bunch, and
what looks to be two police officers – a situation they will soon be unable to
control. Called the “Second Battle of Hastings” by the sensationalist press,
thousands of Mods, hundreds of Rockers, and overwhelmed police clashed
from Brighton to Hastings, forever memorialized in The Who film
“Quadrophenia.” While it’s been revealed that many of the “battlefield
scenes” between Mods and Rockers were staged by press photographers with
pounds to spend,22 Hastings did have a violent outcome and marked the be-
ginning of the end for the first wave Mod culture. $60.00

78. [Mods and Rockers] “Teenage Girls Fight It Out.” Cleveland, Ohio:
Cleveland Press via United Press International, 20 May 1964. Original press
photo, 23.1 cm by 18 cm. A somewhat grainy image with light crazing and
light corner creases. Agency stamps and pen notes on verso along with a
 No. 77

No. 80

No. 79
taped-on UPI caption: “MARGATE, ENG.: Two teenage girls fight here, May 17,
while another girl stands by during an eruption of violence between two rival
gangs – the ‘Mods’ and ‘Rockers’ – in this South Coast resort town during the
Whitsun (Pentecost) Weekend. The youths fought among themselves and
with passersby, terrorized shopkeepers and resisted police. Two policemen
were injured and some 40 youths were arrested.” $25.00

79. Rawlings, Terry; Keith Badman. Empire Made: The Handy Parka Pocket
Guide to All Things Mod. London: Complete Music Publications, Ltd., 1997,
first edition. Glossy wraps, 13.6 by 25.8 cm, 150 pp., illus. Very good with
light corner wear—it doesn’t look like it spent too much time in a parka pock-
et. A heavily illustrated history of mods—their music, fashion, and fights—
with lots of photos, vintage ads, album art, scooters, Minis… Chapters include
The Action, Alfie, Geryy Anderson, The Artwoods, The Avengers, Batman,
George Best, Marc Bolan, The Birds, David Bowie, Carnaby Street, The Crea-
tion, The Eyes, Georgie Fame, The Kinks, The Marquee, Mods & Rockers, Rick-
enbacker, The Saint, Scooters, Small Faces, The Smoke, Twiggy, The Who, and
The Yardbirds. A lot is packed into this slim book. $45.00

80. Reynolds, Andy. Six & Sevens, Issue 1. Rolling Meadows, IL: Andy Reyn-
olds, Issue 1, September 1987. Staple-bound self-wraps, 14 by 21.5 cm, 14
pp., illus. Very good with minor wear and yellowing. First issue (was there a
second?) of this later-gen mod zine from the Chicago area. Record reviews,
including the Fleshtones and Billy Bragg (“this English chap has a lot of tal-
ent”), short updates on the Chicago mod scene, and an interview with The
Newts. While mods were lightly scattered among the punks at any midwest
show, Chicago had a solid, if short-lived mod scene. $30.00

81. Vanda. All That Mods! Tokyo: Shinko

Music/Burrn!, 1998. Illustrated wraps in
dust jacket, 18.5 by 25.6 cm, 205 (3) pp.,
illus. Very good with faint shelf wear. A
Japanese-language book on the history
and evolution of the mod culture and mu-
sic. Heavily illustrated in black and white,
with a 16-page section of color album art
from Japanese issues of mod records.
Geared towards record collectors, All
That’s chapters include sections on the
original mod scene, mod classics, the neo-
mods scene, Tokyo mod scene, and the “3
Great Faces of Mods,” The Who, Small
Faces and The Kinks. The fashion section
is detailed with line drawings, photos and vintage ads, and each band listing is
concluded with an English-language discography, from The Action and The
Knack, to The Jam and Makin’ Time. A must for mod fanatics – and let’s admit
it, all mods are fanatical. $100.00

Ska, Reggae

82. The Bad Manners Fan Club. Never Will Change: The Bad Manners Fan-
zine, Issues 1 & 2. Kent, England: Never Will Change, nd (c. early- and mid-
1997). Staple-bound wraps, 21 by 29.5 cm, 33; 50 pp., illus. Issue 1 is fair
with corner wear and creases, a center crease from being folded in half, some
pen marks in the discography, and the back cover is missing; issue 2 is good
with light cover and corner wear and the “Bad Manners Crossword” has been
completed in pen. The first two issues of the new iteration of the Bad Man-
ners Fan Club zine. The club had issued five issues seven years prior to these,
then the club fell apart, so the editor is calling this volume two. Includes rec-
ord release news, album reviews, discographies, a history of the band, show
reviews from Bad Manners 1996 and ’97 German tours, touring Spain and
Holland, “J.J. on Beer,” etc. There’s also some coverage of other ska bands as
well, including Too Many Crooks, Mr. Review (released on Moon Ska in the
U.S.), Judge Dread, The Explorers, and Intensified. $60.00

