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No Future: Punk, Politics and British Youth Culture, 1976-1984
'No Feelings', 'No Fun', 'No Future'. The years 1976-84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.
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Published November 27, 2017
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Displaying 1 - 21 of 21 reviews
January 29, 2022
By situating 'punk' in 'British youth culture, 1976-1984', Worley helps illustrate the many ways in which punk's ethos is still as relevant as ever.
November 19, 2018
Thoughtful, well-researched, but kind of short. I feel like I already knew most of what the author was telling us and I felt short-changed by the book's apparent length versus its actual length (most of the book is footnotes and bibliography).
February 2, 2019
The book is at its best when it puts punk in the historical and political context and goes deeper in explaining it (especially for someone who doesn’t know about British history in that time-period). What makes it dull at times is the need to enumerate (all the tracks, bands, clubs...) that deal with certain topic, instead of holding to fewer (tracks, bands, clubs...) and writing a story. Being less Cambridge University Press and more Faber & Faber would make it a much more enjoyable read, though this might not be something to expect from a Professor of Modern History (author of the book)
December 8, 2017
Mixed is how I would describe my feelings toward “No Future.” Author Matthew Worley has crafted an excellently worded book, intermixing the punk scene with the political atmosphere occurring at the time. He has obviously spent a lot of time analyzing 1976- 1984, piecing and matching songs from the punk genre with the social and political happenings in England.
At the same time, it is no secret that every generation has their revolt with the status quo. Art and music can reflect some of that turmoil, and in that respect, punk music is no different. The book’s treatment at times feels heavy-handed, intimating the music had a vast effect on what was going on in the country. Artists are definitely affected by the world, their country, their neighborhood. These outside influences affect their work, and can be felt in the rhythms and discords as well as embodied in the actual words. A whole book dedicated to matching lyrics with the prevailing mood in the country would probably inspire Johnny Rotten to write a song, and I don’t think it would have a positive message.
After a while, the mode of presenting the negative mood in England followed by numerous examples of punk lyrics became tiresome. I though the book might concentrate more on the bands and what impact they tried to have, but the book hardly dwelled on any band more than a sentence, preferring to flit about like a bee, landing here and there before flying off in another direction.
If you are looking to find read about various punk bands and how events shaped their music, you will gain no more than an overview due to the author flipping from band to band to yet another band. For you, this book would probably seem tedious, and be at best a three-star effort. If you are seeking more of a historical read, one that informs you about the history and social events occurring during the rise and fall of punk and does not devolve into long passages with details about different bands for multiple paragraphs, this is probably the book for you. This is undoubtedly Mr. Worley’s intent, and I will rate his written effort based upon what I believe he was trying to accomplish. Three-and-a-half to four stars.
At the same time, it is no secret that every generation has their revolt with the status quo. Art and music can reflect some of that turmoil, and in that respect, punk music is no different. The book’s treatment at times feels heavy-handed, intimating the music had a vast effect on what was going on in the country. Artists are definitely affected by the world, their country, their neighborhood. These outside influences affect their work, and can be felt in the rhythms and discords as well as embodied in the actual words. A whole book dedicated to matching lyrics with the prevailing mood in the country would probably inspire Johnny Rotten to write a song, and I don’t think it would have a positive message.
After a while, the mode of presenting the negative mood in England followed by numerous examples of punk lyrics became tiresome. I though the book might concentrate more on the bands and what impact they tried to have, but the book hardly dwelled on any band more than a sentence, preferring to flit about like a bee, landing here and there before flying off in another direction.
If you are looking to find read about various punk bands and how events shaped their music, you will gain no more than an overview due to the author flipping from band to band to yet another band. For you, this book would probably seem tedious, and be at best a three-star effort. If you are seeking more of a historical read, one that informs you about the history and social events occurring during the rise and fall of punk and does not devolve into long passages with details about different bands for multiple paragraphs, this is probably the book for you. This is undoubtedly Mr. Worley’s intent, and I will rate his written effort based upon what I believe he was trying to accomplish. Three-and-a-half to four stars.
October 11, 2017
Excellent and exhaustive examination of Punk and Politics from '76-'84. Anyone who has even a passing interest in punk, and it's inherent politics owes it to themselves to read this. Excellently researched and very thorough. A great book.
