Ork Records: New York, New York Boxed Set (4Xlp, 120Pg Book) out Orktober 30Th Via Numero Group

Total Page：16

File Type：pdf, Size：1020Kb

Ork Records: New York, New York Boxed Set (4xLP, 120pg book) Out Orktober 30th via Numero Group Where in the mythos of punk is there room for a frizzy-haired cinephile San Diegan? How could the defining rock attitude and look of the late 1970s get brainstormed by two go-nowheres from a boarding school in Hockessin, Delaware—a D student and kid voted Most Unknown by his senior class? Forget the worn-out yarns about London gobbers and safety-pin piercings—the true story of the birth of punk rock on 45 is the story of Ork Records, captured by Numero Group on four hefty LPs (or two shiny compact discs) and told across 120 high-gloss pages filled with insider photos and sordid details. It is a story populated by iconic names like Television, Alex Chilton, Lester Bangs, Richard Hell, the Feelies, Patti Smith, Talking Heads, Brian Eno, Blondie and the Ramones. And it's a tale told from the hallowed grounds of CBGB, Max’s Kansas City, and Ardent Studios. This is a story of dreamers, junkies and Lou Reed’s cock...lies told about Lou Reed's cock, but still: it’s in there. This a story so glorious and important that it’s shocking to think that it’s never been told until now. Only the Numero Group could properly tell it, as it is a tale of imploding ambitions and underdog hustlers with a litany of heartbreaks and financial straits—a tale of indispensable rock 'n' roll made by people unjustly dispensed by history and the masses. For all the Record Geek Valhalla names mentioned earlier, there are even more forgotten heroes involved in this narrative that measure up to those Hall of Famers. Chris Stamey, the Tar Heel new-waver who cut “The Summer Sun,” the greatest power-pop single of its time, a bittersweet strut that whips up a blissful breeze amid August heat. Mick Farren, the leather-clad fantasy novelist and former Deviants frontman from the UK who turned a Rolling Stones tune into disco-scuzz huffing motorcycle fumes. Jon Tiven, the Sarah Lawrence dropout who scraped Alex Chilton from the depths of his Memphis Quaalude pit and squeezed a few more drops of genius from the Big Star burnout. Student Teachers, the Revelons, the Erasers, Marbles, the Idols. All should’ve-beens, all gold. The legend began on wax with Television’s “Little Johnny Jewel,” the poetic head-splitter spread across two sides of a 45 in 1975. But it all began, in fact, with Terry Ork, a Jewish SoCal film nerd enthralled by Andy Warhol’s posse as they made a transgressive surfing flick, who moves cross-country to manage a movie memorabilia shop on the grubby streets of the Lower East Side. Made in the shadows of disco and dereliction in late-‘70s Manhattan, Ork Records: New York, New York is not just the genesis of punk, it is the birth of the New York City scene and indie culture as we know it. For more information, contact: Jacob Daneman | Pitch Perfect PR - [email protected], 773-271- 6844 .

Copy Link

Recommended publications

Star Shines at Shell
May 24, 2014 Star Shines at Shell PHOTO BY YOSHI JAMES Homage to cult band’s “Third” kicks off Levitt series By Bob Mehr The Levitt Shell’s 2014 summer season opened Friday night, with a teeming crowd of roughly 4,000 who camped out under clear skies to hear the music of Memphis’ greatest cult band Big Star, in a show dedicated to its dark masterpiece, Third. Performed by an all-star troupe of local and national musicians, it was yet another reminder of how the group, critically acclaimed but commercially doomed during their initial run in the early 1970s, has developed into one of the unlikeliest success stories in rock and roll. The Third album — alternately known as Sister Lovers — was originally recorded at Midtown’s Ardent Studios in the mid-’70s, but vexed the music industry at the time, and was given a belated, minor indie-label release at the end of the decade. However, the music and myth of Third would grow exponentially in the decades to come. When it was finally issued on CD in the early ’90s, the record was hailed by Rolling Stone as an “untidy masterpiece ... beautiful and disturbing, pristine and unkempt — and vehemently original.” 1 North Carolina musician Chris Stamey had long been enamored of the record and the idea of recreating the Third album (along with full string arrangements) live on stage. He was close to realizing a version of the show with a reunited, latter- day Big Star lineup, when the band’s camp suffered a series of losses: first, with the passing of Third producer Jim Dickinson in 2009, and then the PHOTO BY YALONDA M.