83. Chalmers, Earl, editor-in-chief. Rude International, Issue 2. Cambridge,

MA: Vol. 1 No. 2, 1998. Glossy staple-bound wraps, 21 by 27.5 cm, 68 pp.,
illus. Very good with minor cover wear. The second issue of this now-scarce,
super-professional ska mag from Massachusetts. “The Punk Issue” featuring
Rancid, The Business, and “The Myth[ology] of Punk” by Al Quint from the
zine Suburban Voice. Also includes Bob Gruen (“the man who took the punk
pictures”), George Marshall and S.T. Publishing, The Suicide Machines, The
Slackers, The Pietasters, record (CD) and show reviews, and much more. A
great magazine that tried its best to tie a worldwide scene together. They
lasted at least six issues, but are no more. $35.00

84. Chambers, Pete; Lynval Golding, fore-

word. 2-Tone-2: Dispatches from the 2-Tone
City – 30 Years On. Coventry: Tencton Planet
Publications, 2008, first edition. Wraps, 14.7
by 21 cm, 70 pp. followed by a fifty-page re-
vised reprint of 2-Tone Trail: The Definitive
Guide to Two Tone Coventry (also by Cham-
bers), and 18 pp. of sponsor ads. Very good,
unread copy with only faint signs of shelf
wear to the wraps. Chambers, a music jour-
nalist, is the director of 2-Tone Central, a
museum that focuses on The Specials and
The Selecter in Coventry, and organizer of the
2-Tone Trail, a tour of Coventry/2-Tone land-
marks. This book looks at the pivotal place
Coventry and its ska bands played in the his-
tory of 2-Tone. The latter half is an updated version of the 2-Tone Trail guide,
heavily illustrated with current and vintage photos of band members and
their haunts and some great history. Includes short forewords by Lynval Gold-
ing of The Specials and Neol Davies of The Selecter. $25.00

85. Flavien, Poret. Nutty, Issue 1. Noailles,

France: Poret Flavien, c. mid-1991. Staple-bound
self-wraps, 15 by 21 cm, [24] pp., illus. Fair with
light staining to the lower edge and corner
(mainly on the covers, with a touch on the interi-
or pages). A French-language ska zine including
the Gavroche Club Paris, Skarface, an interview
with Skaferlatine, “Tokyo Ska Paradise,” Massalia
Skinheads, Floyd Lloyd, show reviews, etc.
$10.00

86. [Madness] The Nutty Boys, Issues 1 -5 with

“Madness as The Nutty Boys” EP. Essex: Mad-
ness Information Service, No. 1, January 1st, 1981
through No. 5, Autumn 1982 (EP: [London]: Stiff Records, 1981). Staple-
bound self-wraps, 21 by 30 cm give or take, [24-32] pp. ea., illus. Issue 1, 2
and 5 are near fine with faint yellowing; in issues 3 and 4 the crossword puz-
zles have been started and one of the subscription forms has been partially
filled in with “Alison Ugly Face” at “The Local Nut House.” The vinyl is fine,
with a very good sleeve with light edge wear. The Nutty Boys was the official
pub of the Madness fan club and the first four issues focused heavily on Mad-
ness-themed comic strips, as well as band member bios, band photos, cross-
words, recording and release news, etc. Issue 5 focused mainly on band
news, photos, and fan art. This is a band that was all about fun, and these
mags show it! The first issue was included in the EP “Madness as The Nutty
Boys in The Return of the Los Palmas 7,” which included the songs “The Re-
turn of the Los Palmas 7,” “My Girl,” “That’s the Way to Do It,” and “Swan
Lake” (live). I believe this ran for 15 sporadic issues. $120.00