January 12, 2023
Short, sweet & worth the read if your in to Steve Ignorant
May 7, 2018
Matthew Worley – No Future (Punk, Politics and British Youth Culture 1976 -1984)
I’d high expectations for this book and Matthew Worley did not disappoint. Beyond the actual subject matter, this book was like a trip back in time taking me back to the lecture theatres of Mickleover campus. No Future was a literary journey through memories of Frith, Hebdige, Brake and Storey. Matthew Worley has taken me on an exploration of “punk’s complex semiotics”, taking the baton from Jon Savage’s England’s Dreaming and adding further in-depth cultural theory.
I was completely in awe of the amount of research that had gone into the writing of this book. It is beautifully worded, in a realm that takes it far beyond being just a sociology text book. No Future reminds us of the major influence punk had on rejuvenating pop culture (good or bad) via the likes of Toyah, Adam Ant, etc. Worley goes beyond the traditional Situationist theories associated with the majority of punk histories and considers the influence of the wider political climate at the time.
Contradictions within the music industry are highlighted, with corporate capitalist companies disseminating politically biased opinions. The author questions the intent and purpose of punk, taking in theories of hegemony and linking the ethos of DIY networks back to 1960’s counter culture. Matthew Worley digs deeper into the meaning of lyrics, adding context through the study of semiotics and taking in the notion of Simon Frith’s punk bohemia.
It took me a long time to read Matthew’s book, purely because it led me off on tangents that I hadn’t necessarily been aware of before, or it reminded me of forgotten theories that encouraged further research and reading. There are links to Alan Silitoe’s social realism and reminders of the oft forgotten criticism of the Labour government prior to Thatcher within punk circles.
No Future looked at all aspects of punk throughout its early incarnation, examining the impact beyond the urban confines associated with memoirs of cultural innovation in locations associated with the early punk scene, e.g. London, Manchester, Birmingham, etc. Worley takes in notions of suburbia, cleverly linking the fictitious Reggie Perrin to a theory that everybody has their own suburbia – the Members, Newtown Neurotics, Skids. I was even led to think of Prem Nick’s ‘Bungalows of Sprowston’, which had a big impact on me at the time.
For me, the fact that Matthew Worley paid so much attention to the significance of Throbbing Gristle and Psychic TV within the punk movement was an added bonus. Beyond a brief acknowledgement of the ICA Prostitution exhibition, many punk studies give a wide berth to the influence of Genesis P’Orridge and his cohorts, so I was pleased to see this was not the case here. We look at how the industrial pioneers infiltrated the media and had a significant effect on the political agenda of punk rock.
Throughout my reading of No Future, I discovered many snippets of previously unknown information such as Some Bizarre’s Stevo’s brother having strong connections with the National Front, although I was fully aware of Nicky Crane’s dubious link to Psychic TV. I was also previously unaware that Annie Anxiety had written the lyrics to Crass’ Buy Now Pay As You Go, or that Newtown Neurotics had helped to set up the Square in Harlow, an independent music venue that until recently had been a staple of the UK gigging circuit.
Not only does No Future examine punk and politics, but Matthew Worley also examines wider concerns affecting those involved in the culture such as mental illness and depression through a study of Malcolm Owen, Ian Curtis and Nick Blinko, with a nod towards the Mad Pride movement. No Future could have gone further into the contradictions within the subculture such as Crisis and Death in June’s right wing tendencies (which is still widespread in the neo-folk movement) following early involvement with the Rock Against Racism movement, or the struggles within the Apostles’ own sexuality. However, like all good writers, Worley encourages the reader to think for themselves and further their own research. I wish this book had been available when I was writing my dissertation, the Style and Aesthetics of Punk Rock as a Youth Subculture. As it was, I relied heavily on Jon Savage’s England’s Dreaming and personal experience. All in all a ‘must read’, I cannot recommend No Future enough.
I’d high expectations for this book and Matthew Worley did not disappoint. Beyond the actual subject matter, this book was like a trip back in time taking me back to the lecture theatres of Mickleover campus. No Future was a literary journey through memories of Frith, Hebdige, Brake and Storey. Matthew Worley has taken me on an exploration of “punk’s complex semiotics”, taking the baton from Jon Savage’s England’s Dreaming and adding further in-depth cultural theory.
