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A raucous yet reflective look back at the evolution of the music press and the passionate rock and pop journalists who defined the music of the 20th century.

Totally Wired is the definitive story of the music press on both sides of the Atlantic, tracing the rise and fall of the creatively fertile media sector which grew from humble beginnings nearly 100 years ago to become a multi-billion business which tested the limits of journalistic endeavour.

Covering the music press’s evolution from the 1950s to the 2000s, through rock & roll, Mod, the Summer of Love, Glam, Punk, Pop, Reggae, R&B and Hip Hop, Paul Gorman chronicles the development of individual magazines from Tin Pan Alley beginnings and the countercultural foundation of Rolling Stone, the underground press and the 70s heyday of NME, Melody Maker and Sounds. Illuminated by the author’s first-hand interviews, Gorman paints a complete picture of the scene exploring the role played by such writers as Lester Bangs, Charles Shaar Murray and Nick Kent in the development of the careers of the likes of David Bowie, The Clash and Led Zeppelin, and tackling head on the entrenched sexism and racism faced by women and people from marginalized backgrounds by shining a spotlight on those publications and individuals whose contributions have often been unfairly overlooked.

Evoking the music press’s kaleidoscopic visual identities, Totally Wired is illustrated with rare and legendary magazine artwork throughout. What emerges is a compelling narrative containing conflicting stories of unbound talent, blind ambition and sometimes bitter rivalries which make Totally Wired a rollercoaster and riveting read.

Welcome to an after-dark world of new money, hedonism and excess. A world of luxurious nightclubs where racketeers, gamblers and glamorous women mixed with entrepreneurs, bunny girls, politicians and policemen. Bandit Country is a gripping, atmospheric true-crime noir. It is the story of Britain’s 1960’s gambling boom, as the country emerged from years of hardship to embrace exotic night-life and entertainment, all supplied by the Mafia. It is an emotional, visceral story of brothers: the Luvaglios, who dreamed of an empire founded among the hard industrial skylines and bridges of Newcastle, built on good times and bright lights – dreams that, for a moment, were lived in technicolour; and the Kray twins, who looked up to this new kingdom from London and saw a slice of action they wanted for themselves. And above all, it is a story of betrayal, murder and a shocking miscarriage of justice, as empires crumble, friends turn on friends, and the good times come screeching to a halt. Sure to be loved by fans of Peaky Blinders, this story – that inspired classic British gangster film Get Carter – isn’t quite like anything you’ve read before. Turn the page and roll the dice…

One of a handful of outstanding British photographers of her generation, Ker-Seymer’s work defined a talented, forward-looking network of artists, dancers, writers, actors and musicians, all of whom flocked to her Bond Street studio. Among her sitters were Evelyn Waugh, Margot Fonteyn, Cyril Connolly, Jean Cocteau and Vita Sackville-West. Barbara Ker-Seymer (1905-1993) disdained lucrative ‘society’ portraits in favour of unfussy ‘modern’ images. Her work was widely admired by her peers, among them, Man Ray and Jean Cocteau. Her images as a gossip-column photojournalist for Harper’s Bazaar were the go-to representations of the aristocracy and Bright Young Things at play. Yet as both a studio portraitist and a photojournalist, she broke with convention.

Equally unconventional in her personal life, Ker-Seymer was prefigurative in the way she lived her life as a bisexual woman and in her contempt for racism, misogyny and homophobia. Fiercely independent, for much of her life she rejected the idea of family, preferring her wide set of creative friends, with the artist Edward Burra, ballet dancer William ‘Billy’ Chappell and choreographer Frederick Ashton at its core.

Today, Ker-Seymer’s photographs are known for whom they represent, rather than the face behind the camera, an irony underpinned by the misattribution of some of her most daring images to Cecil Beaton. Yet her intelligence, sparkle, wit and genius enabled her to link arms with the surrealists, the Bloomsbury Group, the Bright Young Things and, most gloriously, the worlds of theatre, cabaret and jazz.

With unprecedented access to private archives and hitherto unseen material, Sarah Knights brings Barbara Ker-Seymer and her brilliant bohemian friends vividly to life.