87. Prete, Chris, ed. “Let’s Catch the Beat!” The Official Trojan Appreciation
Society Fanzine, Nos. 1 – 11. London: The Official Trojan Appreciation Socie-
ty, No. 1, April 1989 though No. 11, 1993. Staple-bound self-wraps, approx.
15 by 21 cm, 32 to 44 pp. each, illus. Good to very good. Light cover wear
and creases; no. 5 has faint dampstaining to the last two leaves and no. 10
has a 11 cm tear at the spine. While the Trojan Appreciation Society still ex-
ists as a mostly inactive promotional tool for the label, LCTB is pure fanzine
trumpeting the ska, reggae and dub sounds of the British label founded in
1968. Each issue features Trojan history, new and upcoming releases, discog-
raphies, and artist and band bio’s, including Lee “Scratch” Perry, The Up-
setters, King Stitt, Duke Reid, Harry Mudie, Clancy Eccles, Bunny Lee, Dennis
Alcapone, Roland Alphonso, Winston Holness (aka Niney), Derrick Harriott,
The Crystalites, Clement Dodd, King Tubby, Slim Smith, Dandy Livingstone,
Don Drummond, Jimmy Cliff, John Holt, Vic Taylor, Bob Marley (no. 9 is a Mar-
ley special issue), Militant Barry, Harry J, Winston Wright, Skatalites, Phyllis
Dillon, Augustus Pablo, and many more.
And if you want to learn how to “dance the
ska,” they’ve got that too! Also included is
Trojan Records: The Facts!, a 16-page
booklet that details the early Trojan rec-
ords. A rare run of this powerhouse of
Trojan history. $265.00

88. Shaw, Mick. Only Time Will Tell, Issue

1. Derby, England: Only Time Will Tell,
Issue 1, July 1991. Staple-bound self-
wraps, 15 by 21 cm, 36 pp. incld. covers,
illus. Good with light edge wear and spine
creases. A “community” zine that is “not
aimed at any one particular musical style,”
though this issue leans heavily towards
No. 87
 No. 59

No. 7

No. 30

No. 64
No. 29
reggae, ska and punk. Includes articles on the Trafalgar Square poll tax
demonstrations, punk in 1977, Bob Marley, Special Beat, a story called “A
Provincial Skinhead in London,” as well as show, record, zine, and video re-
views. $15.00

89. Slatton, Vince “Vini.” Skalicious, Issue 1. Bir-

mingham, AL: Vince Slatton, [1992]. Staple-bound
self-wraps, 21.5 by 28 cm, 20 pp., illus. Very good
with light cover wear. A later wave—or Moon
wave—ska zine from Alabama. While there is some
local content—including an article about the ongoing
problems with racism in Birmingham—most of the
content was supplied by or is related to Moon Ska
Records. Included are interviews with The Skele-
tones and Dance Hall Crashers, as well as record re-
views and Moon Ska’s release schedule. Moon Ska
was a New York-based record company that focused exclusively on ska bands.
The label lasted from 1983 until 2000 and was very influential in the U.S. ska
scene. $15.00

Skinheads, Oi!

90. The Boots and Braces Cult

– Five Press Photos of British
Skinheads. London: Europix
and Newspaper Enterprise
Association, February 14, 1970
(captions) and February 23,
1970 (date stamps), a fifth im-
age is from the same series but
a different press agency (UPI
New York) and dated February 28, 1970. Press photos, 25.2 by 20.5 cm. Very
good with light edge wear, versos have date and agency stamps, and pasted-
on captions that have caused light rippling to the images. Five images from a
British photo essay on early skinheads, showing skins doing what they do:
staring at their Docs, drinking beer and getting arrested. Thanks to the won-
ders of the interweb, we know the text of the original article: “THE 'BOOTS
AND BRACES' CULT. LONDON. This is the ABC of the very latest youth cult
that made its emergence in the last year of the Sixties... They call themselves
– or have been dubbed – Skinheads. But being a Skinhead is more a way of
life for the cult´s disciples than a title. The Skinheads are conspicuously pre-
sent in today's society … easily identifiable with their closely shorn hair (not
No. 90
 quite short in the win-
ter months for obvious
reasons), slimline brac-
es and jeans that are
rolled up to near mid-
calf to proudly display
their ‘Cherry Reds’, big,
heavy boots, usually
‘decorated’ with horse-
shoe-shaped steel pieces in the toe... Adverse
publicity, provoked by the violent antics of a
tiny minority have given the Skinheads a
speedy, but notorious, rise to fame. Stories of attacks on immi-
grants; on elderly citizens; of party gate-crashing; and of violence at major
soccer games have been prominent in the British press of late. These reports
have brought the cult into disrepute with the general public … and thus made
them the scapegoats for teenage violence. Just like the Teddy Boys of the
Fifties and the Mods (and Rockers) of the Sixties. They are thickest in Lon-
don´s East End and south of the River [Thames]. Described as an offshoot
from poorest working class England, a Skinhead's lifeline is a short term one.
Few are younger than fifteen summers. And even less number are over nine-
teen. During this five-year-span, it´s likely they'll meet a ‘sort (Skinhead slang
for girl). And the chances are that she too will be Skinhead – and sporting
those braces, jeans, but no quite so heavy boots (just to maintain their femi-
ninity!) But even with the gear (clothes), before she is truly accepted into the
camp she must familiarise herself with Skinhead talk. For example: A’s for
Agro (Aggravation, which normally refers to trouble); B is for Bill (the Police);
C for Cut Out (simply: ‘leave a place’) and many, many more. This set of pic-
tures, taken by United Press International photographers Maurice Sayers,
John Wilds Jr., John Eggitt and Roy Letkey, was made in London last week and
illustrates the Skinhead mode... The youths featured in this set are in the ma-
jority of the cult's followers who do not believe in the violent feelings of the
small faction that have brought the Skinheads notoriety. 14th February
1970.”23 The images have captions pasted to the verso and include:
“A member of the cult runs a steel comb through his closely-shorn hair …….
one of the trademarks of a Skinhead.”
“A group of Skinheads congregates at a London youth center. The lads enjoy
taking it easy sipping their favorite drink, Pepsi Cola.” (From the UPI image,
for the American market.)
“A night out for a Skinhead invariably begins at a youth centre. Then for many
of the older ones it’s a visit to the local ‘boozer’ (pub) for a drink …. The
night’s entertainment is rounded off when each Skinhead group gathers at a
certain street corner -- usually a meeting place for neighbouring Skinhead
gangs.”
“The Skinhead footwear ….. big, heavy boots. They are popularly referred to
by followers of the cult as ‘Cherry Reds’ or ‘Doctor Martin’s’ which are Ameri-
can [no, they are not] and have air bubbles in the soles, soft leather on the
top. But in the toe is usually a steel piece shaped like a horseshoe.”
“Trouble on the soccer terraces and a typically-dressed Skinhead is forcibly
removed from the ground of a top London soccer club. Incidents at these
games have brought the cult into disrepute with the general public.”
A nice set of early skin pics. $400.00