[Show full text]
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world.
[Show full text]
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores.
[Show full text]
October 1983
VOL. 7, NO. 10 Cover Photo by Rick Malkin FEATURES ALEX VAN HALEN Rock musicians are often accused of being more concerned with the rock 'n' roll lifestyle than with the music. That lifestyle is very much a part of Alex Van Halen's image, but underneath that image is a serious musician who has a lot to say about drums and drumming, and he says it here in this MD exclusive. by Robyn Flans 8 PHILLIP WILSON For a drummer to have played with such diverse groups as The Art Ensemble of Chicago and the Paul Butterfield Blues Band indicates that his musicianship is not limited in any way, and that is certainly true of Phillip Wilson, who has a knack for weaving seemingly contrasting influences together into one unique style. by Chip Stern 16 DRUMS AROUND THE WORLD Japan's Stomu Yamash'ta; England's Ronnie Verrell; Brazil's Ivan Conti; Canada's Steve Negus; Israel's Aron Kaminski; Den- mark's Alex Riel. 20 FRANK BEARD In this revealing interview, Frank Beard, the unpretentious, self-taught drummer for ZZ Top, discusses his career from his early emulations of '60s British rock bands, to his later involvement with a psychedelic group, and his present position as a member of the highly successful, Texas-based rock trio. by Susan Alexander 26 ROCK CHARTS COLUMNS "Lowdown In the Street" PROFILES 74 by James Morton ON THE MOVE Nelson Montana 30 ROCK PERSPECTIVES A Left-Handed Perspective REVIEWS EDUCATION by Robert Doyle 92 ON TRACK 94 CLUB SCENE STRICTLY TECHNIQUE PRINTED PAGE 96 Handling the Ups and Downs Triplets With Buzz Rolls 46 by Joe Morello by Rick Van Horn 100 NEWS COMPLETE PERCUSSIONIST UPDATE Junkanoo EQUIPMENT by Robyn Flans 110 by Neil M.
[Show full text]
How to Get a Job with a Record Company HIGH JUNE 1978 51.25 ENEL 1111111111.114- 91111F08398
In How to Get a Job with a Record Company HIGH JUNE 1978 51.25 ENEL 1111111111.114- 91111f08398 The Quest for the Ultimate- Two Experts Take Contrary Views Laboratory/Listening Reports: New Speakers from AdventJBLKoss LeakScott - gn 411.11. 06 0 7482008398 hied it not only gives le base greater density, le glue between the eces acts to damp bration. So when you're Common staples can work themselves loose, which is why Pioneer uses aluminum screws >tening to a record, you to mount the base plate to the base. on't hear the turntable. THINKING ON OUR FEET Instead of skinny screw -on plastic legs, oneer uses large shock mounted rubber feet iat not only support the weight of the turntable, Stiff plastic legs merely support most turntables, Pioneer's massive spring -mounted rubber feet also reduce feedback. t absorb vibration and reduce acoustic -edback. So it you like to play your music loud The ordinary lough to rattle the walls, you won't run the risk platter mat is flat. Ours is concave rattling the turntable. w compensate for warped records. FEATURES YOU MIGHT OTHERWISE Smaller, OVERLOOK. conventional platters are more subject to Besides the big things, the PL -518 has other iMIIIIIIIIIIMgimmo.umm. speed variations than our massive ss obvious advantages. PV platter Our platter mat, for example, is concave to )mpensate for warped records. screws to seal the base plate to the base. The platter itself is larger than others in this It's details like these as wellas advanced price range, which means it technology that gives the PL -518an incredibly stays at perfect speed with high signal-to-noise ratio of 73 decibels.
