Read Ebook {PDF EPUB} No Wave Post-Punk. Underground. New York. 1976-1980. by Thurston Moore NO WAVE: POST-PUNK. UNDERGROUND. NEW YORK. A new hard cover book by Thurston and Byron Coley Abrams titled “No Wave: Post-Punk. Underground. New York. 1976-1980” is now available from Abrams Image Books. This 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. 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. Thurston Moore (Moore, Thurston) More editions of I am Not This Body: The Pinhole Photographs of Barbara Ess: More editions of Index, Vol. 7 #4: More editions of Mix Tape: The Art of Cassette Culture: More editions of No Wave: Post-Punk. Underground. New York. 1976-1980.: More editions of Original Word Game Dictionary: The original word game dictionary: ISBN 9780812829266 (978-0-8128-2926-6) Hardcover, Stein and Day, 1984 Original Word Game Dictionary: ISBN 9780812861914 (978-0-8128-6191-4) Softcover, Stein & Day Pub, 1984. More editions of Sonic Youth: Sensational Fix: Founded in 1997, BookFinder.com has become a leading book price comparison site: Find and compare hundreds of millions of new books, used books, rare books and out of print books from over 100,000 booksellers and 60+ websites worldwide. ‘No Wave: Post-Punk’ New York City during the 1970s was a beautiful, ravaged slag — impoverished and neglected after suffering from decades of abuse and battery. She stunk of sewage, sex, rotting fish, and day-old diapers. She leaked from every pore. [Expletive] was already percolating by the time I hit Manhattan as a teen terror in 1976. Inspired by the manic rantings of Lester Bangs in Creem magazine, the Velvet Underground's sarcastic wit, the glamour of the New York Dolls' first album, and the poetic scat of Horses , by Patti Smith, I snuck out my bedroom window, jumped on a Greyhound, and crash-landed in a bigger ghetto than the one I had just escaped from. But with two hundred bucks in my pocket tucked inside a notebook full of misanthropic screed, a baby face that belied a hustler's instinct, and a killer urge to create in order to destroy everything that had originally inspired me, I didn't give a flying [expletive] if the Bowery smelled like dog [expletive]. I wasn't expecting the toilets at CBGB's to be the bookends to Duchamp's urinal, but then again, maybe 1977 had more in common with 1917 than anyone at the time could have imagined. The anti-art invasion of Dada in Switzerland and the surrealist pranksters who shadowed them had a blast pissing all over everybody's expectations. The anti-everything of No Wave was a collective caterwaul that defied categorization, defiled the audience, despised convention, [expletive] in the face of history, and then split. It's only a movement in retrospect. Post-Suicide, pre​Sonic Youth New York was the devil's dirty litter box. No Wave was the waste product of Taxi Driver , Times Square, the Son of Sam, the blackout of '77, widespread political corruption, rampant poverty, the failure of the Summer of Love, the [expletive] of Charles Manson, the hell of the Vietnam War, and a desperate need to violently rebel against the complacency of a zombie nation dumbed down by sitcoms and disco. Yes, we were angry, ugly, snotty, and loud. But better to brutalize the audience with screeching guitars and piercing screams than to beat them over the head with fists and feet . which, okay, sometimes we did, but most nights we'd rather [expletive] than fight. You guessed right if you thought the toilets of CBGB's sang a song of diseased lust to my raging hormones. Beneath the scowls of derision, the antagonism and acrimony, and the nearly unbearable shrillness that was our soundtrack, we were howling with delight, laughing like lunatics in the madhouse that was New York City, thrilled to be rubbing up against the freaks and other outcasts, who somehow, for some unknowable reason, had all decided to run to land's end and all at once scream their bloody heads off. —Lydia Lunch, July 10, 2007. IN THE BEGINNING. Despite the presumptive legacy of CBGB, the Ramones, and Punk magazine, New York was never really a punk-rock town. It actually produced very little in the way of punk qua punk. The genuine tradition of New York bands was art rock, with punk being merely just one of its aspects. In a certain light, even the Ramones, who presented such a complete, high-concept package, could be viewed and surely were by the boho brain trust, as some kind of performance-art piece. And that light — buzzing on and off