91. “Skinhead at Gunpoint” Wire

Photo. New York: United Press Inter-
national Inc., 4 July 1983 (dated in
caption). Wire photo, 25.3 by 20.2 cm.
Very good with light corner wear and
UPI stamp on verso. A grainy image of
a young lad in a 4-Skins T-shirt at gun-
point. The caption reads: “HANOVER,
WEST GERMANY: A police officer holds
a Skinhead at gunpoint 7/2. Clashes
between 500 Punks and right-wing
Skinheads and police, in which 17 officers were injured, resulted in 235 charg-
es against 195 people, police said 7/4. The fighting between Punks, Skinheads
and police started after a pop concert and continued sporadically over the
weekend.” $25.00

92. De Grazia, Don. American Skin – Signed.

New York: Scribner Paperback Fiction, 2000, first
printing of the first U.S. edition (first published in
the U.K. in 1998). Wraps, 13.2 by 20.5 cm, 295
pp. plus 3-page reading group guide. As new.
Signed by the author on the title page. De Gra-
zia’s debut novel, “a timeless story about a young
man's coming-of-age as well as a stunning por-
trait of the class and racial tensions that pervade
our society. Alex Verdi is on
the lam, fleeing from the police
who have arrested his parents
on drug charges and want him
for questioning. Traveling to
Chicago, he joins a multiracial
group of anti-Nazi skinheads and embarks on an odyssey that takes him from
the city's embattled streets to an Army boot camp to Northwestern's plush
campus, and finally lands him amid the horrors of maximum-security prison.”
$25.00

93. Double Shot. Oi! The Photobook. Roermond, Netherlands: A.H. ven der
Sluys, 1993, first ed. Wraps, 15 by 21 cm, 67 pp., illus. Very good with light
wear to the wraps. One of the more scarce skin photobooks, this volume con-
tains “non-political” images of skinheads from Brighton to Barcelona, Glasgow
to the Ardennes, Amsterdam to Australia. Great snapshots of skins hanging
out, spending time with their kids, looking rough and ready, and lots with
beer in hand. Double Shot mentions in the short intro that “two years after
the idea was born, we can now proudly present this photobook,” so we can
presume that most of the images contained in Oi! Are from the late 1980s and
early-90s (of course, you know what they say about those who assume). Sixty
-five black and white images with brief captions, like “Skins outside Cutdown”
and “Jinx at the Merc.” $150.00

