Legs McNeil, widely credited with coining the term "punk" to describe the influential music movement, has released a new memoir, “Resident Punk,” offering a personal account of his role in the rise of punk rock. McNeil, a Connecticut native, first gained recognition as co-author of the 1996 oral history "Please Kill Me," which chronicled the mid-1970s punk scenes in New York and London.

Raised near New Haven, Connecticut, McNeil was drawn to the burgeoning punk movement after moving to New York City during the financial crisis of the 1970s. Alongside friends John Holmstrom and Ged Dunn, he immersed himself in the underground culture that produced seminal bands such as the Ramones, the Dictators, and Suicide. Holmstrom, a cartoonist trained under notable figures like Will Eisner and Harvey Kurtzman, launched a handmade magazine dedicated to this countercultural wave, naming McNeil its "resident punk."

“Resident Punk,” co-written with Crispin Kott, delves into McNeil’s experiences during this formative period, recounting both the creative energy and the darker excesses of the scene. McNeil candidly reflects on his youth, describing early struggles with substance abuse, and the often chaotic environment that shaped punk’s inception. The memoir also explores McNeil’s associations with figures such as Richard Hell, whose style and attitude influenced later punk icons like the Sex Pistols, and Joey Ramone, whom McNeil befriended during punk’s early days.

In addition to his foundational role in punk, McNeil’s career has spanned editing positions—most notably at Spin Magazine—and authorship of works covering diverse cultural subjects, including a history of the porn industry. Despite his varied endeavors, McNeil has acknowledged that his legacy remains closely tied to the punk movement, a connection he both embraces and sometimes wishes to transcend.

McNeil places punk’s musical roots within a broader context, tracing its influences to artists like Lou Reed and the Velvet Underground, as well as Iggy Pop and the Stooges. He has expressed frustration that the genre was often dismissed or marginalized in mainstream narratives and highlights that only a few original punk bands, including Blondie and Talking Heads, achieved widespread commercial success during the initial wave. The Ramones, he notes, gained broader recognition only after their music was used in advertising campaigns.

The memoir also sheds light on McNeil’s appreciation for pop music’s catchier elements, citing bands like the Paley Brothers, contemporaries from Boston’s 1970s music scene. Despite his critical view of his Connecticut upbringing, McNeil maintains affectionate ties to other parts of New England, including Massachusetts, Vermont, New Hampshire, and Maine.

Now 70 and residing in eastern Pennsylvania, McNeil remains passionate about the cultural artifacts that defined his era. His social media presence often features enthusiastic tributes to influential books, films, and music, signaling a continued engagement with the punk ethos he helped document and define. “Resident Punk” reflects this ongoing energy, punctuated by McNeil’s characteristic exuberance, even as some longtime friends have advised him to temper his flair for exclamation points.