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Books : Entertainment : Music : Musical Genres : Punk
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"Each scene was a reflection of its time and place. It was organic to each city." (Dave Smalley, DYS, Dag Nasty, All, Down By Law) Hardcore music emerged just after the first wave of punk rock in the late 1970s. American punk kids who loved the speed and attitude of punk took hold of its spirit, got rid of the "live fast, die young" mindset, and made a brilliant revision: hardcore. The dividing line between punk and hardcore music was in the delivery: less pretense, less melody, and more aggression. This urgency seeped its way from the music into the look of hardcore. There wasn’t time to mold your liberty spikes or shine your Docs; it was jeans and T-shirts, Chuck Taylors and Vans. The skull and safety-pin punk costume was replaced by high-tops and hooded sweatshirts. The Jamie Reid ransom note record cover aesthetic gave way to black and white photographs of packed shows accompanied by bold and simple typography, declaring The Kids Will Have Their Say or You’re Only Young Once. This new come-as-you-are attitude attracted skateboarders, surfers, BMX’rs, metalheads, and graffiti writers, with each group adding their diverse influences to the scene. This cross-pollination helped to create an eclectic cross section of bands like Bad Brains, Negative Approach, SSD, Big Boys, and 7 Seconds.Radio Silence documents the ignored space between the Ramones and Nirvana through the words and images of the pre-internet era when this community built on do-it-yourself ethics thrived. Without funding, distribution, or exposure, the scene had to be self-sufficient in order to grow. Everyone involved from bands to fans took it upon themselves to book shows, photograph bands, broadcast pirate radio shows, start record labels, design album covers, publish fanzines, or just offer a place for a band to crash. Authors Nathan Nedorostek and Anthony Pappalardo have cataloged private collections of photographs, personal letters, artwork, and various ephemera from the hardcore scene circa 1978-1993. Unseen images accompany to handmade T-shirts and original artwork brought to life by the words of their creators and fans. Radio Silence includes over 500 images of rare records, T-shirts, fanzines, photographs, and illustrations presented in a manner that abandons the aesthetic clichés normally used to depict the genre and lets the subject matter speak for itself.
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What Is love? Great minds have been grappling with this question throughout the ages, and in the modern era, they have come up with many different answers. According to Western philosopher Pat Benatar, love is a battlefield. Her paisan Frank Sinatra would add the corollary that love is a tender trap. Love hurts. Love stinks. Love bites, love bleeds, love is the drug. The troubadours of our times agree: They want to know what love is, and they want you to show them. But the answer is simple: Love is a mix tape.
In the 1990s, when “alternative” was suddenly mainstream, bands like Pearl Jam and Pavement, Nirvana and R.E.M.—bands that a year before would have been too weird for MTV- were MTV. It was the decade of Kurt Cobain and Shania Twain and Taylor Dayne, a time that ended all too soon. The boundaries of American culture were exploding, and music was leading the way.
It was also when a shy music geek named Rob Sheffield met a hell-raising Appalachian punk-rock girl named Renée, who was way too cool for him but fell in love with him anyway. He was tall. She was short. He was shy. She was a social butterfly. She was the only one who laughed at his jokes when they were so bad, and they were always bad. They had nothing in common except that they both loved music. Music brought them together and kept them together. And it was music that would help Rob through a sudden, unfathomable loss.
In Love Is a Mix Tape, Rob, now a writer for Rolling Stone, uses the songs on fifteen mix tapes to tell the story of his brief time with Renée. From Elvis to Missy Elliott, the Rolling Stones to Yo La Tengo, the songs on these tapes make up the soundtrack to their lives.
Rob Sheffield isn’t a musician, he’s a writer, and Love Is a Mix Tape isn’t a love song- but it might as well be. This is Rob’s tribute to music, to the decade that shaped him, but most of all to one unforgettable woman.
From the Hardcover edition.
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In his new autobiography, NYHC legend John Bloodclot Joseph recounts his hard times and spiritual redemption. A traumatic childhood in foster homes was just the beginning of John's evolution. Before fronting one of the most important bands in the underground punk scene, the Cro-Mags, John faced homelessness, addiction, betrayal and insanity. Still, even his success couldn't save him from a relapse that set him back to square one - rock bottom. The book is a raw and unapologetic autobiography about his life. Consider yourself warned.
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Hardcore punk was an underground tribal movement created with anger and passion but ultimately destroyed by infighting and dissonance. This oral history includes photographs, discographies, and a complete national perspective on the genre.
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“The Dolls told me: We know you as you really are, and you’re OK by us.”--Morrissey, from his Afterword Formed in New York City in 1971, the New York Dolls prefigured Punk, New Wave, and Glam Metal Rock with their over-the-top style and their ingenious sound, setting the tone for many rock bands that would later come on the scene. Comprised of singer David Johansen, guitarists Johnny Thunders and Sylvain Sylvain, drummer Jerry Nolan, and bassist Arthur “Killer” Kane, the Dolls are the acknowledged influence of bands as diverse as Blondie, the Ramones, Motley Crue, Guns N Roses, Morrissey, the Smiths, and the Sex Pistols. Legendary photographer Bob Gruen has compiled the first photography collection devoted to the New York Dolls and their iconic and unprecedented style. Featuring over two hundred unforgettable images New York Dolls: Photographs by Bob Gruen celebrates one of the most important bands in music history.
