Black Punk Now

by James Spooner, Chris L. Terry

A canonizing, bold, and urgent anthology setting a new precedent for Black Punk Lit, created by generations of Black punks—featuring both new voices and those from the not-so-recent past

Black Punk Now is an anthology of contemporary nonfiction, fiction, illustrations, and comics that collectively describe punk today and give punks—especially the Black ones—a wider frame of reference. It shows all of the strains, styles, and identities of Black punk that are thriving, and gives newcomers to the scene more chances to see themselves.

Curated from the perspective of Black writers with connections to the world of punk, the collection mixes media as well as generations, creating a new reference point for music-lovers, readers, and historians by capturing the present and looking towards the future. With strong visual elements integrated throughout, this smart, intimate collection is demonstrative of punk by being punk itself: underground, rebellious, aesthetic but not static—working to decenter whiteness by prioritizing other perspectives.

Edited by graphic novelist and filmmaker James Spooner, and author Chris L. Terry, contributors to the collection include critic Hanif Abdurraqib and Mars Dixon, conversations with Brontez Purnell, and a roundtable of all femme festival organizers.

Genres: Music, Nonfiction, Short Stories, History, Anthologies, Essays, Race

256 pages, Paperback

First published October 31, 2023

About the author

James Spooner is an award winning graphic novelist, filmmaker and tattoo artist. His debut graphic novel, The High Desert was named “Best of 2022” by Publishers Weekly, The Washington Post and The New York Public Library. The High Desert is the 2023 recipient of the American Library Association's Alex Award and the Cartoonist Studio Prize.

Spooner co-edited an anthology of Black punk writers and comic creators entitled, Black Punk Now. Available now, the book was named in the top 10 Music Books of 2023 by Pitchfork and received a Kirkus star. Pantheon has recently acquired his forthcoming second memoir, set for publication in 2025. He was recently commissioned to adapt a story  by the Scottish Book Trust and is  regular contributor to RazorCake Magazine.  

Spooner directed the seminal documentary Afro-Punk which premiered at national and international film festivals, including Toronto International and The American Black Film Festival. James also co-founded the AfroPunk Festival, which currently boasts audiences in the hundreds of thousands around the world.

​Spooner’s work has been recounted in various publications, including NPR, The Los Angeles Times, Vice, The Village Voice, The New Yorker, MTV, NBC News and Variety. He was a recipient of the ReNew Media Rockefeller Grant. He is an ongoing guest curator for the Broad Museum in Los Angeles, and previously programmed for the Brooklyn Academy of Music.

James continues to screen Afro-Punk around the world, giving talks on punk, comics and Black identity.

Reviews

[John · Rating 5 out of 5]

Back in October I attended the last show of tour for Zulu/Soul Glo/Playytime here in Chicago at the Subterranean. I was expecting great things going into this night. These bands, Soul Glo especially, are driving forward the momentum and excitement around Punk's current renaissance. Beyond just being some of the best bands out there right now, the obvious factor of this tour is having all Black punk bands on the bill.

All bands brought it that night. Sometimes when a tour is coming to a close you can feel it as an audience member. Bands will be visually and audibly tired, and no blame to them, touring is a rough task but none of that was witnessed here. I'd seen Soul Glo before and this time was even better. I don't know a single hardcore band that can keep up the level of energy and aggression they do for 45 minutes. Beyond just ferocity they also offer a blend of electronics and sampling to elevate their performance beyond what is generally considered a "punk" sound.

Chicago's own Buggin actually played a surprise set in the middle of the night which added a fourth great Black punk band to the night. I really feel bad for the other nights of the tour as Buggin is great and would have been a great addition to this tour.

Zulu closed out the night and really showcased their headliner ability. Drawing on the ferocity and excitement that shine with every great hardcore band. They closed the show by inviting all of the Black people who performed that night and in attendance to join them on stage as Waka Flaka's "Hard in Da Paint" played out over the house speakers. The entire night was a celebration of Black punk. Each band made sure to remind audience how special this experience was and expressed their gratitude for being able to hold something like this.

