Bøger om Punk og New wave

The plan was simple; drop out of high school and become a rock star. But when his wildly popular band unexpectedly folds, rather than give up, Joey Wrecked becomes even more determined to make it in music. What follows is an outrageous adventure of sliding up, and down, the rock and roll ladder. Along the way there are encounters with The Clash, Steven Tyler, more than a few jealous boyfriends, and much more. His story is one-of-a-kind, funny, and actually... true. BLURBS "Music fans will devour The Drummer of Miami Beach as a Who's Who of modern rock history. But anyone can relate to Joey Maya's memoirs as a universal tale of rise and fall and rebirth. Get into the groove!" Steven Blush, Author/Filmmaker (American Hardcore, Lost Rockers, New York Rock) "A band, and this story, is only as good as the drummer!" -Coz Canler - guitar player - The Romantics, guest guitarist - Hollywood Vampires "Joey was there from the beginning. I just never knew how he got there. Now I know!" Roger Miret - Agnostic Front

Located just across the Ohio River from Cincinnati during the height of 80s punk was the home of the legendary Jockey Club. Nearly every touring punk band made their requisite stop in Newport, Kentucky at the now infamous club owned by Hallman "Shorty" Mincey and his brother, Haynes "Tiny" Mincey. Twenty years after its demolition, the cast of characters affectionately known as "the freak show" share their stories about the bands, the people, and Shorty as they remembered them. Everyone from Joey Shithead of D.O.A. to Eerie Von to the Human Zoo himself, Bevo, contributed in not just conveying the importance of The Jockey Club to the Cincinnati area music scene, but just how much it really meant to the people that were there.

In 2006, Joshua Ploeg and I found ourselves in Minot, North Dakota to put on the inaugural event at the Red Carpet, a brand new DIY venue. I played my films, he served the food, and that night we sold every single piece of merch. Mystified, I talked to the promoter. North Dakota is a flyover state. Don't treat the performers right and they'll never come back. I became fascinated with Minot and spent months researching their scene politics. Minot is a perfect little outpost of creative freedom, but also a cautionary tale of racism, alcoholism, and isolation.

How can classic rock live on when its idols are dying all around us?Twilight of the Gods is a bold, often humorous, and provocative book about our rock gods and the undeniable messages they leave behind. Since the 1960s, artists like the Rolling Stones, the Who, Fleetwood Mac, the Eagles, Black Sabbath, and Bruce Springsteen have ushered the classic rock canon forward. Even groups that are no longer active?the Beatles, Pink Floyd, Led Zeppelin?continue to wield an outsized amount of cultural capital. But no matter how entrenched these classic rockers have been, you can already see signs of their decline.Mixing personal memoir, criticism, and journalism, Steven Hyden, author of the critically acclaimed Your Favorite Band Is Killing Me, explores the ways that classic rock changed the culture?how it established the album as music's answer to the novel and rock concerts as the secular equivalent to church?and asks whether any of these signposts can endure. He investigates the rise and fall of classic rock radio and asks whether the Rock and Roll Hall of Fame is telling the right version of rock history. Twilight of the Gods explains what we can learn from rock gods and their music, and tries to answer the most important question: Is classic rock ephemeral or forever?

"First published in Great Britain in 2012 by Faber and Faber."

The history of punk band D.O.A. through vintage photographs, posters, and various ephemera over the past thirty years.

Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making. In this book, Rachel Garfield breaks new ground in exploring the rebellious, feminist punk audio-visual culture of the 1970s, tracing its roots and its legacies. In their filmmaking and their performed personae, film and video artists such as Vivienne Dick, Sandra Lahire, Betzy Bromberg, Ruth Novaczek, Sadie Benning, Leslie Thornton, Abigail Child and Anne Robinson offered a powerful, deliberately awkward alternative to hegemonic conformist femininity, creating a new "punk audio visual aesthetic". A vital aspect of our vibrant contemporary digital audio visual culture, Garfield argues, can be traced back to the techniques and forms of these feminist pioneers, who like their musical contemporaries worked in a pre-digital, analogue modality that nevertheless influenced the emergent digital audio visual culture of the 1990s and 2000s.

