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Books > Music > Contemporary popular music > Rock & pop > Indie
If you're looking for the events that inspired the lyrics to all my songs? Those stories are in this book. If you're looking for what I did when I was younger? That's in here. What changed me, made me stop hating and hurting? It's all here. This is my story and I'm sticking to it. That's the one thing I have, the truth. Volume two of Black Heart Fades Blue, a three-part memoir by the founder and frontman for one of punk rock's most notorious acts, Poison Idea. In 1980, Jerry A. formed Poison Idea, a Portland-based punk band that gave voice to disaffected and disenfranchised youth for over 30 years. As happened to so many punk bands, Jerry A. and Poison Idea also went all in on drugs and drinking as they toured the country, spiraling out of control and blowing both the band and their lives apart. Black Heart Fades Blue is not an apology or a nostalgic catalog of events, but a true reckoning with one's past and present. A memoir of a time and a place and a movement, as well as a deep conversation about the memories and moments we leave behind, Black Heart Fades Blue is a deep exploration of an unconventional life.
For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.
Fueled by the music of revolution, anger, fear, and despair, we dyed our hair or shaved our heads ... Eating acid like it was candy and chasing speed with cheap vodka, smoking truckloads of weed, all in a vain attempt to get numb and stay numb. This is the story of a young man and a generation of angry youths who rebelled against their parents and the unfulfilled promise of the sixties. As with many self-destructive kids, Noah Levine's search for meaning led him first to punk rock, drugs, drinking, and dissatisfaction. But the search didn't end there. Having clearly seen the uselessness of drugs and violence, Noah looked for positive ways to channel his rebellion against what he saw as the lies of society. Fueled by his anger at so much injustice and suffering, Levine now uses that energy and the practice of Buddhism to awaken his natural wisdom and compassion. While Levine comes to embrace the same spiritual tradition as his father, bestselling author Stephen Levine, he finds his most authentic expression in connecting the seemingly opposed worlds of punk and Buddhism. As Noah Levine delved deeper into Buddhism, he chose not to reject the punk scene, instead integrating the two worlds as a catalyst for transformation. Ultimately, this is an inspiring story about maturing, and how a hostile and lost generation is finally finding its footing. This provocative report takes us deep inside the punk scene and moves from anger, rebellion, and self-destruction, to health, service to others, and genuine spiritual growth.
In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players and drummers playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass-player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.
At the beginning of the 1990s, the Senate didn't believe Anita Hill, Rush Limbaugh compared feminists to Nazis, and a study found that girls tended to start hating themselves during adolescence. It was a hard time to be a young woman, to be growing up on promises of equal rights that didn't square with reality. Sexual assault rates reached record highs; harassment was rife in the schools; and, boys still would be boys, and girls still had to watch what they wore and where they walked. It was enough to make a girl want to scream. Riot Grrrl roared into the spotlight in 1991: an uncompromising movement of pissed-off girls who had no patience for sexism, no stomach for double standards, and no intention of keeping quiet. Incendiary punk bands - like Bratmobile, Heavens to Betsy, and above all Bikini Kill, fronted by the magnetic, prophetic Kathleen Hanna - spread the word. Thousands of riot grrrls published handmade magazines, founded local groups, and organised conventions. The movement spread from its birthplaces of Washington, D.C. and Olympia, Washington, to the Midwest, Canada, Europe, and beyond. "Girls to the Front", the first-ever history of Riot Grrrl, is a gripping narrative with a sound track: a lyrical, punk-infused chronicle of a group of extraordinary young women coming of age angrily, collectively, and publicly. It's the story of a time when America thought feminism was dead, and feminism seemed to buy into the slacker myths of Generation X, but a generation of noisy girls rose up to prove everybody wrong. Above all, it's a story about looking for your place in the world - and finally creating it yourself.
As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .
Uncompromising and innovative, hardcore punk in Washington, DC, birthed a new sound and nurtured a vibrant subculture aimed at a specific segment of the city's youth. Shayna L. Maskell explores DC's hardcore scene during its short but storied peak. Led by bands like Bad Brains and Minor Threat, hardcore in the nation's capital unleashed music as angry and loud as it was fast and minimalistic. Maskell examines the music's aesthetics and the unique impact of DC's sociopolitical realities on the sound and the scene that emerged. As she shows, aspects of the music's structure merged with how bands performed it to put across distinctive representations of race, class, and gender. But those representations could be as complicated and contradictory as they were explicit. A fascinating analysis of a punk rock hotbed, Politics as Sound tells the story of how a generation created music that produced--and resisted--politics and power.
Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos-a notoriously evasive and multifaceted beast-offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.