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A Time Out and New York Daily News Top Ten Book of the Year upon its release, Please Kill Me brings the sound of the punk generation to life. Iggy Pop, Danny Fields, Dee Dee and Joey Ramone, Nico, Patti Smith, and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol's New York reign to its last gasps as eighties corporate rock, the phenomenon that was known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.
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Another boring scarf? More mittens? We're not gonna take it! And neither should you!Pretty in Punk salutes counterculture fashion with 25 entirely original designs inspired by fashion icons Vivienne Westwood and John Galliano, and punk legends. Indulge your girly side with the Ready Steady Go mini skirt, rebel with Feel the Pain wrist cuffs, or channel your inner rock star with the very same Mohawk hat Depeche Mode's Martin Gore wears on stage. Whether you're new to knitting or a veteran desperately seeking patterns with an edge, you'll find projects here for every mood and every genre. With step-by-step instructions, helpful technical illustrations and intarsia graphs, plus high-fashion photos of all the finished projects, Pretty in Punk is the only authority on anti-authority knitting.
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No Wave is the first book to visually chronicle the collision of art and punk in the New York underground of 1976 to 1980. This in depth look at punk rock, new wave, experimental music, and the avant-garde art movement of the 70s and 80s focuses on the true architects of No Wave from James Chance to Lydia Lunch to Glenn Branca, as well as the luminaries that intersected the scene, such as David Byrne, Debbie Harry, Brian Eno, Iggy Pop, and Richard Hell.
This rarely documented scene was the creative stomping ground of young artists and filmmakers from Jean-Michel Basquiat to Jim Jarmusch as well as the musical genesis for the post-punk explosions of Sonic Youth and is here revealed for a new generation of fans and collectors.
Thurston Moore and Byron Coley have selected 150 unforgettable images, most of which have never been published previously, and compiled hundreds of hours of personal interviews to create an oral history of the movement, providing a never-seen-before exploration and celebration of No Wave.
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What started off as a small collection of photographs the 14-year-old Gavin Watson would take of his family and friends in Wycombe, middle England, in the 1970s and 80s, would grow into one of the most important and influential photographic youth culture books of the last 20 years. Skins, published in 1994 and hailed by The Times of London as "a modern classic," has shown its influence in such photographers as Terry Richardson, Juergen Teller, and Ryan McGinley, as well as pretty much every kind of "youth" photography popular today. Last year, having persuaded him to begin working again after a long period of self-seclusion, VICE Books was bequeathed Watson’s lost archives, hundreds of photos reaching deep into the lives of the subjects of his first book. Each photograph reveals an understanding and sensitivity that belies the sometimes brutal subject matter. Skins & Punks is a singular retrospective complete with commentaries and oral histories. The stories behind the shots are shocking, hilarious, severe, and heartbreaking, and each gets behind what it was really like to be a rebellious working-class youth growing up in the 1980s. This is documentary photography at its best, a stunningly intimate window into a cultural movement.
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Leo Caraway—high school senior, president of the Young Republicans club, 4.0 GPA, future Harvard student—had his entire future perfectly planned out. That was, until the X factor. As in Marion X. McMurphy. As in King Maggot, the lead singer of Purge, the most popular, most destructive band punk rock has ever seen. As in Leo’s biological father. When Leo discovers that his real father is the punk rock legend King Maggot, he is disgusted. Not only is Leo not a punk rock fan, but he believes the X factor (the Maggot blood that is running through his veins) is a dangerous time bomb just waiting to explode. And sure enough it does—Leo stubbornly defends the unlikeliest of people, thereby getting himself falsely accused of cheating on a test. Because of the blemish on his record, the once star pupil finds his scholarship to Harvard taken away. So he hatches the crazy plan of going on tour with King Maggot for Purge’s summer revival tour, all the while secretly hoping to convince Maggot to pay for his tuition. But life on the road is even crazier than Leo ever bargained for, and before the summer is out, he will finally discover the surprising truth about his dad, his friends, and most importantly, himself.
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Hairstyles is an honest depiction of growing up punk on Chicago's south side: a study in the demons of racial intolerance, Catholic school conformism and class repression. It is the story of the riotous exploits of Brian, a high school burnout, and his best friend Gretchen, a punk rock girl fond of brawling.
Joe Meno won the 2003 Nelson Algren Literary Award and is the author of Tender as Hellfire (St. Martin's, 1999) and How the Hula Girl Sings (HarperCollins, 2001). His online fictional serial, The Secret Hand, is published through Playboy Magazine. His short fiction has been published in TriQuarterly, Bridge, Other Voices Washington Square, and has been broadcast on National Public Radio. He lives in Chicago, and he is a columnist for Punk Planet magazine.
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Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.