"A history of anarcho punk 1980-1984"--Cover.

Featuring Alex living and volunteering in Moscow, this zine tells the story of punks in Russia. With @still.hear's art to accompany the story, readers can dive into the punk scene of Moscow. Alexander Herbert is the author of What About Tomorrow and spent months in Moscow before writing this zine.

A photo-filled oral history of the DC-area music studio that brought us some of the most iconic recordings by Bad Brains, Bikini Kill, Fugazi, and so many more.

"Feat. a conversation w/ Ian Mackaye"--Cover.

A cut & paste celebration of Black punk and outsider identity, this is the only complete collection of the fanzine Shotgun Seamstress, a legendary DIY project that centered the scope of Blackness outside of mainstream corporate consumerist identityIn 2006, Osa Atoe was inspired to create an expression out of the experience of being the only Black kid at the punk show-and Shotgun Seamstress was born. Like a great mixtape where radical politics are never sidelined for an easier ride, Shotgun Seamstress was a fanzine by and for Black punks that expressed, represented, and documented the fullest range of being, and collectively and individually explored "all of our possibilities instead of allowing the dominant culture to tell us what it means to be Black." Laid out by hand, and photocopied and distributed in small batches, each issue featured essays, interviews, historical portraits of important artists and scenes, reviews, and more, all paying tribute to musicians and artists that typify free Black expression and interrupt notions of Black culture as a monolith. Featuring figures such as Vaginal Cream Davis, the seminal Black punk band Death, Poly Styrene, Bay Area rocker Brontez Purnell, British post-punker Rachel Aggs, New York photographer Alvin Baltrop, Detroit garage rocker Mick Collins and so many others, in the pages of this book rock'n'roll is reclaimed as Black music and a wide spectrum of gender and sexuality is represented. Collecting and anthologizing the layouts as they were originally photocopied by hand, this collection comprises all eight issues created between 2006 and 2015.

Left of the Dial features interviews by musical journalist, folklorist, educator, and musician David Ensminger with leading figures of the punk underground: Ian MacKaye (Minor Threat/Fugazi), Jello Biafra (Dead Kennedys), Dave Dictor (MDC), and many more. Ensminger probes the legacy of punk’s sometimes fuzzy political ideology, its ongoing DIY traditions, its rupture of cultural and social norms, its progressive media ecology, its transgenerational and transnational appeal, its pursuit of social justice, its hybrid musical nuances, and its sometimes ambivalent responses to queer identities, race relations, and its own history. Passionate, far-reaching, and fresh, these conversations illuminate punk’s oral history with candor and humor.Rather than focus on discographies and rehashed gig memories, the interviews aim to unveil the secret history of punk and hardcore ideologies and values, as understood by the performers. In addition, Ensminger has culled key graphics from his massive punk flyer collection to celebrate the visual history of the bands represented. The book also features rare photographs shot by Houston-based photographer Ben DeSoto during the heyday of punk and hardcore, which capture the movement’s raw gusto, gritty physicality, and resilient determination.Interviews include Peter Case (Nerves, Plimsouls), Captain Sensible (The Damned), Tony Kinman (The Dils), El Vez, Charlie Harper (UK Subs), The Deaf Club (an oral history of the landmark San Francisco club), Mike Palm (Agent Orange), Gregg Turner (Angry Samoans), Ian MacKaye (Minor Threat, Fugazi), Jello Biafra (Dead Kennedys), Gary Floyd (Dicks, Sister Double Happiness), Mike Watt (Minutemen, fIREHOSE), Shawn Stern (Youth Brigade), Kira Roessler (Black Flag, Dos), Jack Grisham (TSOL), Keith Morris (Circle Jerks, Off!) Fred “Freak” Smith (Beefeater), U-Ron Bondage (Really Red), Vic Bondi (Articles of Faith), Lisa Fancher (Frontier Records), Dave Dictor (MDC), and Thomas Barnett (Strike Anywhere).