(Book). Read & Burn is the first serious, in-depth appraisal of Wire, one of the most influential British bands to emerge during the punk era. If Wire were briefly a punk band, however, it was largely by historical accident. Despite the fact that they had complicated and transformed that category almost before they'd begun, they seem never to have quite escaped the label. Be it punk, post-punk, or art-punk, critics have clung onto the p-word in an attempt to capture the essence of Wire's innovative uniqueness. But their story which honors punk's original yet quickly forgotten commitment to the new is one of constant remaking and remodelling, one that stubbornly resists reduction to a single identity. As a result, the group's projects have always balanced uneasily between artistic endeavour and the need for commercial sustainability, played out against the backdrop of the musicians' perennially complex creative relationships. Tracing Wire's diverse output from 1977 up until the present, Read & Burn seeks to do justice to their highly influential and restlessly inventive body of work by developing a sustained critical account of their shifting approaches. It combines analysis and interpretation with perspective drawn from exclusive interviews with past and present members of the band.
Punk. London.1977. Most people blinked and missed it. Many spent a decade trying to catch up. Derek Ridgers stumbled across it by accident, where it was, in the beating filthy heart of the Roxy in middle of a derelict slum called Covent Garden. Stumbling through the moshpits trying to keep hold of a borrowed camera. 1977. Punk London brings you 152 pages of photography featuring the birth of the the most exciting cultural phenomenon in UK history. Currents and vibes, flows and backwash, trends and anti-trends splashing around in the cauldron of youth culture in the city of London, and the lost rebels haunting their suburban bedrooms - jumping the train uptown to get into the legendary Roxy. All converged, for one priceless moment, an outpouring of a truly original, DIY, anarchic, underground scene. Ridgers captured the first wave. Kids in the crowd, never before seen. The punks who made their own clothes because you couldn't buy punk clothes. The punks who got beaten up time and again for making themselves into targets. Rebellion before it got easy. You won't see these kids anywhere in the magazines. They weren't trying to get famous. 1977 will happen again. 1977 is happening somewhere, for someone, right now.
Punk culture is currently having a revival worldwide and is poised to extend and mutate even more as youth unemployment and youth alienation increase in many countries of the world. In Russia, its power to have an impact and to shock is well illustrated by the state response to activist collective and punk band Pussy Riot. This book, based on extensive original research, examines the nature of punk culture in contemporary Russia. Drawing on interviews and observation, it explores the vibrant punk music scenes and the social relations underpinning them in three contrasting Russian cities. It relates punk to wider contemporary culture and uses the Russian example to discuss more generally what constitutes 'punk' today.
We remember the 1980s as the era of Ronald Reagan, a conservative decade populated by preppies and yuppies dancing to a soundtrack of electronic synth pop music (the "MTV generation"). But the decade also produced some of the most creative works of punk rock - not just the music of bands like the Minutemen and the Dead Kennedys, but also visual arts, literature, poetry, and film. Kevin Mattson documents what Kurt Cobain once called a "punk rock world." He shows just how widespread the movement became, and how democratic (not at all New York-centric), due to its commitment to Do-It-Yourself (DIY) ethics. Mattson puts this movement into a wider context, telling about a culture war that punks opened up against the sitting president. Reagan's talk about end days and nuclear warfare made kids panic; his tax cuts for the rich and simultaneous slashing of school lunch program funding made punks seethe at his meanness. The anger went deep, since punks saw Reagan as the country's entertainer-in-chief - his career (from radio to Hollywood and television) synched to the very world punks rejected. Through deep archival research, Mattson reignites the heated debates that punk's opposition generated - about everything from "straight edge" ethics to anarchism to the art of dissent. By reconstructing the world of punk, Mattson shows that it was more than just a style of purple hair and torn jeans. And in so doing, he reminds readers of its importance and its challenge to simplistic assumptions about the 1980s as a one-dimensional, conservative epoch.
This book is an ethnographic investigation of punk subculture as well as a treatise on the importance of place: a location with both physical form and cultural meaning. Rather than examining punk as a "sound" or a "style" as many previous works have done, it investigates the places that the subculture occupies and the cultural practices tied to those spaces. Since social groups need spaces of their own to practice their way of life, this work relates punk values and practices to the forms of their built environments. As not all social groups have an equal ability to secure their own spaces, the book also explores the strategies punks use to maintain space and what happens when they fail to do so.
An updated reissue of what, along with England's Dreaming, has become the acknowledged seminal work on punk. Cain was at every major gig and interviewed all of the acts at the time. He was viewed as an 'insider' and his access was unrivalled. This book is a vibrant and fast-paced trip through an extraordinary year. Includes major new interviews with Sex Pistol Johnny Rotten, Strangler Hugh Cornwell and Rat Scabies of The Damned.