I was completely in awe of the amount of research that had gone into the writing of this book. It is beautifully worded, in a realm that takes it far beyond being just a sociology text book. No Future reminds us of the major influence punk had on rejuvenating pop culture (good or bad) via the likes of Toyah, Adam Ant, etc. Worley goes beyond the traditional Situationist theories associated with the majority of punk histories and considers the influence of the wider political climate at the time.
Contradictions within the music industry are highlighted, with corporate capitalist companies disseminating politically biased opinions. The author questions the intent and purpose of punk, taking in theories of hegemony and linking the ethos of DIY networks back to 1960’s counter culture. Matthew Worley digs deeper into the meaning of lyrics, adding context through the study of semiotics and taking in the notion of Simon Frith’s punk bohemia.
It took me a long time to read Matthew’s book, purely because it led me off on tangents that I hadn’t necessarily been aware of before, or it reminded me of forgotten theories that encouraged further research and reading. There are links to Alan Silitoe’s social realism and reminders of the oft forgotten criticism of the Labour government prior to Thatcher within punk circles.
No Future looked at all aspects of punk throughout its early incarnation, examining the impact beyond the urban confines associated with memoirs of cultural innovation in locations associated with the early punk scene, e.g. London, Manchester, Birmingham, etc. Worley takes in notions of suburbia, cleverly linking the fictitious Reggie Perrin to a theory that everybody has their own suburbia – the Members, Newtown Neurotics, Skids. I was even led to think of Prem Nick’s ‘Bungalows of Sprowston’, which had a big impact on me at the time.
For me, the fact that Matthew Worley paid so much attention to the significance of Throbbing Gristle and Psychic TV within the punk movement was an added bonus. Beyond a brief acknowledgement of the ICA Prostitution exhibition, many punk studies give a wide berth to the influence of Genesis P’Orridge and his cohorts, so I was pleased to see this was not the case here. We look at how the industrial pioneers infiltrated the media and had a significant effect on the political agenda of punk rock.
Throughout my reading of No Future, I discovered many snippets of previously unknown information such as Some Bizarre’s Stevo’s brother having strong connections with the National Front, although I was fully aware of Nicky Crane’s dubious link to Psychic TV. I was also previously unaware that Annie Anxiety had written the lyrics to Crass’ Buy Now Pay As You Go, or that Newtown Neurotics had helped to set up the Square in Harlow, an independent music venue that until recently had been a staple of the UK gigging circuit.
Not only does No Future examine punk and politics, but Matthew Worley also examines wider concerns affecting those involved in the culture such as mental illness and depression through a study of Malcolm Owen, Ian Curtis and Nick Blinko, with a nod towards the Mad Pride movement. No Future could have gone further into the contradictions within the subculture such as Crisis and Death in June’s right wing tendencies (which is still widespread in the neo-folk movement) following early involvement with the Rock Against Racism movement, or the struggles within the Apostles’ own sexuality. However, like all good writers, Worley encourages the reader to think for themselves and further their own research. I wish this book had been available when I was writing my dissertation, the Style and Aesthetics of Punk Rock as a Youth Subculture. As it was, I relied heavily on Jon Savage’s England’s Dreaming and personal experience. All in all a ‘must read’, I cannot recommend No Future enough.
October 8, 2020
No Future: Punk, Politics and British Youth Culture, 1976-1984 by Matthew Worley is a study of the Punk Rock movement and its evolution in England. Worley is Professor of Modern History at the University of Reading specializing in 20th century British politics with a particular interest in the labour movement.
America had its punk rock movement in 1970s New York. The Ramones, Television, Lou Reed, Patti Smith, and the New York Dolls played to shock American rock out of its corporate rock slump and put an end to disco. In the 1980s West Coast punk came into being and was much closer to the British movement in style.
The British punk movement was built almost out of necessity. "No future" was much more than a catchphrase but it was a deeper feeling of the bleak destiny. Today, young Americans can expect not to do as well as their parents and not live as long either. Americans hide in cheap consumer goods and an abundance of processed food. The British youth fought back with music and attitude. Margaret Thatcher is still hated in England while Reagan moved quietly into history. The British economy was in shambles -- high unemployment and inflation. Unions lost power most famously in the 1984-85 coal miners strike. State industries were privatized. Squatting became a common necessity. The threat of nuclear war (and the Falkland Islands) proved to many that there was no future.
