The many arguments that have since clustered around punk authorship and, indeed, authenticity only serve to
 cloak the fact that it was an impulse that crystallized into an
 idea and a manifesto in various cities throughout the
 Western world during the early 1970s. A word trace on ‘punk’ 
will take you through gay prison slang and 1950s juvenile 
delinquency to the 1960s garage rock ideal espoused with
 increasing frequency after the 1972 release of Lenny Kaye’s 
groundbreaking compilation Nuggets.

The 1960s were over. It was time for a truly 1970s rock 
music. But what could that be? In Paris, New York,
 Cleveland, San Francisco, Detroit, Los Angeles and London, young fans,
 writers and activists began to grope toward a definition of a 
new rock age. Their enemy was the spectacle, which had, by the early
 1970s,
 successfully incorporated youth rebellion into its armory of repression.
They
 railed against the tyranny of soft rock, the hegemony of the mellow.
 The forward, unitary motion of 1960s pop modernism was 
gone and in its place came an eclectic, restless, uprooted
 culture. The past was up for grabs: not just the
 history of postwar pop music — already thirty years old — but a gnostic 
tradition
 of outcasts and visionaries that began as far back as the late eighteenth century with the Romantics. 
Anything, as long as it was youthful and sharp-edged, as 
long as it helped the new aesthetic, the aim of which was to hone 
everything 
down to a fine point. 

New York was well ahead of the pack: it was both big enough to 
foster an independent rock scene and open to ideas from Europe. Andy 
Warhol and 
Lou Reed were always at odds with the prevailing late 1960s
 counter-cultural
 rhetoric, and their influence hung heavy: in November 1970, the week  that 
the Velvet Underground’s Loaded was
 released, the performance art/rock group Suicide printed a flyer for a 
small show 
on West Broadway that read ‘Punk Music.’

Ray Hamilton—Camera Press/Redux

The punk movement spread from the UK into the USA. This starry-eyed and safety-pinned girl was pictured in California, 1977.

The city’s biggest hope in the early 1970s was the New York 
Dolls, fashion-obsessed brats from Queens and Staten
 Island. Pop culture mavens and Anglophiles, they adopted 
a wardrobe that fused the wilder excesses of hippie, the
 androgyny of the drag queens, who were omnipresent at Max’s Kansas 
City and in the Warhol entourage, and the glamor of rock and roll: “It
 was more like ’50s gold 
lamé,” said New York Dolls member Sylvain.

Sylvain remembered the look: “I was sick and tired of wearing bell-bottoms. . . . then
 there was the whole thing with Beyond the Valley of the Dolls,
 and our relationship with drugs, and that fact that we were
 flamboyant. If you wore a little makeup, influenced in any
way by the best of the late ’60s, The Doors and the Rolling Stones, you 
had to
 have sex appeal. Before we started, me and 
[original drummer] Billy [Murcia] used to put on makeup just to go down
 to the supermarket. Getting dressed up to go 
shopping, it was fun to do that. That’s where we were, and
 that’s what it was.”

Punk began with a feeling of frustration and rage and 
turned it into an idea that could be acted upon. Employing
 deconstruction and self-starter empowerment — the
 DIY ethic — it liberated a generation to create its own
 culture. In this, it returned, for a brief while, rock music back
 to its original teenage inspiration and function, which was 
to be critical, rebellious, unpalatable, to tell an
existential truth otherwise denied in the culture, and to envision
 what the future could be.

Jon Savage is a renowned music journalist best known for his history of the Sex Pistols and punk music, England’s Dreaming. The excerpt above is republished from the exhibition catalog, Punk: Chaos to Couture, Copyright The Metropolitan Museum of Art.

PUNK: Chaos to Couture is on view at The Metropolitan Museum of Art in New York from May 9 – August 14, 2013.

Many powerful photographs have been made in the aftermath of the devastating collapse of a garment factory on the outskirts of Dhaka, Bangladesh. But one photo, by Bangladeshi photographer Taslima Akhter, has emerged as the most heart wrenching, capturing an entire country’s grief in a single image.

Shahidul Alam, Bangladeshi photographer, writer and founder of Pathshala, the South Asian Institute of Photography, said of the photo: “This image, while deeply disturbing, is also hauntingly beautiful. An embrace in death, its tenderness rises above the rubble to touch us where we are most vulnerable. By making it personal, it refuses to let go. This is a photograph that will torment us in our dreams. Quietly it tells us. Never again.”

Akhter writes for LightBox about the photograph, which appears in this week’s TIME International alongside an essay by David Von Drehle.

I have been asked many questions about the photograph of the couple embracing in the aftermath of the collapse. I have tried desperately, but have yet to find any clues about them. I don’t know who they are or what their relationship is with each other.