[Show full text]
Xperience Monthly – August 2019
Music Art Culture Rejuvenate August 2019 Volume 1, Issue 7 Buck Dharma Inside the green room with one of 22 the most iconic rock guitarists.. Graham Tichy Passing on a life-long tradition 18 to create tomorrow’s sound.,. www.radioradiox.com Free August 2019 Page 3 Music Art Culture Revolution The Nice People on the Planet Graham Tichy A new generation of players are learning to take over the Capital Region, and Graham Tichy’s at the blackboard. Page 18 Photo provided. (l - r) Pete Donnelly, Pete Hayes, Mike Gent With a raw determination to gather no moss, The Figgs forge ahead on a massic project, one of evolution and revolution. bUCK dHARMA Neither Blue Oyster Cult nor The Figgs are a band that transformative too. When you guitarist Buck Dharma are By Liam Sweeny haved carved out their own lem- go back from your earlier work fearing the reaper as they continue to tour. onade stand on the edge of that to now, how would you say its Page 22 usic’s a hard road. The superhighway. Thirty years out, evolved with the time, either as rock and roll dream is close to as many albums released, the pure music itself, or in the Msomething you can do The Figgs (Mike Gent, Pete Don- way you put it together? with a guitar, a garage and a ful- nelly, and Pete Hayes) deliver Mike: We started in August of ly-stocked bar. No, I’m talking a very textured and energetic 1987 so I guess we’ve now been at Observations about music.
[Show full text]
PRESS RELEASE TUESDAY 22ND NOVEMBER 2017 Those Pretty Wrongs Available for the UK and Ireland in May 2017
PRESS RELEASE TUESDAY 22ND NOVEMBER 2017 Those Pretty Wrongs available for the UK and Ireland in May 2017 Contact: James Walker Brighthelmstone Promotions: [email protected] Bob Paterson: [email protected] Media enquiries: [email protected] Brighthelmstone Promotions in conjunction with our booking partners BPA Live are delighted to announce that we will be booking a UK and Irish tour for Those Pretty Wrongs (Featuring tracks from their self-titled release as well as a few select Big Star songs). The tour is scheduled for May 2017. Further information regarding this unique musical collaboration can be found below. Those Pretty Wrongs are Jody Stephens (Big Star) and Luther Russell, two old friends and veterans of the music scene in different ways. Jody was the drummer for the legendary band Big Star and now helps run equally legendary Ardent Studios in Memphis. Luther Russell was the leader of seminal roots-rock band The Freewheelers and is now an acclaimed solo artist and producer of such acts as Richmond Fontaine, Fernando Viciconte, Ned Roberts, Trujillo and Sarabeth Tucek. It was the documentary Big Star: Nothing Can Hurt Me that brought Jody and Luther together creatively, when Jody asked Luther to join him for some promo performances. A chemistry was immediately noticed. They began writing songs and performing them whenever possible, soon taking their name from the opening line of Shakespeare Sonnet 41, which they slipped into one of their first collaborations, “Fool Of Myself”. Burger Records released the first track they cut in Memphis, “Lucky Guy”, with “Fool Of Myself” as the flip side.
[Show full text]
****10 Tag'' a BILLBOARD SPOTLIGHT: PAGE 51
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) Z04£-L0906 V3 H3V39 91101 V t 3AV W13 04LE 0911 9Zi Z (,jnjrjrjnntjjjnjnjjnjnrjnrjjrjnjnrjjnjtjj005Z£Ó33TTÓOA1tJOW 959 0919 tZ00W34L2339L0906t 906 1I9I0-£ ******* TA3J11X9t THE INTERNATIONAL NEWSWIEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT REACHING 110 COUNTRIES NOVEMBER 21, 1998 THERE'S A NEW SOUND FOR THE SEASON... "Unigram' Takes Shape, But Details Unresolved V:Awn/.l-CJGf/Ief,;/I2 A Billboard staff report. The broad strokes may have been The switch has not been finalized, through" in December (Billboard, painted, but none of the lines has says a senior PolyGram executive, Nov 14). l%')Gr2P/.lIeß'i NEW YORK -While the proposed been filled in yet, says one executive but "it has essentially been agreed." "No final decisions have been involved in the consolidation process. Paul McGuinness of Dublin -based made," says Universal Music "Strikingly original." master plan to consolidate PolyGram Management says, "We do spokesman Bob Bernstein, who -- People and the Universal Music Group In fact, some of the senior label exec- Principle (UMG) into one company has been utives who are upset by how not know as of now where declines further comment. "...the best selling album of the season." revealed via press reports in advance their new roles are being certain players are going to Rank and file employees, who have --NT Times of official word, the thousands of defined in the consolidated end up. This is by no means been anxious since the deal was first details needed to make the scheme company are said to be lob- RSAL done and dusted." announced in mid -May to see how the "Amazing...powerful..." work are still being sorted out, accord- bying to overturn some of The relationship between two companies will be fitted togeth- --Scott Shannon/WPLJ ing to executives at both companies.