The Sex Pistols and (now British Butter spokesman) Johnny Rotten (Lydon) take center stage in this book. The Buzzcocks, Crass, Malcolm McLaren, Siouxsie Sioux, The Adverts, and the Clash all make it into this book and their role in the evolution of Punk Rock. Punk rock was not a monolith but an evolving movement. Punk was not just music. It was art, sex, and style. It had many players from anarchists, communists, and the far right. Neither the mainstream liberal or conservative parties accepted or considered the punk movement part of their ranks. It was not about changing just the music like in America; it was about changing society as a whole. The youth acted out against a system that abandoned them.
Punk evolved. The most well known and first to gain popularity was "dole punk." The dole was the welfare system that was used to support those out of work. It would eventually be cut back by Thatcher. In 1976 England need to take out a $3.9 billion loan from the IMF. It was the largest loan ever requested at that point. The English government was forced into an austerity program to stabilize the pound and England's sovereignty. The Labour Party began to splinter giving rise to Thatcher.
Bands like the Buzzcocks produced their own EPs in a do it yourself (DIY) fashion. DIY became a movement of not counting on commercial production for your needs. It was an attempt to separate from the system. While some groups initially believed in self-reliance later these same groups worked with charity efforts. The range of music types was large from Aryan to reggae with Oi punk trying to unite the various groups.
I took plenty of notes throughout this book hoping to include them in this review. I found myself with a pile of notes and ideas I could not fit in. This is also a little surprising since one-third of the book is notes and source material. The material is from a variety of reputable sources as well as Fanzines of the time which connected with the feelings and views of the youth from that period. Well written. Well researched and literally packed with relevant information on a pivotal point of social, music, and art history.
October 16, 2017
Matthew Worley’s ‘No Future’ obviously takes its title from the Sex Pistols’ second single, ‘God Save the Queen’ which so spooked the establishment that it is commonly supposed that the official UK singles chart was rigged to prevent it reaching Number 1 at the time of Queen Elizabeth II’s Silver Jubilee in 1977.
Worley’s book covers the years 1976-1984 and - as indicated by its subtitle, ‘Punk, Politics and British Youth Culture’ - he is particularly concerned “to explore the extent to which the cultural spaces opened up and inhabited by British punk from 1976 informed and were informed by the wider socioeconomic and political environment of which they were part.” That is to say, he “seeks to determine the politics of punk as a musical form and youth culture.”
Worley faces three major problems in attempting to achieve this laudable aim. Firstly, there is the dizzyingly protean character of punk, which Worley seeks to address by defining punk “in its British context … in relation to people and cultural practices inspired or informed by the Sex Pistols.”
Secondly, there is the related problem that it is easier to say what punk was against than what it was for, so that “members of the far right saw punk’s swastikas and iron crosses as evidence of white youth becoming aware of their racial identity” at the same time as “some on the left saw in punk a formative expression of socialist protest.”
Thirdly, with John Lydon having sold out to become the brand ambassador of Country Life Butter, it’s difficult not to regard punk with a jaundiced eye as at best naïve and at worst as superficial as those ‘fans’ who would festoon themselves with safety pins and the other sartorial paraphernalia of punk in the toilets at the start of a gig and then revert to conventional clothing and accessories as soon as it was over.
Worley has nevertheless succeeded in producing a book which vividly recreates his chosen period and makes out a strong case “that there was something more than image and sales at stake” - that punk amounted to much more than just an attitude expressed with uncommon energy and venom.
Contrary to Johnny Rotten’s superb sneering vocals there was a future for Britain despite the dislocation attending the breakdown of the post-war consensus and it turned out to be not the future of punk’s dystopian dreaming. Punk is lucky to have in Matthew Worley an historian capable of rigorously analysing its times and distemper.
Worley’s book covers the years 1976-1984 and - as indicated by its subtitle, ‘Punk, Politics and British Youth Culture’ - he is particularly concerned “to explore the extent to which the cultural spaces opened up and inhabited by British punk from 1976 informed and were informed by the wider socioeconomic and political environment of which they were part.” That is to say, he “seeks to determine the politics of punk as a musical form and youth culture.”