Greg Graffin is the lead vocalist and songwriter of Bad Religion, recently described as "America's most significant punk band." Since its inception in Los Angeles in 1980, Bad Religion has produced 18 studio albums, become a long-running global touring powerhouse, and has established a durable legacy as one of the most influential punk rock bands of all time.Punk Paradox is Graffin's life narrative before and during L.A. punk's early years, detailing his observations on the genre's explosive growth and his band's steady rise in importance. The book begins by exploring Graffin's Midwestern roots and his life-changing move to Southern California in the mid-'70s. Swept up into the burgeoning punk scene in the exhilarating and often-violent streets of Los Angeles, Graffin and his friends formed Bad Religion, built a fanbase, and became a touring institution. All these activities took place in parallel with Graffin's never ceasing quest for intellectual enlightenment. Despite the demands of global tours, recording sessions, and dedication to songwriting, the author also balanced a budding academic career. In so doing, he managed to reconcile an improbable double-life as an iconic punk rock front man and University Lecturer in evolution.Graffin's unique experiences mirror the paradoxical elements that define the punk genre-the pop influence, the quest for society's betterment, music's unifying power-all of which are prime ingredients in its surprising endurance. Fittingly, this book argues against the traditional narrative of the popular perception of punk. As Bad Religion changed from year to year, the spirit of punk-and its sonic significance-lived on while Graffin was ever willing to challenge convention, debunk mythology, and liberate listeners from the chains of indoctrination.As insightful as it is exciting, this thought-provoking memoir provides both a fly on the wall history of the punk scene and astute commentary on its endurance and evolution.

ESG were one of the first bands to sign to British indie label Factory Records, working with famed producer Martin Hannett on their early EPs. The band's signature guitar sound from iconic single 'UFO' has been sampled in hundreds of hip hop records, and everyone from Karen O to Kathleen Hanna lists the South Bronx group as a direct influence. So why do the Scroggins sisters appear as nothing more than a footnote in the 1980s music scene? Through interviews with founding member Renee Scroggins, alongside cult-figures from 1980s New York and North England, this book follows the story of a group of sisters who made it out of the New York projects and into the heart of the dancefloor. Come Away With ESG repositions ESG in their rightful place as punk pioneers and explains how their primal beats have paved the way for modern dance music today.

In the tradition of John Green’s The Fault in Our Stars and Me and Earl and the Dying Girl, this incredibly moving and harrowing true story of a teenager diagnosed with cancer is “a resounding affirmation of how music can lift one’s spirits beyond gray skies and bad news (Kirkus Reviews).”Punk’s not dead in rural West Virginia. In fact, it blares constantly from the basement of Rob and Nat Rufus—identical twin brothers with spiked hair, black leather jackets, and the most kick-ass record collection in Appalachia. To them, school (and pretty much everything else) sucks. But what can you expect when you’re the only punks in town? When the brothers start their own band, their lives begin to change: they meet friends, they attract girls, and they finally get invited to join a national tour and get out of their rat box little town. But their plans are cut short when Rob is diagnosed with a rare form of cancer that has already progressed to Stage Four. Not only are his dreams of punk rock stardom completely shredded, there is a very real threat that this is one battle that can’t be won. While Rob suffers through nightmarish treatments and debilitating surgery, Nat continues on their band’s road to success alone. But as Rob’s life diverges from his brother’s, he learns to find strength within himself and through his music. Die Young with Me is a “raw, honest picture of the weirdness of growing up” (Marky Ramone) and the story of a brave teen’s battle with cancer and the many ways music helped him cope through his recovery.

Rude Boys Racism and the Soundtrack of a Generation.

Written in 2017 in Gernmany and Italy, this little hardcover book showcases the best writings of Joseph B. Raimond of the year. As always, brutally honest and not recommended for Republicans or populists.