Travis Barker's soul-baring memoir chronicles the highlights and lowlights of the renowned drummer's art and his life, including the harrowing plane crash that nearly killed him and his traumatic road to recovery-a fascinating never-before-told-in-full story of personal reinvention grounded in musical salvation and fatherhood. After breaking out as the acclaimed drummer of the multiplatinum punk band Blink-182, everything changed for Travis Barker. But the dark side of rock stardom took its toll: his marriage, chronicled for an MTV reality show, fell apart. Constant touring concealed a serious drug addiction. A reckoning did not truly come until he was forced to face mortality: His life nearly ended in a horrifying plane crash, and then his close friend, collaborator, and fellow crash survivor DJ AM died of an overdose. In this blunt, driving memoir, Barker ruminates on rock stardom, fatherhood, death, loss, and redemption, sharing stories shaped by decades' worth of hard-earned insights. His pulsating memoir is as energetic as his acclaimed beats. It brings to a close the first chapters of a well-lived life, inspiring readers to follow the rhythms of their own hearts and find meaning in their lives.
ONE OF BILLBOARD'S "100 GREATEST MUSIC BOOKS OF ALL TIME" The provocative transgender advocate and lead singer of the punk rock band Against Me! provides a searing account of her search for identity and her true self. It began in a bedroom in Naples, Florida, when a misbehaving punk teenager named Tom Gabel, armed with nothing but an acoustic guitar and a headful of anarchist politics, landed on a riff. Gabel formed Against Me! and rocketed the band from its scrappy beginnings-banging on a drum kit made of pickle buckets-to a major-label powerhouse that critics have called this generation's The Clash. Since its inception in 1997, Against Me! has been one of punk's most influential modern bands, but also one of its most divisive. With every notch the four-piece climbed in their career, they gained new fans while infuriating their old ones. They suffered legal woes, a revolving door of drummers, and a horde of angry, militant punks who called them "sellouts" and tried to sabotage their shows at every turn. But underneath the public turmoil, something much greater occupied Gabel-a secret kept for 30 years, only acknowledged in the scrawled-out pages of personal journals and hidden in lyrics. Through a troubled childhood, delinquency, and struggles with drugs, Gabel was on a punishing search for identity. Not until May of 2012 did a Rolling Stone profile finally reveal it: Gabel is a transsexual, and would from then on be living as a woman under the name Laura Jane Grace. Tranny is the intimate story of Against Me!'s enigmatic founder, weaving the narrative of the band's history, as well as Grace's, with dozens of never-before-seen entries from the piles of journals Grace kept. More than a typical music memoir about sex, drugs, and rock 'n' roll-although it certainly has plenty of that-Tranny is an inside look at one of the most remarkable stories in the history of rock.
'Hungry Beat is the story of an all-too-brief era where the short-circuiting of that industry seemed viable. But hell, the times were luminous as was the music these artists made. The songs and many of the players remain, and here they tell their story and lick their wounds' Ian Rankin The immense cultural contribution made by two maverick Scottish independent music labels, Fast Product and Postcard, cannot be underestimated. Bob Last and Hilary Morrison in Edinburgh, followed by Alan Horne and Edwyn Collins in Glasgow helped to create a confidence in being Scottish that hitherto had not existed in pop music (or the arts in general in Scotland). Their fierce independent spirit stamped a mark of quality and intelligence on everything they achieved, as did their role in the emergence of regional independent labels and cultural agitators, such as Rough Trade, Factory and Zoo. Hungry Beat is a definitive oral history of these labels and the Scottish post-punk period. Covering the period 1977-1984, the book begins with the Subway Sect and the Slits performance on the White Riot tour in Edinburgh and takes us through to Bob Last shepherding the Human League from experimental electronic artists on Fast Product to their triumphant number one single in the UK and USA, Don't You Want Me. Largely built on interviews for Grant McPhee's Big Gold Dream film with Last, Hilary Morrison, Paul Morley and members of The Human League, Scars, The Mekons, Fire Engines, Josef K, Aztec Camera, The Go-Betweens and The Bluebells, Hungry Beat offers a comprehensive overview of one of the most important periods of Scottish cultural output and the two labels that changed the landscape of British music.
This book examines the birth of punk in the UK and its transformation, within a short period of time, into post-punk. Deploying innovative concepts of 'critical mass', 'social networks' and 'music worlds', and using sophisticated techniques of 'social network analysis', it teases out the events and mechanisms involved in punk's 'micro-mobilisation', its diffusion across the UK and its transformation in certain city-based strongholds into a variety of interlocking post-punk forms. Nick Crossley offers a detailed review of prior work in this area, a rich exploration of new empirical data and a highly innovative and robust approach to the study of 'music worlds'. Written in an accessible style, this book is essential reading for anybody with an interest in either UK punk and post-punk or the impact of social networks on cultural life and the potential of social network analysis to explore this impact. -- . |
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