94. Hamm, Mark S. American Skinheads: The Criminology and Control of

Hate Crime (Praeger Series in Criminology and Crime Control Policy). West-
port, CT: Praeger Publishing, 1993, third printing. Navy blue cloth with gilt
spine and cover titles, 16 by 24 cm, xvii 243 pp. Near fine with light bumping
at the head and tail of the spine. A criminologist’s view of right-wing skins,
“American Skinheads is the first criminological analysis of organized hate
crime violence. Mark Hamm presents historical specificity for a modern theo-
ry of hate crime, then rigorously tests the theory with interview data derived
from skinheads who have committed an array of violent acts against persons
because of their race, religion, or sexual preference—people who are mem-
bers of the classic outgroups of American society. Part One traces the roots
of the Skinhead Nation through the Beats, Mods, Hippies, and Punks in Lon-
don, and then examines the rise of the Neo-Nazi Skinheads in the United
States, including a look at Neo-Nazi offshoots (Romantic Violence, The Aryan
 Clockwise from
right: No. 94,
100, 105

Youth Movement), recruiters (Tom Metzger), and recruitment tools, and ap-
pearances on the Oprah Winfrey and Geraldo Rivera shows. In Part Two,
Hamm discusses the accepted sociological perspectives on terrorist youth
subcultures (not gangs), then presents findings of his own study of 36 skin-
heads, including social and economic characteristics, psychological profiles,
the role of skinhead girls, use of drugs and weapons, Satanism, and neo-
fascism. Part Three assesses the future for American Neo-Nazism and recom-
mends steps for preventing skinhead terrorism.” $40.00

95. Junggebauer, Thomas. Wax & Violence: U.S. Skinhead Rock ‘n’ Roll &
Street Punk Discography Vol. 1. Berlin: Thomas Junggebauer, nd (c.2009).
Staple-bound card-wraps, 14 by 21 cm, 72 pp., illus. Fine. A discography of
American skinhead rock, focusing mainly on 7” records (45s). Each listing in-
 cludes the band name, album title, label, date, song
titles, and cover art. This discography, writes
Junggebauer in his short intro, is “for the ‘hunters
and collectors,’ for vinyl freaks and music maniacs.
It should be a little survival kit in the record jungle.
Nothing more and nothing less. It’s definitely not
complete, too much stuff was released (esp. since
the mid 90s), but the classics and the ‘real im-
portant’ records are included … hopefully.” $20.00

96. Kenyon, Stephanie; Jen Adamo, eds. Sussed!

Quarterly, Issues 1, 2 & 3. [San Jose, CA]: Stepha-
nie Kenyon, Issues 1, 2 and 3, all published, Fall
2011, Winter 2012 and Summer 2012. Staple-bound self-wraps, 21.5 by 28
cm, 27; 26; 31 pp., illus., issues 1 and 3 include a color art insert. Near fine
with light spine creases. A modern, well done, if short-lived “spirit of ‘69”-
type skinhead zine. “Sussed! aims to celebrate, promote and remember the
best of the traditional skinhead scene in every country around the world. We
are trying to lift up our skinhead brothers and sisters that are active in our
community and help spread awareness of the true meaning of
unity. Smart and prop-
er, sharp as a
knife... love it
or leave it… it's
a way of life!”
Includes pieces
on skinhead reg-
gae, “Stories from
the Streets” with
Alan Guest and
Charlie King, “Spirit of ’72 Suedeheads,” “Long Live the Bovver Boy” by
Tristan Laight, and skinhead tattoos. Interviews with Hounds and Harlots,
Roddy Moreno of The Oppressed, artist Chema Skandal, Los Granadians from
Spain, Roadside Bombs, the Derby Birds roller derby team, Colin McFaul of
Cock Sparer, Denmark’s Last Seen Laughing, tattoo artist Denise Ashlaw, and
Los Aggrotones from Buenos Aires. Regular departments include cartoons,
skinhead art, show and album reviews, scene reports, an advice column,
bands to watch for, and “DJs we Love.” A solid zine. $50.00

97. Krukhaug, Espen Ramberg. Skinhead. Gjøvik, Norway: Trykk Etcetera,

2005, number 70 of 300 printed. Wraps, 17 by 23.8 cm, [86] pp. Very good
with light cover wear and something blacked out (probably a price) near the
bottom edge of the front cover. If there’s one thing we know about skins,
they love photobooks. In some ways this volume is quite typical of these pho-
tobooks, which have been around since at least the early 1980s, with photos
of bands, tattoos, skins in candid shots, and skinheads posing in their
moonstomping best. What is unusual is that very little comes out of the Nor-
wegian skinhead scene, and that speaks to the rarity of this book. My rough
translation of the back cover: “Skinheads are a youth culture that has often
been associated with political ideas and nationalism. But the saying ‘not all go
under the same comb’ has probably never been more appropriate. Even with
this stamp from the media and other ignorant people, the music, the clothes,
and camaraderie has survived more than 40 years. This book portrays skin-
heads through images, which are taken by someone who has experienced the
environment himself.” $125.00

