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Books > Music > Contemporary popular music > Rock & pop > Indie
**MOJO MAGAZINE'S BOOK OF THE YEAR** The Hollywood Brats are the
greatest band you've never heard of. Recording one near-perfect
punk album in 1974, they were tragically ahead of their time. With
only a guitar, a tatty copy of the Melody Maker and his template
for the perfect band, Andrew Matheson set out, in 1971, to make
musical history. His band, The Hollywood Brats, were pre-punk
prophets - uncompromising, ultra-thin, wild, untameable and
outrageous. But thrown into the crazy world of the 1970s London
music scene, the Brats ultimately fell foul of the crooks and
heavies that ran it and an industry that just wasn't ready for
them. Directly inspiring the London SS, the Clash, Malcolm McLaren
and the Sex Pistols, The Hollywood Brats imploded too soon to share
the glory. Punk's answer to Withnail and I, Sick On You is a
startling, funny and brilliantly entertaining period memoir about
never quite achieving success, despite flying so close to
greatness.
"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.
England’s Dreaming is the ultimate book on punk, its progenitors, the Sex Pistols, and the moment they defined for music fans in England and the United States Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.
In 2005, British supermodel Kate Moss went to Glastonbury with her
then-boyfriend, indie rocker Pete Doherty. Their unwashed
appearance captured widespread attention, propelling the British
indie music scene and its signature look-slender bodies clad in
skinny jeans-to the center of popular fashion. Using this
fashionable watershed as a launching point, Fashioning Indie
narrates indie's evolution: from a 1980s British music subculture
into a 21st-century international fashion phenomenon. It explores
the lucrative transformation of indie style, first into high
concept menswear and later into "festival fashion"-a womenswear
phenomenon that remade what indie looked like and provided a
launching point to reimagine who the ideal subject of indie could
be. Fashioning Indie is essential reading for academic and popular
audiences, offering an original account of what happens when a
subculture is incorporated into the commercial fashion system. As
the music and fashions of festivals face increasing scrutiny in
debates about diversity and inclusion, and the transformations of
indie style coincide with the global expansion of the second-hand
retail sector, the book offers also essential insights into the
broader culture of popular fashion in the 21st century and the
values that inform it.
The authorized story of an American band who shaped the history of
music for generations. Today's new music-makers are looking back at
the bands that broke the ground, and the Ramones are it: the
original high priests of punk, the stars of rock 'n roll high
school, the royal avatars of rock, raunch, and rebellion. 60
photographs and illustrations.
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Post-Punk Then and Now
(Paperback)
Gavin Butt, Mark Fisher; Sue Clayton, Kodwo Eshun, Green Gartside
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R338
R276
Discovery Miles 2 760
Save R62 (18%)
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What were the conditions of possibility for art and music-making
before the era of neoliberal capitalism? What role did punk play in
turning artists to experiment with popular music in the late 1970s
and early 1980s? And why does the art and music of these times seem
so newly pertinent to our political present, despite the seeming
remoteness of its historical moment? Focusing upon the production
of post-punk art, film, music, and publishing, this book offers new
perspectives on an overlooked period ofcultural activity, and
probes the lessons that might be learnt from history for artists
and musicians working under 21st century conditions of austerity.
*The Sunday Times Bestseller* *Featuring an exclusive new chapter*
On 23 September, 2005, at the Joiners Arms in Southampton, Frank
Turner played his last gig with his hardcore band, Million Dead. On
the laminates that listed the tour dates, the entry for 24
September simply read: 'Get a job.' Deflated, jaded and hungover,
Frank returned to his hometown of Winchester without a plan for the
future. All he knew was that he wanted to keep playing music. Cut
to 13 April 2012, over a thousand shows later (show 1,216 to be
precise), and he was headlining a sold-out gig at Wembley Arena
with his band The Sleeping Souls. Told through his tour
reminiscences, this is the blisteringly honest story of Frank's
career from drug-fuelled house parties and the grimy club scene to
filling out arenas, fans roaring every word back at him. But more
than that, it is an intimate account of what it's like to spend
your life constantly on the road, sleeping on floors, invariably
jetlagged, all for the love of playing live music.