Now I am not Black, so I will not try to explain or portray what a night like this means on a higher level to someone who is but even as an outsider, who loves the many ways Punk has been able to unite people and manifest in all sorts of people in different ways, it was a highly memorable and inspiring sight. It was brought up on stage that night that a show like this doesn't happen everyday but it should.

With the memory of that night still fresh in my mind I was surprised and excited to learn that a book about Black punk was being published later that month. I got my hands on a copy of Black Punk Now and my expectations were totally blown away.

I'm a big music fan and I'm a big fan of books but seldom do I enjoy music books. Many of them, especially those published in recent years really just feel like glorified Wikipedia articles. Oral histories or basic biographies that really don't justify needing to be printed on paper. I was kind of expecting a similar situation here and maybe I'd get a few new facts out of it but ultimately I wasn't expecting to like it as much as this.

Simply put, Black Punk Now is a novel length zine that is an anthology of many different Black punk voices, expressed through a variety of different writing and storytelling styles. In this book we have fiction, nonfiction, graphic novels, scripts, drawings, photos, and interviews. All of these methods are utilized to paint the picture of what Black punk means. This book is edited by James Spooner (the filmmaker behind the Afropunk documentary and originator of the festival of the same name) and Chris L Terry. These two contribute their own thoughts on Black punk but for the most part let the other contributors speak on these issues in the ways they see fit.

It's should be stated, and I'm sorry for having to wait until this far into the review to say it, but this is not an introductory books written with white audiences in mind to guide them through their semester of "Black Punk 101" at the School of Rock. This book assumes you know who Bad Brains are, have seen the 2012 documentary A Band Called Death, and know the story of Pure Hell. There is no hand holding here and if you don't know these basic facts before going into this book you may have to do some extra homework. This level of establishment is refreshing to see in music books as so many of these kinds of books really only scratch the surface of a subject like this, which is incredibly silly to me considering the kind of person who is gonna pick up a book on a specific band or scene is already gonna be pretty invested in that world.

This is a book written by Black punks and speaks to them and those like them. This book knows that it will be read by other audiences outside of that and doesn't hold back. I think a lot of non Black readers will be surprised with having to challenge a lot of preconceived notions they might have about punk and rock music. Beyond challenging non Black audiences this book also challenges establishment Black music industry types by demanding them to take Black people playing and listening to rock music as seriously as they do Hip-Hop or R&B.

A lot is explored here. Considering how long this review already is, I won't divulge too far but many different subjects and perspectives are explored here. While focusing mainly around the US, there are some voices given to those of the wider diaspora. I think the great thing about a book structured like this and a subject like this is just how well they are married together. Black punk is a niche enough subject in the grand scheme of things but what Black punk means is a lot of things and I think many of those thoughts were given placement here.

With there being so many different voices contributing to this project you're bound to not like all of them equally. There were sections of this book that didn't really impact me as much as others but I could see how these sections could work differently for other readers.

I also really loved the level of detail and consideration of more elevated discussions held here. I was often amazed at all of the different corners of Black punk that were explored. Even when I got to the end, which holds a list of songs by Black punk bands to check out, I saw a lot of what you'd expect to find but I also saw mention of Arcadia Grey; a small local band here in Chicago that I've seen live a few times playing on various emo lineups. I definitely recommend checking them out.

Overall, I really loved this book. While I am not a Black punk I found it a refreshing work in the landscape of dull music books, that offers deeper discussion on topics usually not given the time of day. It utilizes a deviation of form that not only sets it apart but helps enhance the method in which these ideas are conveyed.

[Jonathan Katabira · Rating 4 out of 5]

This book truly made me feel seen. As a Black person with a deep passion for rock music, I’ve often found myself searching for an underground scene that centers Black voices, stories, and experiences. This book met that need in a way that resonated deeply with me. I will definitely be checking out and adding many of the bands and songs mentioned throughout the book to my playlist.

[Monica · Rating 5 out of 5]

This is such a solid collection! Visually, it’s so interesting, and the variety of genres and perspectives was completely engaging. I’m really looking forward to my book club discussion about it tomorrow.