Worley faces three major problems in attempting to achieve this laudable aim. Firstly, there is the dizzyingly protean character of punk, which Worley seeks to address by defining punk “in its British context … in relation to people and cultural practices inspired or informed by the Sex Pistols.”
Secondly, there is the related problem that it is easier to say what punk was against than what it was for, so that “members of the far right saw punk’s swastikas and iron crosses as evidence of white youth becoming aware of their racial identity” at the same time as “some on the left saw in punk a formative expression of socialist protest.”
Thirdly, with John Lydon having sold out to become the brand ambassador of Country Life Butter, it’s difficult not to regard punk with a jaundiced eye as at best naïve and at worst as superficial as those ‘fans’ who would festoon themselves with safety pins and the other sartorial paraphernalia of punk in the toilets at the start of a gig and then revert to conventional clothing and accessories as soon as it was over.
Worley has nevertheless succeeded in producing a book which vividly recreates his chosen period and makes out a strong case “that there was something more than image and sales at stake” - that punk amounted to much more than just an attitude expressed with uncommon energy and venom.
Contrary to Johnny Rotten’s superb sneering vocals there was a future for Britain despite the dislocation attending the breakdown of the post-war consensus and it turned out to be not the future of punk’s dystopian dreaming. Punk is lucky to have in Matthew Worley an historian capable of rigorously analysing its times and distemper.
April 13, 2018
(I received a free copy of this book from Net Galley in exchange for an honest review.)
'No Feelings', 'No Fun', 'No Future'. The years 1976–84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.
I am just going to be brief about this book.
* Brilliantly researched.
* Lots of footnotes and source material.
* Fascinating look into the famous and not-so-famous bands of the times.
* The clash of art, politics, social unrest, and music made for an explosive combination.
* Anyone with the slightest interest in punk, art or politics of the 70s and 80s should read this.
Got a little repetitive at times, otherwise this would have been a 5-star book for sure!
Paul
ARH
'No Feelings', 'No Fun', 'No Future'. The years 1976–84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London's media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk's cultural development from the Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk's anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.
I am just going to be brief about this book.
* Brilliantly researched.
* Lots of footnotes and source material.
* Fascinating look into the famous and not-so-famous bands of the times.
* The clash of art, politics, social unrest, and music made for an explosive combination.
* Anyone with the slightest interest in punk, art or politics of the 70s and 80s should read this.
Got a little repetitive at times, otherwise this would have been a 5-star book for sure!
Paul
ARH
November 13, 2017
Meticulously researched history of punk rock.
If you ever wanted to know what punk rock stood for and emerged from, pick up this excellent book. No Future covers the punk scene in England and Ireland from 1976 to 1984. It uses material from the time as its source material thus avoiding the pretentiousness of the last punk history I read (http://dianereviewsbooks.com/punk-dea...). It asserts that, while punk had a DIY ethos, it also was formed out of boredom of the middle-class life that awaited these teens. Punk died as soon as the 'look' became more important than the words. No Future calls the late fashionable arrivals to the scene 'part-time punks' but in America they were called poseurs or sometimes disparagingly 'new wave'.
No Future is highly recommended for those interested in the punk era or its music. Even though I listened to the Sex Pistols at the time, I was surprised by the urbanity and foresight of Johnny Rotten's quotes, which are sprinkled throughout this book. Many of the bands have been forgotten but their music is still refreshing. I suggest that you grab an adult beverage and play each song as it is mentioned on Apple or Amazon Music while reading this book. The music really is the star but No Future will add the historical, economic and political context that makes the music even more enjoyable.
Thanks to the publisher, Cambridge University Press, and Netgalley for an advanced review copy.
If you ever wanted to know what punk rock stood for and emerged from, pick up this excellent book. No Future covers the punk scene in England and Ireland from 1976 to 1984. It uses material from the time as its source material thus avoiding the pretentiousness of the last punk history I read (http://dianereviewsbooks.com/punk-dea...). It asserts that, while punk had a DIY ethos, it also was formed out of boredom of the middle-class life that awaited these teens. Punk died as soon as the 'look' became more important than the words. No Future calls the late fashionable arrivals to the scene 'part-time punks' but in America they were called poseurs or sometimes disparagingly 'new wave'.