'I couldn't put this book down. Malcolm inspired us to make art out
of our boredom and anger. He set us free' Bobby Gillespie, Primal
Scream Included in the Guardian 10 best music biographies
'Excellent . . . With this book, Gorman convincingly moves away
from the ossified image of McLaren as a great rock'n'roll swindler,
a morally bankrupt punk Mephistopheles, and closer towards his
art-school roots, his love of ideas. Tiresome, unpleasant, even
cruel - he was, this book underlines, never boring' Sunday Times
'Exhaustive . . . compelling' Observer 'Definitive . . . epic' The
Times 'Gobsmacker of a biography' Telegraph 'This masterful and
painstaking biography opens its doorway to an era of fluorescent
disenchantment and outlandish possibility' Alan Moore Malcolm
McLaren was one of the most culturally significant but
misunderstood figures of the modern era. Ten years after his life
was cruelly cut short by cancer, The Life & Times of Malcolm
McLaren sheds fascinating new light on the public achievements and
private life of this cultural iconoclast and architect of punk,
whose championing of street culture movements including hip-hop and
Voguing reverberates to this day. With exclusive contributions from
friends and intimates and access to private papers and family
documents, this biography uncovers the true story behind this
complicated figure. McLaren first achieved public prominence as a
rebellious art student by making the news in 1966 after being
arrested for burning the US flag in front of the American Embassy
in London. He maintained this incendiary reputation by
fast-tracking vanguard and left-field ideas to the centre of the
media glare, via his creation and stewardship of the Sex Pistols
and work with Adam Ant, Boy George and Bow Wow Wow. Meanwhile
McLaren's ground-breaking design partnership with Vivienne Westwood
and his creation of their visionary series of boutiques in the
1970s and early '80s sent shockwaves through the fashion industry.
The Life & Times of Malcolm McLaren also essays McLaren's
exasperating Hollywood years when he broke bread with the likes of
Steven Spielberg though his slate of projects, which included the
controversial Heavy Metal Surf Nazis and Wilde West, in which Oscar
Wilde introduced rock'n'roll to the American mid-west in the 1880s,
proved too rich for the play-it-safe film business. With a preface
by Alan Moore, who collaborated with McLaren on the unrealised film
project Fashion Beast, and an essay by Lou Stoppard casting a
twenty-first-century perspective over his achievements, The Life
& Times Of Malcolm McLaren is the explosive and definitive
account of the man dubbed by Melvyn Bragg 'the Diaghilev of punk'.
'To see The Clash on the White Riot tour was like discovering how
to be a rock star: you just did it yourself. You didn't wait for
someone to come and discover you. That was the most important thing
that came out of punk... We came home and we cut our hair and
bought skinny trousers. It was year zero. That was the moment for
me' Billy Bragg Punk Rock is a book like no other. It is an oral
history of a radical movement which exploded in Seventies Britain.
With its own clothes, hair, artwork, fanzines and radical politics,
Punk boasted a DIY ethos that meant anyone could take part. The
scene was uniquely vibrant and energetic, leaving an extraordinary
legacy of notorious events, charismatic characters and
inspirational music. John Robb has spent over a year interviewing
more than 100 contributors including Glen Matlock, Mick Jones, Don
Letts, Slash, Billy Bragg, Hugh Cornwell and Captain Sensible. Now,
for the first time, they give the inside view on events such as The
Sex Pistols' swearing live on the Bill Grundy TV show and staging
their anti-Jubilee riverboat party on the Thames, famous gigs at
The Roxy and 100 Club, and the groundbreaking records by The
Pistols, The Clash, The Damned and others. From the widely debated
roots of punk in the late-Sixties through to the fallout of the
post-punk period in 1984, and the ongoing influence on today's
bands, Punk Rock is the definitive oral history of an inimitable
and exciting movement.
Following hard on the explosion of British punk, in 1979 Gang of
Four produced post-punk's smartest record, Entertainment! For the
first time, a band wedded punk's angry energy to funk's propulsive
beats-and used that music to put across lyrics that brought a heady
mixture of Marxist theory and situationism to exposing the cultural
politics of everyday life. But for an American college student from
the suburbs-and, one expects, for many, many others, including
British youth-Jon King's and Andy Gill's mumbled lyrics were often
all but unintelligible. Political rock 'n' roll is always something
of an oxymoron: rock audiences by and large don't tune in to be
lectured to. But what can it mean that a band that made pop songs
as political theory actively resisted making that theory legible?