98. Marshall, George, ed. One Eyed Jack, Issues 1 & 2. Lockerbie, Scotland:
S.T. Publishing, Issue 1, Spring 1997, and Issue 2, Summer 1997. Glossy, sta-
ple-bound wraps, 21 by 29.5 cm, 40; 48 pp., illus. Very good with light cover
wear. The first two issues of this scarce mag from George Marshall’s S.T. Pub-
lishing, which is best known for reprints of Richard Allen’s skinhead novels,
and books like Skinhead Nation, Spirit of ’69, and You’re Wondering Now –
The Specials. Marshal started Jack to give a voice to the streets that wasn’t
present in the mainstream press, “The problem is that the
mainstream’s interest in punk goes as
far as The Sex Pistols re-union con-
certs. The nearest they get to serious
mod coverage is to tell you that [Oasis
singer] Liam Gallagher has bought a
new scooter. And the only time you’ll
read about skinheads or bikers or teds
is when they want to take the piss or
are doing a shock horror exposé. In short, they couldn’t give a fuck about us.
They don’t want us in their magazines, they don’t want us on their radio, they
don’t want us in their charts and they don’t want to see us on their TV. In
their world, they hold all the cards, and for all the good it does you looking for
the mainstream seal of approval, you might as well be pissing up against a
wall. We don’t know the right people, we don’t go to the right clubs and
sometimes you have to wonder if we are even from the same planet. We
might be from the street, but that doesn’t mean we belong in the gutter.”
Marshall’s goal of creating a magazine that covers “the whole spectrum of
street youth culture” had a good start with articles on the bloody rivalry be-
tween Scandinavian motorcycle clubs, London ska band The Trojans, war torn
Yugoslavia, the mod revival of 1979, the casuals subculture, “Confessions of a
Prostitute,” football (of course), the Malaysian government cracking down on
punks and skinheads, Cherry Red Records, Rancid, The Business, former-
skinhead band Slade, porn mag reviews, juvenile delinquent novels, a history
of reggae, Richard Allen, Bristol punk band Vice Squad, plus record reviews,
S.T. Publishing news, etc. $75.00

99. Moore, David. The Lads in Action:

Social Process in an Urban Youth Sub-
culture. Aldershot, England: Arena,
1994, first edition. Hardcover with
glossy illustrated boards, no jacket as
issued, 15.7 by 22.3, xiii 161 pp. Near
fine with only the faintest signs of shelf
wear – appears unread. Third in the
“Popular Cultural Studies” series that
also includes Rave Off: Politics and Devi-
ance in Contemporary Youth Culture
and The Passion and the Fashion: Foot-
ball Fandom in the New Europe where,
evidently, Arena aims to take the fun
out of everything. Lads offers an
“anthropological account of an urban
youth subculture based on participant
observation in Western Australia. Es-
chewing traditional sociological perspectives on youth, such as analysis based
on social class or ‘deviance,’ he seeks instead to examine the day-to-day life-
style of Perth skinheads, an exported and modified version of the original Eng-
lish youth subculture.” Chapters include “Scenes, Venues and Eras,” “Ritual
Violence and Symbolic Solidarity,” “Skinhead Relationships with Young Wom-
en,” etc. Part sociological study and part storytelling, illustrated with four im-
ages from Nick Knight’s Skinhead. $50.00
100. Moore, Jack B. Skinheads Shaved for Battle: A Cultural History of
American Skinheads. Bowling Green, OH: Bowling Green State University
Popular Press, 1993, first printing. Hardcover with dust jacket, red cloth with
black spine titles, 15.5 by 23.5 cm, 200 pp. Near fine in very good jacket. One
of the more lopsided texts to come out of a university press, Shaved presents
a brief overview of skinhead history, then focuses heavily on the racist aspect
of skinhead culture. From the publisher: “This book describes who American
skinheads are, how they have developed within larger youth group scenes,
their ideas and activities, the role of music in their formation and develop-
ment, how they have been perceived by the media in America, and what
damage they have done in American society. Jack B. Moore focuses on the
cultural history of this group in America during the 1980s and suggests that
while they were originally a minor distraction on the punk scene, they have
grown into a dangerous and far more politically engaged source of hate
thought and crime.” $40.00

