Popkiss

AcknowledgementsIntroductionChapter One: Songs of Innocence and Inexperience: The Roots of SarahChapter Two: "Let's Just Communicate!": The 1980s Fanzine UndergroundChapter Three: "How Much Do One Thousand Flexidiscs Weigh?": When Matt Met ClareChapter Four: "Come to My World": The Sea Urchins and the Beginning of SarahChapter Five: "A Constant Source of Bemusement and Wonder": The OrchidsChapter Six: "Another Fucking Harvey Band": The Ubiquitous Harvey WilliamsChapter Seven: "Sarah Records Unequivocally Supports a Fully Integrated Light-Rail Rapid-Transit System for the Greater Bristol Area": Expressions of Civic PrideChapter Eight: "A Diary of Sorts": The Field Mice, Northern Picture Library, and the Quicksilver Bobby WrattenChapter Nine: "I Sometimes Feel So Lost": BrighterChapter Ten: Safe Harbour: The Wake and The Hit ParadeChapter Eleven: "I Am Telling You Because You Are Far Away": Internationalism and Sarah's Written CommuniquésChapter Twelve: "Atta Girl": Heavenly, Riot Grrrl and FeminismChapter Thirteen: Sadness is Unisex": Blueboy and "the Best Album" Sarah ReleasedChapter Fourteen: An Economy of Ambition: Sarah's Short-Term VisitorsChapter Fifteen: "We Had an Outsider's Perspective": Sarah's Foreign VisitorsChapter Sixteen: "A Day for Destroying Things.": The End of SarahChapter Seventeen: The Afterlife of SarahThe Sarah DiscographyIndex

Michael White has been writing about popular and underground music, for publications in his native Canada and internationally, for 20 years.