I spent the entire day the building collapsed on the scene, watching as injured garment workers were being rescued from the rubble. I remember the frightened eyes of relatives — I was exhausted both mentally and physically. Around 2 a.m., I found a couple embracing each other in the rubble. The lower parts of their bodies were buried under the concrete. The blood from the eyes of the man ran like a tear. When I saw the couple, I couldn’t believe it. I felt like I knew them — they felt very close to me. I looked at who they were in their last moments as they stood together and tried to save each other — to save their beloved lives.

Every time I look back to this photo, I feel uncomfortable — it haunts me. It’s as if they are saying to me, we are not a number — not only cheap labor and cheap lives. We are human beings like you. Our life is precious like yours, and our dreams are precious too.

They are witnesses in this cruel history of workers being killed. The death toll is now more than 750. What a harsh situation we are in, where human beings are treated only as numbers.

This photo is haunting me all the time. If the people responsible don’t receive the highest level of punishment, we will see this type of tragedy again. There will be no relief from these horrific feelings. I’ve felt a tremendous pressure and pain over the past two weeks surrounded by dead bodies. As a witness to this cruelty, I feel the urge to share this pain with everyone. That’s why I want this photo to be seen.

Taslima Akhter is a Bangladeshi photographer and activist.

For this year’s awards, ICP commissioned the award-winning interactive design studio MediaStorm to produce short films about each award recipient, screened during the ceremony to more than 500 attendees. LightBox is proud to present each winner’s film above.

The 2013 Infinity Award Winners:

• Cornell Capa Lifetime Achievement: David Goldblatt
• Photojournalism: David Guttenfelder
• Applied/Fashion/Advertising: Erik Madigan Heck
• Art: Mishka Henner
• Young Photographer: Kitra Cahana
• ICP Trustees Award: Pat Schoenfeld
• Publication: Cristina de Middel, “The Afronauts“
• Special Recognition: Jeff Bridges

Read more about the International Center of Photography.

‘The Guide’ on LightBox will be published monthly. If you have submissions or suggestions for upcoming round-ups of the best books and exhibitions, feel free to pass them along via email before May 10. We’ll also be updating this gallery throughout the month.

See the previous Guide for April 2013.

We first heard about Carlos Arredondo in 2006 as we were researching War Is Personal. We came across the website for Gold Star Families for Peace as we looked for families impacted directly by the war. We had no preconceptions about who we were including in this book about the costs of Iraq. But we knew we didn’t want to be intrusive with someone who had just lost his child. That’s a heavy thing.

Janine (my wife) and I read a news report about someone who was quite angry, someone who accidentally lit himself on fire after learning — on his birthday — that his son was killed in Iraq. His son Alex enlisted in the Marine Corps at 17, and Carlos felt personally responsible for his life. When a group of Marines arrived at his home to notify him of Alex’s death, he became extremely emotional — as with many people I’ve photographed, it’s the ultimate nightmare.

“At that moment, not expecting those words, my world tumbled and I stopped breathing. I felt my heart go down to the ground and rush up through my throat,” Carlos later told me.

Carlos didn’t feel that the Marines allowed him enough privacy in this nightmare, so in his grief he reacted strongly, attacking the Marines’ van with a hammer before dousing it in gasoline and accidentally setting himself alight. Carlos never intended to inflict harm upon the Marines — he later apologized to them. He attended his son’s wake two weeks later on a stretcher.

Something didn’t quite read right to us — every other parent we talked to remarked about how they had felt like acting out in the way he actually did. We wanted to find out what the truth was, so that’s why we contacted him. But what we found instead was a person very emotional and reactive in the wake of a traumatic loss.

Carlos is a highly charged guy who’s always trying to do the good thing. After the death of his first son, he and his wife Melida both made a commitment to the peace movement. For years now they’ve been attending funerals of fallen soldiers and other public events and protests, work and aspiring for peace. I think it’s interrupted his ability to work. Full of passion and emotion, Melida is often the person who holds him together. In some respects, he seems to be unstoppable.

I’ve been with him as he pulls around a wagon with a photograph of Alex in a casket — an action that elicits a huge public response. Just blocks from the Boston Common, people spat on him, cursed him and taunted him for carrying a picture of a dead person in a coffin. This is something very revealing and terrible about the concept of what photographs can do. If you have the right image of carnage, you’re a hero. If you have the wrong image of the aftermath, you’re a villain.

Charles Krupa—AP

An emergency responder and volunteers, including Carlos Arredondo in the cowboy hat, push Jeff Bauman in a wheel chair after he was injured in an explosion near the finish line of the Boston Marathon Monday, April 15, 2013.

This country reacts so strongly to those photographs — stronger even than to pictures of mortality. The casket is a metaphor for the unwatchable. People would come up and tell him he has no right to show this photo. And he would tell them that it’s his own son. It’s a conflicting image — that’s why people want it removed.

