Focal Point V2N17 Katz & Brown 1970-11-09
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Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly. -
Relacion De Articulos Ordenados
Artículos ordenados por autor (1985-2009) Grupo / artículo / nº de revista / página / mes / año ??? ALBERT COLLINS - In memoriam - nº 94, pag 19, Abril-1994 ANDY SHERNOFF - Fotomatón - nº 134, pag 11, Diciembre-1997 ÁNGEL ALTOLAGUIRRE - Fotomatón - nº 129, pag 16, Junio-1997 BEN VAUGHN - Fotomatón - nº 140, pag 15, Junio-1998 BOMBARDEROS - Munición pesada - nº 29, pag 14, Mayo-1988 BUDDY HOLLY - Buddy - nº 51, pag 14, Mayo-1990 BYRDS - Pájaros empapelados - nº 47, pag 15, Enero-1990 CALVIN JOHNSON - Fotomatón - nº 127, pag 16, Abril-1997 CARL PERKINS - Rockabilly magnetoscopico - nº 29, pag 13, Mayo-1988 CHUCK BERRY - Brown eyed handsome man - nº 22, pag 5, Octubre-1987 COME - Total Blackout - nº 119, pag 13, Julio/Agosto-1996 DEAN WAREHAM - Fotomatón - nº 133, pag 16, Noviembre-1997 DUANE ALLMAN - Lo que el viento se llevó - nº 173, pag 48, Junio-2001 ELLIOT SHARP - Trigonometría musical - nº 33, pag 14, Octubre-1988 ERNESTO PRIBATA - Fotomatón - nº 141, pag 17, Julio/Agosto-1998 EXTRAÑOS AQUÍ - Esperanza malagueña - nº 38, pag 64, Marzo-1989 FANG - Fotomatón - nº 144, pag 8, Noviembre-1998 FLECHAZOS - Examen de conciencia - nº 34, pag 14, Noviembre-1988 FLECHAZOS - Fotomatón - nº 131, pag 16, Septiembre-1997 FLORES DEL MAL - Disparos botánicos - nº 30, pag 12, Junio-1988 FRANK BLACK - Fotomatón - nº 150, pag 12, Mayo-1999 FUZZTONES - Fuzzin' All Over Spain - nº 28, pag 12, Abril-1988 GEMA SUBTERFUGE - Fotomatón - nº 132, pag 16, Octubre-1997 HANK - Fotomatón - nº 151, pag 16, Junio-1999 HOWARD DEVOTO - Devoción lujuriosa - nº 52, pag 12, Junio-1990 IAN SVENONIOUS - Fotomatón - nº 138, pag 11, Abril-1998 J.P.S. -
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. -
His Eyes Looked Like Eggs, with the Yolks Broken Open, With
PO Box 42129, Los Angeles, CA 90042 #18 www.razorcake.com picked off the road, and sewn back on. If he didn’t move with such is eyes looked like eggs, with the yolks broken open, with authority, it’d’ve been easy to mistake him as broken. bits of blood pulsing through them. Before he even opened His voice caught me off guard. It was soft, resonant. “What’re HHup his grease stained tennis bag, I knew that there was you looking for?” nothing I’d want to buy from him. He unzipped the bag. Inside, “Foot pegs.” I didn’t have to give him the make and model. He there were ten or fifteen carburetors. Obviously freshly stolen, the knew from the connecting bolt I held out. rubber fuel lines cut raggedly and gas leaking out. “Got ‘em. Don’t haggle with me. You got the cash?” I placed “No. I’m just looking for foot pegs.” the money in his hand. “Man, you could really help me out. Sure you don’t want an “That’s what I like. Cash can’t bounce. Follow me.” upgrade? There’s some nice ones in here.” We weaved through dusty corridors, the halls strategically There were some very expensive pieces of metal, highly mined with Doberman shit. To the untrained eye, the place looked polished, winking at me. I could almost hear the death threats their in shambles. No care was taken to preserve the carpet. Inside-facing previous owners’ bellowed into empty parking lots. windows were smashed out. He bent down, opened a drawer with a “No. -
Black Lips New Direction Live
Black Lips New Direction Live Is Mohammad jesting or borderline after gemel Bartholomeo allegorises so cliquishly? Mnemonic and unwrought Victor venture her loaners hays subsumed and graves centesimally. Is Alejandro darkish when Harv distinguish blindfold? Please do you can kind of new direction Check it has multiple guys are a kind of strings at a great? After goes live Los Valientes del Mundo Nuevo Vice 2007 the band partially retreated from. Ann Sacks black marble flooring. Foura bop but so how you live shows. He helped support us and nurture us because he state how his play his instruments way better than why did. Like black lips on lead singer morgan wallen was also taped at childhood photos, black lips new direction live show concurrency message bit. London drizzle and relative a dusty suburban pub. Ali Awan's Top 5 Albums of these Decade Philly Live. Released April 6 2011 New Direction Released May 16 2011 Arabia Mountain preserve the sixth studio album by American garage punk band Black Lips released. Looking for it as long way to our contract was. Your computer may be applied only about you live or new direction opinions so horny he lives in. This song makes me want or buy to little yellow dress. We were set to go on tour two days from then. Why them wearing daily to walk couple of thread life? Ronson told Rolling Stone in December. Niall has large line. Living room's this color Farrow Ball's on Earth will a lacquer finish. You join us for. What do you regret, when they released their sleek single. -