101. S.H.A.R.P., S.T.O.M.P. Four Anti-Racist Skinhead Flyers. Jessup and Pas-
adena, MD: S.H.A.R.P., S.T.O.M.P. Maryland, and National Anti-Racist Youth,
nd (c.1985). Four flyers that the original owner—a young, gay, politically-
active punk—picked up around 1985. All four flyers are single-sided, 21.4 by
27.6 cm, and have creases from being folded in eighths. Two flyers are from
Skinheads Against Racial Prejudice, one with the classic image of the crucified
skin, the other with a pair of Docs, “True to the Spirit of ’69, the ‘Two Tone’
ethic of black and white unity is what true Skinheads are all about.” One flyer
is from Skinheads Tired of Malign Prejudice, “We are here to talk about the
true united skinheads and what we are all about … we want the people and
public to trust us as far as violence goes which we will only use against Nazis
when instigated by them to keep their ignorant lifestyles out of Maryland and
soon put them out of commission nationwide…,” with tape on the upper left
corner and the upper right corner torn off. The final flyer is from the National
Anti-Racist Youth, “What we stand for is unity among other races. Our goals
are to stop racism and change the media’s view on ‘skinheads,’” with light
stains. $100.00
 102. Skarface, Fred. Our Culture:
Skins, Mods, Punks, Psychos,
Tattoos, Scooters & Music; Our Cul-
ture Part 2, Tribes of England: Skins,
Mods, Punks, Psychos; Our Culture
Part 3, Cause We Love You:
Rudegirls – Skingirls – Psychowom-
en – Punkettes. Volumes one
(c.1996) and two (c.1997) are not
dated and have no publication infor-
mation, but the third volume was
produced by Helen of Oi! Records in
Féricy, France in 2002 and advertises
the first two volumes on the back
cover. Wraps, 21 by 15 cm, 80; 96;
96 pp., all heavily illus. in black and
white, and Tribes has a 16-page col-
or section. All are very good with
minor wear to the wraps and cor-
ners. Fred Skarface’s trilogy of pho-
tobooks dedicated to European skin-
heads, punks, mods (and their scoot-
ers), and psycho-billies – though
they lean heavily towards skins.
Parts one and two feature short in-
troductions to each section (the text
in part two is in French, which is
preferable to the poorly-translated
English in the first volume), though
they consist primarily of page after page of snapshots, some captioned, from
one to six images per page. Aside from a back cover synopsis, volume three
has no text, just snaps of punk, skin, rocker and mod women. Their home
country is printed at the bottom of the photos and there are four plus pages
of women from the U.S. What text is included in these volumes is a message
of anti-extremism, anti-racism, and unity among the “tribes of Eng-
land” (despite the author being French, he sees all the “tribes” as having been
derived from the English mods and skins of the 1960s). While there are a
handful of posed band photos, the majority of the images are candid snap-
shots that really capture the style, unity and joy of England’s subcultures.
$350.00

103. Tim. Running Down the Back Streets, Nos. 1, 2 and 3/4. West York-
shire, England: Edited and published by “Tim,” four volumes in three issues,
Jan. 1996, May 1996, and Oct. 1996-Feb/March 1997. Staple-bound self-
wraps, approx. 15 by 21 cm, 32 pp; 36 pp; 56 pp., heavily illustrated. Very
good with light stains and scuffs to the covers only; staples have been re-
moved from issues one and two. A third-wavish skin zine with new and famil-
iar faces, including interviews (some quite lengthy) with The Business,
Crashed Out, Condemned 84, Skinheads Don’t Fear (zine), The Pride, Arthur
Kay, $cam, Warriors, Skint, Stanley Knife, and Frankie “Boy” Flame. Articles
about “how to put a gig on,” football, “how to get played on the radio,” the
history of Oi, record, gig, book and zine reviews, etc. A great skin zine in the
classic mold. Skinheads, “a product of your society.” $100.00

104. Spaans, Gretchen. Original

Acrylic Painting of Skinhead. Grand
Rapids, MI: Artist, Gretchen Spaans,
c.1986. Acrylics on canvas board, 91.4
by 60.9 cm. Very good with minor
corner bumping and some light craz-
ing of the burgundy-colored paint in
the lower portion of the painting. A
wonderful image of a skinhead nap-
ping, with rolled Levi’s and cherry-red
Docs, painted by a young college stu-
dent. Some biographical details about
the artist and subject will accompany
the painting. See full image on next
page. $250.00