Coming to terms with the impact of Entertainment! requires us to
take the mondegreen-the misunderstood lyric-seriously. The old joke
has it that the title of R.E.M.'s debut album should have been not
Murmur, but Mumble: true, so far as it goes. But that's the title,
too, of rock 'n' roll's Greatest Hits compilation-and that
strategic inarticulateness itself, which creates such an important
role for the listener, has an important politics.
THESE ARE THE WORDS THAT CAME TO ME. NO MATTER HOW THEY GOT HERE,
THEY DID THE F***ING JOB. Iggy Pop hasn't left a mark on music;
he's left it battered and bruised, too. Inducted into the Rock and
Roll Hall of Fame in 2010, here for the first time are his selected
lyrics, complete with stunning original photographs, illustrations,
alongside Iggy and others' reflections on a genre-defining music
career that spans five decades. Coinciding with a new album, FREE,
this is the ultimate book for every rock and roll fan.
Totally Wired features 32 interviews with the post-punk era's most
innovative musicians and colourful personalities. From Ari Up, Jah
Wobble, David Byrne, Edwyn Collins, it also includes conversations
with the most influential of label bosses, managers, record
producers, DJs and journalists - such as John Peel and Paul Morley.
Crackling with argument and anecdote, these conversations bring a
rich human dimension post-punk's exceptional characters, from their
earliest days to their glorious and sometimes disastrous musical
adventures. Along with interviews, we get 'overviews': further
reflections by Simon Reynolds on key icons and crucial scenes,
including John Lydon and Public Image Ltd, Ian Curtis and Joy
Division, and the lineage of glam grotesquerie running from
Siouxsie & The Banshees to the New Romantics to Leigh Bowery.
Rock 'n' Roll Movies presents an eclectic look at the many
manifestations of rock in motion pictures, from teen-oriented
B-movies to Hollywood blockbusters to avant-garde meditations to
reverent biopics to animated shorts to performance documentaries.
Acclaimed film critic David Sterritt considers the diverse ways
that filmmakers have regarded rock 'n' roll, some cynically cashing
in on its popularity and others responding to the music as sincere
fans, some depicting rock as harmless fun and others representing
it as an open challenge to mainstream norms.
This updated reissue of Mark LeVine's acclaimed, revolutionary book
on sub- and countercultural music in the Middle East brings this
groundbreaking portrait of the region's youth cultures to a new
generation. Featuring a new preface by the author in conversation
with the band The Kominas about the problematic connections between
extreme music and Islam. An eighteen-year-old Moroccan who loves
Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A
young Lebanese singer who quotes Bob Marley's "Redemption Song."
Heavy metal, punk, hip-hop, and reggae are each the music of
protest, and are considered immoral by many in the Muslim world. As
the young people and subcultures featured in Mark LeVine's Heavy
Metal Islam so presciently predicted, this music turned out to be
the soundtrack of countercultures, uprisings, and even revolutions
from Morocco to Pakistan. In Heavy Metal Islam, originally
published in 2008, Mark LeVine explores the influence of Western
music on the Middle East and North Africa through interviews with
musicians and fans, introducing us to young people struggling to
reconcile their religion with a passion for music and a thirst for
change. The result is a revealing tour de force of contemporary
cultures across the Muslim majority world through the region's
evolving music scenes that only a musician, scholar, and activist
with LeVine's unique breadth of experience could narrate. A New
York Times Editor's Pick when it was first published, Heavy Metal
Islam is a surprising, wildly entertaining foray into a
historically authoritarian region where music reveals itself to be
a true democratizing force-and a groundbreaking work of scholarship
that pioneered new forms of research in the region.
Fan, musician and writer Roland Link has compiled a wealth of
images of the legendary Belfast band through the 1970s and 80s. It
includes many previously unseen photographs of the members on the
road, on stage, in candid moments and in promotional out-takes.
These are supported by a myriad of contemporary memorabilia (tour
posters, tickets, passes and badges) and accompanied by comments
from band members and a number of the photographers. The book also
contains a Rare Vinyl Guide covering the band's original singles
and albums. "When people ask me about Stiff Little Fingers I'm
going to point them towards two books; Kicking Up A Racket and What
You See Is What You Get ...job done." Jim Reilly
They had just a few hundred pounds, one band missing a drummer, a
sock drawer for an office, more dreams than sense and not a clue
between them how to run a record company. But when Alan Horne and
Edwyn Collins decided to start their own label from a shabby
Glasgow flat in 1979, nobody was going to stand in their way.