This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands--demands on society, art, and all the governing structures of everyday life--seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris--based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and '60s; the rioting students and workers of May '68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage "Anarchy in the U.K." and "God Save the Queen."
Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.
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Nothing Feels Good: Punk Rock, Teenagers, and Emo tells the story of a cultural moment that's happening right now-the nexus point where teen culture, music, and the web converge to create something new.While shallow celebrities dominate the headlines, pundits bemoan the death of the music industry, and the government decries teenagers for their morals (or lack thereof) earnest, heartfelt bands like Dashboard Confessional, Jimmy Eat World, and Thursday are quietly selling hundreds of thousands of albums through dedication, relentless touring and respect for their fans. This relationship - between young people and the empathetic music that sets them off down a road of self-discovery and self-definition - is emo, a much-maligned, mocked, and misunderstood term that has existed for nearly two decades, but has flourished only recently. In Nothing Feels Good, Andy Greenwald makes the case for emo as more than a genre - it's an essential rite of teenagehood. From the '80s to the '00s, from the basement to the stadium, from tour buses to chat rooms, and from the diary to the computer screen, Nothing Feels Good narrates the story of emo from the inside out and explores the way this movement is taking shape in real time and with real hearts on the line. Nothing Feels Good is the first book to explore this exciting moment in music history and Greenwald has been given unprecedented access to the bands and to their fans. He captures a place in time and a moment on the stage in a way only a true music fan can.
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When hardcore industrial rocker and Ministry supremo Al Jourgensen recruited Chris Connelly as a singer for the Revolting Cocks, the young Scottish lad could hardly have imagined the mayhem that was about to ensue.
As an integral part of Jourgensen's Mad Max-like mutant family of musicians, Connelly joined a drug-crazed travelling circus. Live shows were transformed into an ear-splitting redneck disco from hell, under the influence of a mind-boggling cocktail of every conceivable narcotic, with sleazy strippers and even reports of live cattle on stage.
As well as Jourgensen and all the Wax Trax! crew, the book features cameo appearances by Ogre of Skinny Puppy, Trent Reznor of Nine Inch Nails, Killing Joke, Jah Wobble, and Cabaret Voltaire.
Despite the unrelenting chaos, both Ministry and the Revolting Cocks have been immensely successful; Connelly appeared on two US gold albums (The Land of Rape and Honey and The Mind is a Terrible Thing to Taste) and worked as songwriter on the million-plus selling platinum album Psalm 69: The Way to Succeed and the Way to Suck Eggs.
Connelly's superbly written, funny, irreverent, and sometimes downright scary memoir is one of the finest portrayals of a man trapped in the eye of a post-punk industrial storm this side of Armageddon.
Chris Connelly was born in Edinburgh, Scotland, and now lives in Chicago where he has pursued a successful solo career.
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“Engrossing.” —BEN GILL, Mother Jones“Passionate and detailed.”—ROBERT CHRISTGAU, The New York Times Book Review“[An] epic, meticulously researched . . . biography.” —ZAC CRAIN, Esquire“The most complete and honest account of Strummer’s professional and personal life.” —RON WYNN, The Nashville City Paper“There was a time when The Clash . . . was (quite properly) billed as ‘The Only Band That Matters.’ [This] biography about lead singer Joe Strummer explains why . . . Salewicz, a longtime Strummer associate and chronicler of the punk scene, quickly settles into his groove and stays there, his words as vivid as the lyrics to ‘White Man in Hammersmith Palais’ or ‘London Calling.’ Details abound, providing fresh glimpses into the Strummer persona, along with those that preceded it . . . [A] compelling tale of Strummer’s too-short life.”—LARRY MCSHANE, Associated Press“Will likely go down as the definitive bio of Strummer and the Clash.”—JEFF TAMARKIN, Harp
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Nick Cave has repeatedly succeeded in creating idiosyncratic, obsessive lyrical visions which make no concession to prevailing musical fads. His personal life has been equally turbulent and this book tells the full story of his drug addiction. It offers an overview of his career to date, unravelling the motivation of this reluctant icon and exploring his unique appeal. With exclusive interviews with Cave's fellow musicians, friends, and colleagues, Johnston illustrates a life lived in barely controlled chaos and provides a vivid portrait of a maverick artist.
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Jim Lindberg is a Punk Rock Dad. When he drives his kids to school in the morning, they listen to the Ramones, the Clash, or the Descendents—and that's it. They can listen to Britney and Justin on their own time. Jim goes to soccer games, dance rehearsals, and piano recitals like all the other dads, but when he feels the need, he also goes to punk shows, runs into the slam pit, and comes home bruised and beaten . . . but somehow feeling strangely better. While the other dads dye their hair brown to cover the gray, Jim occasionally dyes his blue or green. He makes his daughters' lunches, kisses their boo-boos, and tucks them in at night—and then goes into the garage and plays Black Flag and Minor Threat songs at a criminal volume. He pays his taxes, votes in all the presidential and gubernatorial elections, serves on jury duty, and reserves the right to believe that there is a vast Right Wing Conspiracy—and that the head of the P.T.A. is possibly in on it. He is a Punk Rock Dad.