I visit Carlos and Melida periodically as friends. We don’t see each other that often, but we’re there for each other. When there’s a problem, they know that I’m there. Melida called me when Carlos’ remaining son, Brian, committed suicide in December 2011. You’re simply overwhelmed. You become incredulous because there’s nothing you can do. It’s an enormously helpless feeling. We offered to defray the cost of the funeral with the proceeds from War Is Personal.

I didn’t initially see the iconic image of Carlos from the Boston Marathon. I think Janine eventually told me it was him. Like a lot of people, it took a considerable amount of time for the true scope of this tragedy to sink in. You read a good deal about a tragedy and there’s a part of you that shuts off in direct response.

Eugene Richards

Carlos Arredondo holds a photograph of his son Alex. From Eugene Richards' September 2010 book War Is Personal.

Carlos called me on Tuesday and we spoke for only a few moments. I find it ironic that people are just now starting to recognize that his life’s dedication is all about the pursuit of peace, and that it’s been that way since Alex’s death. It took an obvious act of terror to get people to realize Carlos’ story. Reporters keep saying that his life has come full circle, but I never considered it full circle. They like to see it as something very positive, which is profoundly stupid. His protest, and the last several years, have not been in a vacuum. He’s in support groups, he contacts families, he attends funerals. Even when I was photographing him for War Is Personal, Carlos was openly weeping for other people’s sons.

His story is an old story, and it’s embarrassing that we do not cover the consequences of war as we should. If a country is going to support a war, and if the media supports this country’s war, then we need to also examine the extent of this war at home and abroad. I hope this profoundly changes his life so that people give him the support he needs.

Maybe now people won’t spit on him or taunt him as they did before.

Richards is an award-winning American photographer. See more of War Is Personal at WarIsPersonal.com.

“I was there about 40 minutes or so when the first explosion happened,” Hoenk tells TIME. “We saw the smoke and heard people screaming, and then within seconds, the second explosion happened directly in my line of sight, 30 feet away. There was a lot of chaos.”

Hoenk began photographing the scene around him, going “into a zone,” as he describes it. “I was horrified by what I was seeing, but there was some sort of instinct that said, don’t worry about that, just keep shooting, because you’re the only person with a camera around that I could see and it needs to be done. So I kept shooting.”

“I remember looking down and seeing a baby carriage upside down with people running over it,” he remembers. “It really freaked me out. I leaned over to pick up the baby carriage — there was no baby underneath — and so I started [moving] with the crowd. I jumped over the barrier separating the crowd from the road and ran back to see if I could help. There were a lot of people, and then I just started taking photos.”

Hoenk was using a telephoto lens at the time of the blast. Caught too close to the action, Hoenk had to “move back quite a ways” to capture the full scene of the policeman carrying the child away. “I saw the cop lift up the baby. When I look at the photos, I cry. The baby was screaming.”

After a few seconds, the police started “frantically screaming for people to leave” the scene immediately, worried about the chances of a third explosion.

“That’s when I decided that I didn’t want to be there anymore,” he said.

Bill Hoenk is a freelance photographer based in Boston.

Reporting by Patrick Witty.

“Rodrigo Abd, Manu Brabo, Narciso Contreras, Khalil Hamra and Muhammed Muheisen are some of the bravest and most talented photographers in the world and I am immensely proud of them for this tremendous and well-deserved recognition of their work covering the tragic and dangerous story of Syria,” said AP Director of Photography Santiago Lyon. “In addition, I want to underscore the tireless and careful coordination and assigning work done by Manoocher Deghati, our regional photo editor for the Middle East, whose broad experience covering conflict is an invaluable asset.”

Javier Manzano, freelance for Agence France-Presse, was recognized with the Pulitzer Prize for Feature Photography from his work in Syria.

Javier Manzano—AFP/Getty Images

This photo taken on October 18, 2012 shows two Syrian rebels taking sniper positions at the heavily contested neighborhood of Karmal Jabl in central Aleppo. Manzano, an AFP stringer, was awarded the 2013 Pulitzer Prize for feature photography in New York on April 15, 2013.

A full list of winners can be found on the Pulitzer Prize website.

‘The Guide’ on LightBox will be published monthly. If you have submissions or suggestions for upcoming round-ups of the best books and exhibitions, feel free to pass them along via email before April 25, 2013. We’ll also be updating this gallery throughout the month.

A gallery of selected winners is above. You can see the list of all winners on the World Press Photo site here and their photos here.

“It’s always interesting to meet actors who are completely different than the characters they play,” Kudacki told TIME. A guiding philosophy in her portrait work is to show a side of each actor as he or she truly is. The goal is to find “the moment of ultimate intimacy,” she says. “It’s about making each of your subjects comfortable. You have to become their confidante, instantly, to get them to relax in front of the camera.”