105. Travis, Tiffini; Perry Hardy. Skinheads: A Guide to an American Subcul-

ture (Guide to Subcultures and Countercultures Series). Santa Barbara, CA:
Greenwood Press (ABC-CLIO, LLC), second printing. Hardcover with glossy,
No. 104
illustrated boards, 16 by 24 cm, xxxiv 161 pp., 25 black and white photos.
Very good, unread copy with only a few faint scratches on the boards. Focus-
ing on all aspects of skinhead culture, this book details the “first generation”
U.S. skins from the early-1980s onwards. From the book: “Skinheads—
hostile, confrontational, violent, neo-Nazi hooligans, right? Bald heads, steel-
toed boots, and utter contempt for middle-class living? Yes, many who identi-
fy themselves as skinheads fit this description—and make most of the head-
lines—but the overall skinhead subculture is far more diverse in politics, atti-
tudes, fashion, and music than most people realize. Skinheads […] is an insid-
er’s look at the history of skinheads in the United States, from their emer-
gence from the U.S. hardcore underground in the 1980s in New York City;
Chicago; Washington, DC; and Los Angeles, to the current scene that thrives in
many major metropolitan areas today. What makes this revelatory book so
compelling is its one-of-a-kind view of skinhead culture from the inside out.
Coauthor Perry Hardy is a skinhead, bass player for the band, The Templars,
and veteran member of the American skinhead scene since the onset of the
movement. Based on his experiences, plus interviews with dozens of skin-
heads of all kinds, Skinheads draws back the curtain to reveal a world that
more often is simply a haven for those disaffected from society, rather than a
subculture of hatred and violence.” $35.00

References Cited:

1. Savage, Jon. England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond.
New York: St. Martin’s Press, 1992, p. 520.
2. "A Permanent Record": Intervista a Julian Yewdall, London, Subway Gallery, 4
Dicembre 2012, https://www.youtube.com/watch?v=Ll1Dp8RLdPA.
3. Julian Yewdall photographed Joe Strummer and The Clash in their early days,
https://www.snapgalleries.com/portfolio-items/julian-yewdall/.
4. Keithley, Joey. I, Shithead: A Life in Punk. Vancouver, BC: Arsenal Pulp Press, 2003,
pp. 101-102.
5. Heller, Steven. Irreverence You Can Almost Touch, http://
www.nytimes.com/2011/02/20/books/review/Heller-t.html?pagewanted=all&_r=0
6. Cogan, Brian. The Encyclopedia of Punk. New York: Sterling Publishing Co., Inc.,
201, p. 246.
7. Savage, Jon. England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond.
New York: St. Martin’s Press, 1992, pp. 139-140.
8. Fischlin, Daniel; Ajay Heble, eds. Rebel Musics: Human Rights, Resistant Sounds,
and the Politics of Music Making. Montreal/New York/London: Black Rose Books,
2003.
9. Bernière, Vincent; Mariel Primois. Punk Press: Rebel Rock in the Underground
Press, 1968-1980. New York: Abrams, 2013, p. 224.
10. Pamla Motown Designer Extraordinaire, http://
www.onepersononevoteoneplanet.com/PamlaMotown/index.html
11. Rotten to the Core: An Interview with John Lydon, http://web.archive.org/
web/20071218195526/http://www.drdrew.com/article.asp?id=722.
12. From “A Church Without Religion,” an interview with John Lydon in Record Collec-
tor magazine (London), Issue 460, December 2016, p. 64.
13. Kugelberg, Johan, ed. God Save Sex Pistols. New York: Rizzoli International Publi-
cations, Inc., 2016, p. 177-178.
14. Triggs, Teal. Fanzines: The DIY Revolution. San Francisco: Chronicle Book, 2010,
pp. 18-19
15. Blake, Mark, editor-in-chief; Deborah Harry, intro. Punk: The Whole Story. New
York: DK Publishing, Inc., 2006, pp. 218-219.
16. Aaronson, Deborah; Sara Bader, editors; Rick Poynor; Toby Mott, essays. Oh So
Pretty: Punk in Print 1976-80. London: Phaidon Press Limited, 2016, pp. 22, 80.
17. Bernière, Vincent; Mariel Primois. Punk Press: Rebel Rock in the Underground
Press, 1968-1980. New York: Abrams, 2013, p. 219.
18. Savage, Jon. England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond.
New York: St. Martin’s Press, 1992, p. 437.
19. Vale, V., ed. Search & Destroy #1-6: The Complete Reprint. San Francisco: V/
Search, [1996], back cover.
20. BOY, About Us, https://www.boy-london.com/gbp/about-us.
21. ibid.
22. Forty years ago pictures of Mods and Rockers shocked polite society. But were
they staged by the press? http://www.independent.co.uk/news/media/forty-years-
ago-pictures-of-mods-and-rockers-shocked-polite-society-but-were-they-staged-by-
the-press-558818.html
23. Boots and Braces, http://barcelona-vintage.blogspot.com/.

* Image on title page by Rev. Michael Roudis.

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