like a broken bodega neon — suffused the desperate and panting dog that was the lower Manhattan scene of the mid-1970s. New York's alluring danger reeked of outlaw freedom and possibility. Artists, writers, musicians, hangers-on, and wannabes of all stripes were drawn to its incendiary profile from across the globe. Magazines like Lenny Kaye¹s Rock Scene and Andy Warhol's Interview illuminated a vision of ravaged glamour in the faces of the crowds at the Mercer Arts Center and Max's Kansas City. It was still fairly easy to find affordable living space. Maybe not in SoHo, but if you went a bit farther south or farther east, there were neighborhoods where a tenement railroad apartment or a deserted storefront or a raw loft could be had. As time went on, these possibilities shrank and became farther from the center of things, but, by god, the Bowery was still the Bowery, with squalid slag heaps and zonked bums sprawled senseless, when seen-it-all music maven and art- schlepper Hilly Kristal opened CBGB and OMFUG in 1973. The earliest generation of important New York bands was clearly part of a tradition that stretched back to (at least) the Beat era. Patti Smith and Television, in particular, had a literate thrust informed as much by the sophistication of their reading as by the crudeness of sonic models like the New York Dolls. There was also that most anomalous, most New York-centric of groups, Suicide. Lydia Lunch describes Alan Vega's image as "a perverted Puerto Rican, Elvis Presley​damaged, psychotic acid casualty," a sketch that rings true. Matched with the implacable, shades-masked, deranged nursery-pop keyboard miniaturism of Martin Rev, Suicide were an overwhelming experience in live performance. Love them or hate them, there was no way to ignore them. As writer Roy Trakin notes, "They were really the first modern rock band to blend music and noise together, raising the question of whether noise was music and vice versa." This may have been a common question in serious art music circles during previous generations, but it was not usually asked by rock fans at the time, no matter how far underground they lived. Regardless of the fact that No Wave is nominally categorized as "post-punk" music (meaning, in this case, only that it could not have occurred before punk), its story begins in the earliest days of the New York New Wave scene before it was designated as anything more (or less) than just plain old "underground" music. This book is decidedly focused on the core bands that became what is historically known as No Wave between the years of 1976 and 1980 — the primary four as documented on the Brian Eno-produced No New York LP: the Contortions, Teenage Jesus and the Jerks, Mars, and DNA — all of which, despite Mars drummer Nancy Arlen's relationship with the art world, were considered more East Village habitués than SoHo aesthetes. The SoHo bands, seemingly more attuned to the avant-garde performance room the Kitchen and the downtown "alternative spaces" such as Franklin Furnace and Artists Space, were Theoretical Girls, Daily Life, the Static, the Gynecologists, Tone Death, Terminal, and Arsenal. Of course, the bands hardly had such strict geographic distinctions — all everyone really wanted was to play at CBGB and Max's. This was true for the No Wave groups Blinding Headache, Information, and Red Transistor as well as Dark Day and Beirut Slump, two significant bands evolving from DNA and Teenage Jesus. In and around the bands were personalities as infamous as the bands themselves‹from Anya Phillips and Diego Cortez to Boris Policeband and the Seidman sisters to the artist-filmmaker axis of Beth and Scott B, John Lurie, Eric Mitchell, Vivienne Dick, et al. Of course many bands, artists, writers, and individuals intermingled contemporaneously with this faction, most obviously the inspired cliques and circles among the Mudd Club​‐ Glenn O'Brien's TV Party scene and the first-generation Max's Kansas City​CBGB desperado elite, some of whom poke their beautiful heads into this photo essay. But our investigation is directly aimed at the connective development of the aforementioned groups. —Thurston Moore and Byron Coley. Reprinted with permission from "No Wave: Post-Punk" / Abrams Image, 2008. 