[Claire · Rating 5 out of 5]

I’ve never read an anthology before and this was an amazing to start with!! I like how I could take my time with it and reread a lot of previous sections while making my way through it

[Courtney Long · Rating 5 out of 5]

I went into this book expecting a history lesson, and instead found myself exchanging awed glances with page after page of proof that the Punk Community is still very much alive and well! This book is a snapshot in time of what the community is doing, how it’s helped young black youth develop an identity all their own, and where it can continue to go. There are so many well known writers who participated like Laina Dawes, and Osa Atoe. The up and coming writers packed just as much of a punch with a collection of original prose, comic books, and short stories. My favorite part is the back of the book where they provide a playlist of all the bands you should try out. This book is great for music enthusiasts, and the young punks & POC in your life who wants some reassurement that liking this music is not weird or strange at all!

[Tina · Rating 5 out of 5]

My first read of November was BLACK PUNK NOW edited by James Spooner and Chris L. Terry and I loved it! This book is an anthology of contemporary fiction, nonfiction, comics and illustrations. I loved the mix of work in this book! I was so excited to read this after reading and loving Shotgun Seamstress: The Complete Zine Collection by Osa Atoe last year and Osa is featured in this book too! It’s so cool how this book spans generations and gives space to new voices. I loved all the illustrations of the contributors and how the editors are featured too. I especially loved the round table discussions with femme and nonbinary festival organizers and the instructions for how to DIY your own zine. I could relate to that feeling of finding your tribe in a mosh pit. This book really has it all with essays, interviews, photos and short stories. The Black Punk Now reading experience is insightful, fun, complex and extremely engaging. I attended the virtual book launch earlier this week and it was great to learn more about this book and the editors and contributors Martin Douglas, Monika Estrella Negra and Scout Cartagena.

Thank you to Soft Skull Press for my gifted review copy!

[Steven Allen · Rating 5 out of 5]

I absolutely loved this anthology.

[Sabrina · Rating 5 out of 5]

Excellently crafted and organized; beautifully illustrated; informative and punk as fuck. I would recommend this to everyone. I’m thankful for this wonderfully written, subversive text~

[Amber · Rating 5 out of 5]

Thank you Soft Skull Press for the review copy of this book. I really enjoyed this book even as someone who knows absolutely nothing about Black Punk. It was a quick and fun read.

[jess mak · Rating 3 out of 5]

Fun anthology celebrating black punk. Brontez Purnell is my favorite and rounds things out nicely at the end there. Loved the list of black punk bands and am excited to dive in. Wish there were more interviews with artists and less fiction / sci fi but maybe that’s the nature of an anthology. Also I read this on kindle and am guessing the comics would have been better if they weren’t stuck behind my PAPERWHITE DISPLAY!

[Matt Glaviano · Rating 4 out of 5]

I showed up for the Hanif essay but loved the whole book. The mixed format of non-fiction, fiction, and comics made this book both ever-changing and quite compelling. The weakest of the selections, for me, were the fictions.

Insightful, empowering, and thought provoking. Glad to live in the same world as this book.

[Novels Alive · Rating 4 out of 5]

I grew up listening to punk rock in a small town in Idaho. Among the railroad tracks and Mormon churches scattering the arid valley, I searched elsewhere to construct my teenage identity, somewhere to channel my skepticism, anger, and curiosity. I scoured my CD liner notes to see what shirts my favorite bands wore, hoping to find new music. I lost myself in live videos and interviews, reveling in Joe Strummer’s snarl, Jello Biafra’s sly, maniacal grin, and Henry Rollins’ unapologetic charisma on stage and off. Though there wasn’t much of a punk community where I lived, I found comfort in the music I listened to, my heart pumping quicker to the rapid-fire snare and my lips curling when singing along. Punk rock provided a blueprint for who I was and wanted to be, not just in how I dressed or did my hair but in my philosophy and personality.

