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\"Opal is a fiercely independent young woman pushing against the grain in her style and attitude, Afro-punk before that term existed. Coming of age in Detroit, she can't imagine settling for a 9-to-5 job--despite her unusual looks, Opal believes she can be a star. So when the aspiring British singer/songwriter Neville Charles discovers her at a bar's amateur night, she takes him up on his offer to make rock music together for the fledgling Rivington Records. In early seventies New York City, just as she's finding her niche as part of a flamboyant and funky creative scene, a rival band signed to her label brandishes a Confederate flag at a promotional concert. Opal's bold protest and the violence that ensues set off a chain of events that will not only change the lives of those she loves, but also be a deadly reminder that repercussions are always harsher for women, especially black women, who dare to speak their truth. Decades later, as Opal considers a 2016 reunion with Nev, music journalist S. Sunny Shelton seizes the chance to curate an oral history about her idols. Sunny thought she knew most of the stories leading up to the cult duo's most politicized chapter. But as her interviews dig deeper, a nasty new allegation from an unexpected source threatens to blow up everything.\"-- Provided by publisher.

Follow 4 young orphans who deal with their grief by forming an over-the-top glam rock band. As they rocket to stardom, their emotional adventure takes them through worlds unlike anything you've seen before.

For the past 50 years (and arguably longer), zines have been provoking and supporting BIPOC, queer, and women-centred communities in ways that prominent magazine publications cannot--in this, connecting persons of different sizes, ages, geographical locations, race, ethnicity, and identity through their shared interest of being one thing: a fan. Here, Grech examines other women-produced zines and the history of the zine itself.

In this fractured fairy tale, the Three Bear Band holds tryouts for a lead singer.

The following article explores different conceptions of fantasy and science fiction that characterized many popular music performances in the 1970's predominantly in the genres of glam rock and funk. By focusing on a few artists that were at the peak of their music careers at this time, such as David Bowie, P-Funk, Queen, Labelle and others, it attempts to un-earth some historical conditions for women, queers, and people of color and reveal how these artists have attempted to escape and transform certain realities by transgressing the boundaries of real/fiction, masculinity/ femininity, race, sexuality, and the \"alien\".

For over 30 years, Martin Bisi has been recording music from his studio in Brooklyn. He has worked with bands including Sonic Youth, Swans, Herbie Hancock, and the Dresden Dolls. But now, he finds his livelihood at risk due to gentrification.

When their rock band becomes popular, five middle schoolers use their new fame to generate awareness (and donations) for an important cause.

While historians have been increasingly attentive to the politics and culture of social movements since the long sixties, they have engaged much less with the significance of anarchism within these activist currents. As part of an emerging field of anarchist studies, this article demonstrates that anarchist projects were critical in shaping postwar political radicalism in Vancouver and its relationship to a global pattern of cultural transformation, capitalist restructuring, and social movement activism. Specifically, the article investigates how and why Vancouver's anarchist community created strong political, personal, and cultural connections with an emerging punk scene during the 1970s and early 1980s. It demonstrates that these relationships emerged from anarchism's conflicting relationship with the city's New Left and countercultural communities in the long sixties, as well as from anarchists' specific engagement with punk as a tool for revolutionary struggle in the wake of the sixties. Overall, the article argues that anarchists cultivated connections with punk in this context because they saw it as awash with the potential to bridge generations of political dissent; to support emerging activist projects; and to help usher in new expressions of radical culture in the city. In so doing, the article offers new insights into the political, social, and cultural legacies of the long sixties, in Vancouver and beyond. Alors que les historiens ont été de plus en plus attentifs à la politique et à la culture des mouvements sociaux depuis les longues années soixante, ils se sont engagés beaucoup moins à l'importance de l'anarchisme au sein de ces courants activistes. Dans le cadre d'un nouveau domaine d'études anarchistes, cet article montre que les projets anarchistes étaient cruciaux dans le façonnement radicalisme politique d'après-guerre à Vancouver, et dans sa relation à un modèle global de la transformation culturelle, de la restructuration capitaliste, et de l'activisme de mouvement social. Plus précisément, l'article examine comment et pourquoi la communauté anarchiste de Vancouver a créé des liens politiques, personnels et culturels forts avec une scène punk émergente au cours des années 1970 et au début des années 1980. Il démontre que ces relations ont émergé de la relation conflictuelle de l'anarchisme avec la Nouvelle Gauche et les communautés contre-culture de la ville dans les longues années soixante, ainsi que de l'engagement spécifique des anarchistes avec le punk comme un outil de lutte révolutionnaire dans le sillage des années soixante. Dans l'ensemble, l'article soutient que les anarchistes ont noué des liens avec le punk dans ce contexte parce qu'ils l'ont vu comme l'inondé avec le potentiel pour combler les générations de dissidence politique; pour soutenir des projets émergents d'activistes; et pour aider à ouvrir la voie à de nouvelles expressions de la culture radicale de la ville. Ce faisant, l'article propose de nouvelles perspectives sur les héritages politiques, sociaux et culturels des longues années soixante, à Vancouver et au-delà.