0810995433 - No Wave: Post-punk Underground New York 1976-1980 by Moore, Thurston; Coley, Byron. No Wave: Post-Punk. Underground. New York. 1976-1980. Thurston Moore, Byron Coley. Published by Abrams Image (2008) Used - Hardcover Condition: VERY GOOD. Quantity available: 1. Light rubbing wear to cover, spine and page edges. Very minimal writing or notations in margins not affecting the text. Possible clean ex-library copy, with their stickers and or stamp(s). Abrams Image, 2008. Hardcover. Condition: VERY GOOD. No Wave: Post-Punk. Underground. New York. 1976-1980. Moore, Thurston; Coley, Byron. Published by Abrams Image (2008) Used - Hardcover Condition: Acceptable. Quantity available: 1. Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included. Abrams Image, 2008. Condition: Acceptable. No Wave: Post-Punk. Underground. New York 1976-1980. Byron Coley. Published by Abrams Image (2008) Used - Hardcover Condition: Very Good. Quantity available: 1. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Abrams Image, 2008. Hardback. Condition: Very Good. No Wave: Post-Punk. Underground. New York. 1976-1980. Thurston Moore, Byron Coley. Published by Abrams Image (2008) Used - Hardcover Condition: Good. Quantity available: 1. Photo illustrated history of the New York music scene in the late 1970s by the former member of Sonic Youth. Moderate wear to printed boards, mainly along edges. Inside pages are clean without marks, inscriptions or fading. Not ex-library. Not a remainder. Binding is firm. s43. Abrams Image, 2008. Hardcover. Condition: Good. 1st Edition. No Wave: Post-Punk. Underground. New York. 1976-1980. Moore, Thurston. Published by Abrams Image (2008) Used - Hardcover Condition: good. Quantity available: 1. 100% Customer Satisfaction Guaranteed ! The book shows some signs of wear from use but is a good readable copy. Cover in excellent condition. Binding tight. Pages in great shape, no tears. Not contain access codes, cd, DVD. Abrams Image, 2008. Condition: good. 1st. No Wave: Post-Punk. Underground. New York 1976-1980. THURSTON MOORE, BYRON COLEY. Published by Abrams Image June 2008 (2008) Used - Hardcover Condition: Like New. Quantity available: 1. Oblong octavo (10 & 1/4' x 8 & 1/4 inch); First/first. Complete number line. No jacket as issued. Clean, sound, no markings. Amazing photographs, amazing writing by two of the most well informed on the subject of all things No Wave. Includes a family tree of No Wave bands. I think there are a couple bands that might be included in this list, but I am not going to pick nits. There certainly are a slew of shall we say, post-no wave bands not included, but that omission was done purposefully. Abrams Image June 2008, 2008. Hardcover. Condition: Like New. First Edition. No Wave: Post-Punk. Underground. New York 1976-1980. Thurston Moore and Byron Coley. Used - Hardcover Condition: Very Good. Quantity available: 1. 2008 Abrams Image hardcover edition. Light reading wear else very good condition. 2008. Hardcover. Condition: Very Good. No Wave: Post-Punk. Underground. New York. 1976-1980. Moore, Thurston; Coley, Byron. Published by Abrams Image (2008) Used - Hardcover Condition: Good. Quantity available: 1. A+ Customer service! Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Abrams Image, 2008. Condition: Good. 3:AM Magazine. The New York Times on Thurston Moore and Byron Coley’s No Wave: Post-Punk. Underground. New York. 1976-1980 book and exhibition: “…’A guitar player like Lydia Lunch was somebody who clearly was not coming out of any kind of tradition,’ said Mr. Coley, a veteran rock critic. ‘She didn’t have a Chuck Berry riff in her.’ The rebelliousness came out in many ways, from song composition — nasty, brutish and short — to the movement’s name, a cynical retort to ‘new wave,’ then emerging as a more palatable variation on punk. The looks were nerdy and androgynous (or, in Ms. Lunch’s case, menacingly oversexed). The sound reflected the squalor and decay of downtown New York in the late ’70s. …Mr. Moore said that only a narrow definition would fit the genre, which was so contrary in its sound and attitude that too much outside context would dilute its impact. ‘We liked the absurdity of how small it was,” he said. “We kept our parameters really tight. We needed a cut-off point, and we cut it off as soon as anybody played any semblance of rock ’n’ roll. Any kind of traditional aspect of rock, it’s over.'” There is an extract from the intro here. The exhibition ( KS Art : 73 Leonard Street, New York) runs until 2 July. The opening, on 13 June, was marked by two back-to-back gigs at the Knitting Factory by Teenage Jesus & The Jerks who reunited for one night only. More on the exhibition here and there. Also of interest.