No Future is highly recommended for those interested in the punk era or its music. Even though I listened to the Sex Pistols at the time, I was surprised by the urbanity and foresight of Johnny Rotten's quotes, which are sprinkled throughout this book. Many of the bands have been forgotten but their music is still refreshing. I suggest that you grab an adult beverage and play each song as it is mentioned on Apple or Amazon Music while reading this book. The music really is the star but No Future will add the historical, economic and political context that makes the music even more enjoyable.
Thanks to the publisher, Cambridge University Press, and Netgalley for an advanced review copy.
January 14, 2019
Useful and thorough overview of the economic malaise that created the nihilism of punk, and the various social movements that sprang from it. Particularly rigorous are the sections on squatting, housing co-ops, sexual politics, anarchism and revolutionary socialism.
Unlike England's Dreaming, No Future does not concentrate on individual music acts or chart positions of records, but on the social, political, economic and cultural collapse of late capitalism and the myriad ways youth culture and subcultures responded to it.
Those wishing to explore Rock Against Racism, Rock Against Sexism, the Campaign for Nuclear Disarmament, the second wave of feminism, the rise of gay rights, and the avant garde art of COUM and Linder Sterling will find useful pointers here.
Also celebrates the acts that are overlooked by authors like Jon Savage and Greil Marcus, giving detail on The Raincoats, pragVEC, Vice Squad, Au Pairs, Young Marble Giants, Crass and the socially conscious reggae of the time, rather than honing in on the obvious bands we already know about.
Unlike England's Dreaming, No Future does not concentrate on individual music acts or chart positions of records, but on the social, political, economic and cultural collapse of late capitalism and the myriad ways youth culture and subcultures responded to it.
Those wishing to explore Rock Against Racism, Rock Against Sexism, the Campaign for Nuclear Disarmament, the second wave of feminism, the rise of gay rights, and the avant garde art of COUM and Linder Sterling will find useful pointers here.
Also celebrates the acts that are overlooked by authors like Jon Savage and Greil Marcus, giving detail on The Raincoats, pragVEC, Vice Squad, Au Pairs, Young Marble Giants, Crass and the socially conscious reggae of the time, rather than honing in on the obvious bands we already know about.
November 27, 2017
Although first and foremost an academic book - the references and bibliography are almost as long as the text and there is much cultural theory and sociology in there - this works very well as a chronicle of the whole punk era and is especially good at recalling the also rans and not concentrating overly on the Sex Pistols and The Clash. Punk's intertwining with politics - both via Nazi imagery, Anarchism, Rock against Racism, Rock against Communism, the Bomb, Feminism, Eighties riots, football hooliganism, the Falklands War, Northern Ireland and Situationist stunts are all in there and the author has a dry and laconic style. Crass are provided with much house room while the author interviewed Gary Bushell for the book reminding us of his beginnings before descending into reactionary tubthumpery at The Sun . Exhaustively researched and an academic counterpoint to Simon Reynolds' essential Rip It Up and Start Again .
October 11, 2017
Excellent and exhaustive book on punk and it's politics in the UK from 1976-1984. Thoroughly researched and brilliantly informative.Will appeal to anyone with even a passing interest in punk and it's repercussions, and also enlightening to a lifer like mysef. Brilliant book on a subculture that changed mine, and many others lives for ever.
November 14, 2017
I received an ARC of this book from the publisher via NetGalley. Thank you for giving me the opportunity to read and review this book!
March 25, 2018
No Future tells a story that’s forever worth sharing, as wherever there’s an imbalance of power then punk’s ideas remain relevant.
August 8, 2022
2.9/5.
February 5, 2023
While I enjoyed reading this book and am very interested in Punk: there is absolutely no need to say the same thing over and over again. But it was very interesting and at points also very funny.
December 29, 2023
A fantastic resource
September 11, 2025
diss read but i lowkey loved it
September 14, 2025
This book was informative but I would’ve loved to see less info dumps and more analysis from the author... but that’s just me though!🫣
Displaying 1 - 21 of 21 reviews