Punk rock was a refuge for me, where the deviants could feel part of a community, something larger than themselves. And yet, despite rock ‘n’ roll’s beginnings stemming from Black musicians, when looking through the canon of punk rock, you’ll mainly see white faces—the Sex Pistols, the Clash, and the Ramones. So, is punk rock as inclusive as it claims to be? What do communities of color have to sacrifice to belong? Or, how can Black punks make the subculture their own?

James Spooner and Chris L. Terry aim to explore these questions in Black Punk Now while exalting and celebrating Black punk musicians who have shaped the genre and continue to open the punk community up for creativity and expression.

The book resembles a punk zine—a collection of essays, short stories, comics, and interviews (and if you’re unfamiliar with the “zine” form, Golden Sunrise Collier’s essay brilliantly discusses how independent publishing, from abolitionist pamphlets to punk publications, serves as a critical conduit for freedom and ownership).

Spooner and Terry have arranged the pieces to move both inward and outward, with authors navigating their place within families that don’t understand them, battling with communities that encourage authenticity, so long as it aligns with their assumptions, and looking forward to the future of punk rock—how technology and networking can be both dangerous and empowering.

I found myself drawn to the stories and essays about family and friends as authors grappled with isolation and acceptance, whether it was Ayti Krali’s tear-soaked comic about what “oddness” means for Black folks in America or Kash Abdulmalik’s screenplay exploring familial love and responsibility, as the main character cares for his dementia-affected father, though their past has been anything but perfect. Hanif Abdurraqib’s poignant reflection on music as an outlet for grief and pain not only had me listening to Funkadelic’s “Maggot Brain” with a new angle of profundity but also left me with an uncanny mix of wonder and sorrow.

Of course, there’s also a fair share of drug-addled grittiness and inevitable messiness that comes with exploring one’s identity. In Martin Douglas’ “Confession of a Black Rock ‘N’ Roll Critic,” there’s pulsating excitement alongside palpable guilt in the whiskey and weed-soaked concert settings and sexual encounters between the narrator and Latoya, the punk musician he’s interviewing. In Monika Estrella Negra’s “Mya/Michelle,” the nightmarish story unveils the many ghosts that haunt Mya and her new neighborhood—the rapid gentrification ignoring a horrific past and Michelle’s burgeoning and decadent punk community that both brings her closer to what happened in her room, yet further away from herself. Under the surface in these stories is a desire to connect and find community while walking the tenuous line between exploration and destruction.

And though the stories are reflective and entertaining, there’s a clear encouragement for action within the pages—to organize and embolden Black and brown communities. Roundtable discussions with “femme organizers of new black and brown punk festivals” are woven into the book, which seeks to define Afro-Punk, highlight festivals and spaces for communities of color, and look into the future of the punk scene. Laina Dawes captures the revolutionary energy of Sista Grrrl Riot, redefining and opening up what it means to be an all-Black female punk band. And Ashaki M. Jackson’s interview with Matt Mitchell unpacks the dangerous implications for Black communities as digital surveillance has moved from security cameras to online tracking. Among these pieces, there’s a galvanizing force for awareness, change, and empowerment.

And while having an understanding of the cultural context of punk rock helps in approaching this book, I found myself searching up the authors’ previous works, listening to bands I hadn’t heard before (which is even more convenient with the fantastic playlist at the end of the book), and leaving curious to know more.

Black Punk Now challenges common assumptions and encourages recognition, celebration, and action. The kaleidoscopic stories reinforce that the Black punk experience is unique and accomplished, though not without its fair share of frustrations. And more importantly, Black punk is integrally part of the history and future of genre and community. ~ Sean for Novels Alive

[Brenda Perlin · Rating 5 out of 5]

BLACK PUNK NOW fiction, nonfiction and comics
Edited by James Spooner & Chris L. Terry

Black Punk Now is in your face, filled with rebellion and doesn’t hold back. I like that.

This book is a treasure trove of great stories, fiction and nonfiction. Full of energy, angst, and raw emotion. It’s different than many of the punk books I have read. In a good way. To me, it’s an eye opening look into something that was unknown to me. White privilege, I guess. I was so naive!