Postcard Records was the mad, makeshift and quite preposterous
result. Launching the careers of Orange Juice, Aztec Camera and
cult heroes Josef K, the self-styled 'Sound of Young Scotland'
stuck it to the London music biz and, quite by accident,
kickstarted the 1980s indie music revolution. Simon Goddard has
interviewed everyone involved in the making of the Postcard legend
to tell this thrilling rock'n'roll story of punk audacity,
knickerbocker glories, broken windscreens, raccoon-fur hats,
comedy, violence and creating something beautiful from nothing,
against all the odds.
This new collection is the second in the Global Punk series.
Following the publication of the first volume the series editors
invited proposals for a second volume, and selected contributions
from a range of interdisciplinary areas, including cultural
studies, musicology, ethnography, art and design, history and the
social sciences. This collection extends the theme into new
territories, with a particular emphasis on contemporary global punk
scenes, post-2000, reflecting upon the notion of origin, music(s),
identity, careers, membership and circulation. This area of
subcultural studies is far less documented than more 'historical'
work related to earlier punk scenes and subcultures of the late
1970s and early 1980s. This new volume covers countries and regions
including New Zealand, Indonesia, Cuba, Ireland, South Africa,
Siberia and the Philippines, alongside thematic discussions
relating to trans-global scenes, the evolution of subcultural
styles, punk demographics and the notion of punk identity across
cultural and geographic boundaries. The book series adopts an
essentially analytical perspective, raising questions over the
dissemination of punk scenes and their form, structure and
contemporary cultural significance in the daily lives of an
increasing number of people around the world. This book has a
genuine crossover market, being designed in such a way that it can
be adopted as an undergraduate student textbook while at the same
time having important currency as a key resource for established
academics, postdoctoral researchers and PhD students. In terms of
the undergraduate market for the book, it is likely that it will be
adopted by convenors of courses on popular music, youth culture and
in discipline areas such as sociology, popular music studies,
urban/cultural geography, political history, heritage studies,
media and cultural studies.
Damaged: Musicality and Race in Early American Punk is the first
book-length portrait of punk as a musical style with an emphasis on
how punk developed in relation to changing ideas of race in
American society from the late 1960s to the early 1980s. Drawing on
musical analysis, archival research, and new interviews, Damaged
provides fresh interpretations of race and American society during
this period and illuminates the contemporary importance of that
era. Evan Rapport outlines the ways in which punk developed out of
dramatic changes to America's cities and suburbs in the postwar
era, especially with respect to race. The musical styles that led
to punk included transformations to blues resources, experimental
visions of the American musical past, and bold reworkings of the
rock-and-roll and rhythm-and-blues sounds of the late 1950s and
early 1960s, revealing a historically oriented approach to rock
that is strikingly different from the common myths and conceptions
about punk. Following these approaches, punk itself reflected new
versions of older exchanges between the US and the UK, the changing
environments of American suburbs and cities, and a shift from the
expressions of older baby boomers to that of younger musicians
belonging to Generation X. Throughout the book, Rapport also
explores the discourses and contradictory narratives of punk
history, which are often in direct conflict with the world that is
captured in historical documents and revealed through musical
analysis.
In Punk and Revolution Shane Greene radically uproots punk from its
iconic place in First World urban culture, Anglo popular music, and
the Euro-American avant-garde, situating it instead as a crucial
element in Peru's culture of subversive militancy and political
violence. Inspired by Jose Carlos Mariategui's Seven Interpretive
Essays on Peruvian Reality, Greene explores punk's political
aspirations and subcultural possibilities while complicating the
dominant narratives of the war between the Shining Path and the
Peruvian state. In these seven essays, Greene experiments with
style and content, bends the ethnographic genre, and juxtaposes the
textual and visual. He theorizes punk in Lima as a mode of
aesthetic and material underproduction, rants at canonical cultural
studies for its failure to acknowledge punk's potential for
generating revolutionary politics, and uncovers the intersections
of gender, ethnicity, class, and authenticity in the Lima punk
scene. Following the theoretical interventions of Debord, Benjamin,
and Bakhtin, Greene fundamentally redefines how we might think
about the creative contours of punk subculture and the politics of
anarchist praxis.
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