While conversations between photographer and subject are important to create a rapport, Kudacki also made up fictional characters and situations for each participant to play during the shoot. “For actors, used to playing a specific role, I hoped this would help them relax,” she said. In making the roles their own, the actors might also reveal something about themselves. “Like the first time I developed my own film,” she says, “capturing these characters in camera is like turning fantasy into reality.”

See a Video Compilation of Highlights from TIME’s Great Performances

Paola Kudacki is a photographer based in New York. She previously photographed Kathryn Bigelow for the cover of TIME.

Wardrobe by Heathermary Jackson.

Chambers created the makeup for Planet of the Apes, designed Spock’s ears and had a sideline working for the CIA. “He’s a man who serves his country,” Goodman says. “He has a double life, a secret life, and at the same time, he disguises people for a living.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“One of Victor Hugo’s main themes is how harsh and wasteful the jail system was,” says Jackman, whose Jean Valjean served 19 years for stealing a loaf of bread. “The goal wasn’t to turn you out rehabilitated. The goal was to turn you out as an animal.”

Anne Hathaway
Performance: Fantine in Les Misérables (Oscar nomination, Best Supporting Actress)

“As a woman born in 1982, I take for granted so many freedoms that Fantine wouldn’t even dream of,” says Hathaway, who did voluminous research on everything from 19th century French law to modern-day sex slavery to play a doomed prostitute.

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“Because we’re playing characters that really exist, it was important to show the utmost respect when portraying them,” says Chastain, who has never met the real-life inspiration for Maya, the CIA tracker who hunts bin Laden.

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“She was so expressive and so detailed in everything she went through,” says Watts of Maria Belon, a survivor of the 2004 Indian Ocean tsunami. “And everything she did go through is, blow by blow, what’s up there on the screen.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

As a bounty hunter in Quentin Tarantino’s antebellum riff on the spaghetti western, Waltz reunites with his Inglourious Basterds director, “who knows genres 10 times better than any film professor,” Waltz says. “Quentin can take genres and play on them like an organ.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“Mark O’Brien used to say that disabled people are invisible to able-bodied people,” says Hawkes, who plays the writer and polio survivor in The Sessions. “In between takes, I’d stay on a gurney, and crew members would set sandwiches and wardrobe people would lay coats on me. I got some idea of what it’s like to be thought of as furniture.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“Had there not been a Mary Todd, there wouldn’t have been an Abraham Lincoln,” Field says of the mercurial First Lady. “She was complicated and brilliant, and she had a keen sense of where she would be placed in history — she would not be looked at fondly.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

Benh Zeitlin’s magical-realist take on Hurricane Katrina rests on the tiny shoulders of its charismatic star, who at 9 is the youngest Best Actress contender in Oscar history. “I wasn’t surprised on the outside,” Wallis says of the nomination, “but I was on the inside.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

“We were a society in transition,” says Adams of The Master’s postwar setting. “Women were given responsibility in wartime, and then it was back to the kitchen and take care of your man. The perception of what was available to women in that era was so different.”

The Performers Speak:

See a Compilation of Highlights from the 2013 Great Performers

More Portraits of the 2013 Great Performers by Paola Kudacki

Almost a year ago President Obama formally instructed the Federal Aviation Administration to begin the process of integrating drones into our domestic airspace. Hobbyists have been flying them for years now, but soon Hollywood will be using them to film movies. Police will use them to search for suspects. Farmers will use them to survey crops. Builders will use them on construction sites. Energy companies will use them to monitor pipelines and power lines. The applications are endless.

But the ramifications aren’t simple. What happens when you take this technology, which has been so controversial in the military world, and bring it home? America’s drone campaign has been successful in bringing down al-Qaeda and Taliban leaders, but it has also led the country into a labyrinth of legal and ethical confusion. Can we kill terrorists in countries with which we’re not at war? How much collateral damage is too much?

And that’s just the government: drones are getting cheaper and easier to use all the time, and the time is coming when our friends and neighbors will have access to extremely powerful surveillance equipment. How will we keep our private lives private then? And there are more disturbing scenarios: the U.S. has set some risky precedents, in terms of its practice of sending drones into other countries to kill people it suspects of being militants, without publicly stating its legal grounds. What’s to stop other countries, or even groups or individuals, from doing the same to us?

Drones are disruptive technology that have transformed the battlespace. They’ll transform our domestic airspace, too, in ways that we can’t yet predict. But Gregg Segal’s portraits of everyday drones in America give us a sneak peek.

—Lev Grossman

Gregg Segal is a photographer based in California. LightBox has previously featured Segal’s photographs of Civil War re-enactors, the founding fathers of video games, and Paul Ryan.