Black Punk Now is a nostalgic peek of what it was like as a black punk in the early days but with different views and ideas. There are plays, cartoons and incredible artwork that makes this a perfect tabletop book that can be read and reread.

As a white girl I may not relate to everything in this anthology but it adds to the layers of anger that most of us misunderstood outcasts lived through and continue to live through. Some had it so much worse than others, well, different. We started out as an inclusive bunch but were we?! Probably not as much as I would like to think. Humans, in general suck but when we find our tribe, it’s golden.

Quote ~

“There’s something about punk that has always opened itself up to my understanding about living through and performing through grief’s long shadow. It could be because me and all of my pals ran toward shows and each other to escape the immense sadnesses of our shared or disparate lives, and it could be because so many of the songs I loved were about thrashing up against something immovable—be it emotional or political—which seemed to fit the bill of what I thought grief to be. But it was also, I think, because I fell into punk first because I was fighting to be understood, frustrated by the world that didn’t seem to want to understand me. That was one of the first wounds I carried, and punk was one of the first places that I felt that wound tended to.”

STANDING ON THE VERGE by Hanif Abdurraqib

[Natalie · Rating 4 out of 5]

Black Punk Now is a collection of essays, interviews, comics, and excerpts of fiction that centre around the Black punk experience in the US and UK. In these mini works, musicians, critics, and fans explore music as expressions of identity, conflicting feelings about punk being perceived as a white genre and thus not being perceived as Black enough, and the legacy of creating punk music across family generations.

Each piece carries a sense of urgency and passion that can only come from a deep love of music that both saves and shapes you; I feel like I identified with the ethos of this book while reflecting upon my experience growing up as a kid who similarly found solace in the genre but also felt like an outsider because of my race. Highlights for me are the roundtable discussions with Christina Long, Shawna Shante, Scout Cartnega, Courtney Long, Shana Collins, Monika Estralla Negra, and Stephanie Phillips, who delve into both the hardship and payoff of organizing festivals and community work. Another favourite is a beautiful essay (I expected no less) by Hanif Abdurraqib, exploring the expectation of making art while persevering through grief.

After reading this over the course of a week, I think that it’s one you should buy and savour over a longer period of time. The mixing of genres and formats actually made the experience a bit of a drag in the middle, because I’d really be into an essay or comic, but then was plunged into a work of fiction immediately after and I had to readjust my mindset. What I’m saying is, this is a good excuse to buy the book, especially for punk lovers who want to either connect to relatable stories, or expand your understanding of the genre’s diverse and multi-layered impact.

Huge thanks to Soft Skull Press and netgalley for the e-ARC.

[Kevin Hogg · Rating 5 out of 5]

This book is a great reminder that we can't just call punk inclusive--we need to take active steps to make sure that people belong and feel welcome. The book had a nice balance of important messages. It included a good helping of "nobody looks like me, so I feel like I don't fit" but also showed ways in which Black people have been working to shape and direct the punk movement. I really liked the personal reflections and the conversations with people who have organized and headlined festivals. The blend of interviews, fiction, nonfiction, comics, and more made it really engaging. A one-size-fits-all approach to the topic would have been reductive and limiting. The fiction was well done and memorable, and the nonfiction gave some personal insights that increased my understanding of how Black people experience not just the world, but this little subworld that we've (somewhat naively) said is for everybody. Between this and the Afroworld documentary, I have a deeper appreciation for what it must be like to hover between two worlds that just aren't the right fit, and I've discovered a lot of great music. Highly recommended.

[L Rose Reed · Rating 5 out of 5]

An outstanding anthology! It was an honor and a joy to learn about the profound history and present of Black Punk music and culture.