[Show full text]
Rock and Roll Music
Rock & Roll Michael Hardaker, HRDMIC006 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts specialising in Creative Writing Faculty of the Humanities University of Cape Town 2017 This work has not been previously submitted in whole, or in part, for the award of Universityany degree. It is my ownof work.CapeEach significant Town contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 2017-08-21 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT Through unfolding, fragmentary memoirs, the disconnected odyssey of Nick Numbers, a rock music critic working in London and LA through the 1970s into the early 1980s, Rock & Roll explores the multiple realities that exist between documentary, documentable fact and supposedly pure fiction. Real people and verifiable occurrences are interwoven with invented characters and situations in a way that blurs any clear distinction between the two. The book also sees how the power of additions such as images and footnotes can add, or perhaps undermine, authority and credibility to a story. Meanwhile, stories connect the twin musical and lyrical strands, black rhythm and blues and the writings of the Beat generation, that somehow merged in the mid-1960s to produce rock music.
[Show full text]
New York City's Societal Influence on the Punk
Department of Humanities, Northumbria University Honours Dissertation New York City’s Societal Influence on the Punk Movement, 1975-1979 Gavin Keen BA Hons History 2016 This dissertation has been made available on condition that anyone who consults it recognises that its copyright rests with its author and that quotation from the thesis and/or the use of information derived from it must be acknowledged. © Gavin Keen A dissertation submitted in partial fulfilment of the requirements for the degree of BA (Hons) History !1 Contents Introduction: ‘Fear City’ and the Creation of a Scene 3 Chapter 1: ‘Trying to turn a trick’:The NYC Sex Industry and its Influence on Punk 8 Chapter 2: ‘All I see is little dots’: The NYC Drug Industry and its Influence on Punk 15 Chapter 3: ‘Yuck! She’s too much’: Gender and Sexuality in NYC and Punk 22 Conclusion: ‘New York City Really Has It All’: Punk as a Social Commentary 33 Appendices 37 Bibliography 43 !2 Introduction ‘Fear City’ and the Creation of a Scene New York’s economic situation in the mid 1970s saw unprecedented levels of austerity imposed upon the city and, as a result, contributed to the creation of what the historian Dominic Sandbrook described as ‘a terrifying urban Hades’.1 Swathes of New Yorkers were riled by the closure of libraries, hospitals and fire stations and had their anger compounded by subway fare hikes, the abolition of free public college education and severe cuts to public service employment; a total of sixty three thousand public servants, ranging from teachers to police officers, were put out of work.2 The drastic economic measures implemented by Mayor Abraham Beame as part of the conditions of New York’s federal financial bail out contributed significantly to a rise in crime and societal dysfunction across the city.
[Show full text]
PUNK AS a COUNTER CULTURE in CBGB FILM a Thesis Submitted To
PUNK AS A COUNTER CULTURE IN CBGB FILM A Thesis Submitted to Faculty of Adab and Humanities In Partial Fulfillment of the Requirements for The Degree of Strata One (S1) ZAKI ARI SETIAWAN 1112026000100 ENGLISH LANGUAGE AND LITERATURE DEPARTMENT FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2017 ABSTRACT Zaki Ari Setiawan, Punk as a Counter Culture in CBGB Film. A Thesis: English Letters Department. Adab and Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta, 2017. This research is aimed to show how punk culture portrayed as a counter culture in CBGB film. Through qualitative method and descriptive analysis, this research use the characterization of Joseph M. Boggs and counter culture concept by Theodore Roszak to analyze the film. Based on the research findings, punk is depicted as a rebel, socially aware, and not judging from someone status. On contrary, the society in CBGB (Country, Blue Grass, Blues) film depicted as a money oriented, only thinking about the profit from their job and dress neatly. After understanding the characteristic of punk and society, it can be seen that they reject TV because it is part of the popular culture that has a low quality, punk also leave their family as the form of Do It Yourself motto. Moreover, they also reject how society dress, for this reason, punk prefer to have a scruffy dress. Besides that, punk counter against the economic system as the dominant ideology, they are not money oriented. In addition, punk counter the previous music style by playing raw and aggressive music style.
[Show full text]
1 Ervin Jarek 2017 PHD.Pdf
ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character.
[Show full text]