My favorite chapters include: "Let Me Be Misunderstood" by Kash Abdulmalik; "Dread[s]" by Marcus Clayton; "The Progenitors of Black Feminist Punk: Sista Grrrl Riot" by Laina Dawes; "An Extension of Me in This Other Universe: Gaming, Punk, and Queer Identity" by Mars Dixon; "Flora From MAAFA (It Takes a Triiibe)" by Raeghan Buchanan and Flora-Morena Ferreira Lucini; "Mya/Michelle" by Monika Estrella Negra; "No Home: Charlie Valentine" interview by Osa Atoe; "Smoke Again, Akhi" by Alex Smith; "Brontez Purnell" interview by James Spooner and Chris L. Terry; & every "No Whites on the Mic" roundtable!

Now, I'm off to listen to every song recommendation from "The Black Punk Now Record Crate."

[Ramon Alejandro · Rating 3 out of 5]

Black Punk Now by James Spooner and Chris L. Terry is a profound anthology on the Afro-Punk movement that explores identity and the quest to reframe blackness. The book contains short stories, essays, interviews, and comics that defines “black punk” and how it connects to race and gender politics. The diversity of the writing disconnected me from the overall thesis but an interesting read nonetheless.

[Michael · Rating 4 out of 5]

Overall a great selection ... Even if some of the pieces drag a bit or strike a weird note (for me, a notably white reader), the strength of things like "Smoke Again, Akhi", "light's groove", and "tough Guy" (among many others, especially the interspersed round table interviews that read a bit like an internal monologue) make this one a stand-out.

UPDATE: I should also add that I am 100% on board with any book that ends with a playlist as solid as this one's.

[Mia · Rating 5 out of 5]

I wish I had something like this when I was younger. I felt so seen with Black Punk Now!!! Thank you to everyone who contributed to this dope ass anthology. I’m always looking for more alt-Black material and reading this provided me with so much more than I could’ve imagined. Thank you, thank you, thank you!!!

[Mike · Rating 4 out of 5]

This book is well worth the time if the subject appeals to you. It's probably even better for you if the subject doesn't appeal to you, but that's a different conversation. It's hard to review an anthology as a whole. Some of the pieces resonated with me. Others were just ok. I suspect it's the same for everyone but they're thinking of different pieces when they say it.

[Alix · Rating 4 out of 5]

Moi bo libro. Como persoa branca, creo que é unha lectura interesante para coñecer unha cultura que segue (por desgraza) moi discriminada hoxe en día, e non me refiro ao punk. O mundo da música está moi "branquizado" e se lle quita méritos e espazo a moita xente que axudou a que as escenas sexan como son hoxe en día

[Michael Norwitz · Rating 5 out of 5]

James Spooner (director of the superlative Afro-Punk documentary), plays catchup with the scene in this mixture of comics, interviews, short stories, and articles, consistently inspiring and thought-provoking. Anyone interested in catching up with what's relevant in today's scene should dive in.

[MJ · Rating 5 out of 5]

This felt like such a powerful, beautifully well -crafted anthology of black voices and being punk. It’s a book, but I listened deeply to the words. Laughed at parts. Feeling grateful that this book exists.

[Angel · Rating 4 out of 5]

Quick impressions: Whether you are just beginning to learn about the Black Punk scene like I am or you're a veteran in the scene, this book has something for you.

(Full review available on my blog.)

[Lydia Chaki · Rating 5 out of 5]

Rock n' Roll and punk are never regarded as Black genres despite overwhelming evidence of their early roots, and being able to read this collection of stories, anecdotes and insights was a compelling experience.

[polystyrenesbraces_ · Rating 5 out of 5]

One of the best punk anthologies! Every essay, comic, short story, and interview resonates on a different level you don’t often find together in one book. Black Punk Now eliminates that isolation BIPOC punks are made to feel, and you finish the book with a new found sense of belonging.

[Amanda-Has-A-Bookcase]

All I know is if this book doesn't include Bad Brains then it's not worth the paper it's printed on!

[Don Books Brown · Rating 5 out of 5]

I'm a huge fan of both James Spooner and Chris L. Terry. But the biggest thing that came from this was the introduction to so many authors, musicians, and promoters. 10/10

[clancy · Rating 4 out of 5]

well put together, i especially liked the short stories

[maddie · Rating 5 out of 5]

can’t remember the last time i read an anthology this consistently strong