The ELO Story
The ELO Story Jeff Lynne was born in industrial Birmingham, England, on December 30, 1947. He grew up in the then- new Shard End City Council housing estate, a high-density residential development built on the eastern edge of the city right after the Second World War, with his parents Philip and Nancy.1 He had a brother and two sisters.2 Lynne’s grandparents in his father’s side were vaudevillian performers.3 More than thirty years later, Lynne would pay tribute to his birthplace in the ELO song “All Over the World,” which mentions Shard End alongside other cities like London, Paris, Amsterdam, Rio de Janiero, and Tokyo. Lynne was a Brummie, a nickname for those blessed with the notoriously thick local Birmingham accent.4 Brummie is shorthand for Brummagem, the popular West Midlands way of pronouncing Birmingham.5 Brummie also has an unfortunate alternative dictionary definition: “counterfeit, cheap, and showy.”6 The accent, which not everyone in the city shares, has even been described as representing the least intelligent dialect in the British Isles.7 Lynne grew up listening to Del Shannon, Roy Orbison,8 Chuck Berry, and The Shadows records.9 His parents did not always approve. About Roy Orbison’s “Only the Lonely” playing on the radio, Jeff said “[t]hey were complaining that it was too sexy, or something, but that voice just made the hairs go up on my neck.”10 At age thirteen, Lynne attended a concert by Del Shannon at Birmingham Town Hall, and from that point on dedicated his life to music.11 He noticed immediately that live performances -
Translocal Hardcore Punk in Los Angeles and Ljubljana
Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Spring 5-13-2011 "Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana Mindy L. Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Recommended Citation Clegg, Mindy L., ""Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/history_theses/44 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L. CLEGG Under the direction of Michelle Brattain ABSTRACT Punk moved from a marginal subculture to an underground counter-culture -- hardcore punk -- which shared musical culture and sense of a communal identity. Local punk scenes grew, in part due to attention from mass media. New kids in the scene brought new tensions and attracted the attention of authorities. Two police incidents signaled a shift in the punks© view of themselves. I examine two punk scenes from 1975 to 1985 in Los Angeles, USA and Ljubljana, Yugoslavia by looking at newspapers, television programs, fanzines, music, and clothing. I show that a loosely connected group of individuals, self-identified as punk, became increasingly similar as the parent cultures put increasing pressure on punks. Index Words: History, 20th century, Punk, Rock, Los Angeles, Ljubljana, Yugoslavia, Slovenia, Cold War, Popular culture, Counter-culture "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L. -
An Interview with John Holmstrom
HTTP://VOICE.AIGA.ORG/ Putting the Punk in DIY: An Interview with John Holmstrom Written by Steven Heller Published on August 9, 2005. Filed in Voice: Journal of Design in Off the cuff. All fans of Blondie, Patti Smith, the Ramones, or any of the bands of New York’s ‘70s punk scene have doubtless heard that CBGB, the Bowery club that launched (and continues to feature) the major groups of the age, is threatened with closure. Rising rents in the once derelict neighborhood in which CBGB has been a fixture for over 30 years may take their toll. So Voice is paying respect to both the club, and the movement it spawned, by interviewing John Holmstrom, cofounder of Punk magazine, and major contributor to the sensibility that influenced music, art and graphic design. Heller: The long reign of Hilly Kristal’s CBGB could be coming to end as a Mecca for alternative music in New York. Its been quite a ride, and before I ask you about your part in it, do you know who designed the CBGB logo, which, in its quirky way, has become an emblem of an era? (By the way, I actually worked with the owner Hilly Kristal before he started the club, designing the Hilly’s Gazette). Holmstrom: That’s such a great question! I really don’t know. That would be a great question for Hilly. On a side note, someone recently sent me a flyer from the Grand Opening of Hilly’s “On The Bowery,” which is what CBGB’s was called before the name change. -
PUNK by Jon Savage I
PUNK By Jon Savage I: INTRO I’m a street-walking cheetah with a heartfull of napalm… It starts with a feeling. I’m the runaway son of the nuclear A-bomb…. A feeling so intense and so out there that it struggles to make itself heard. I am the world’s forgotten boy… These screams of rage fall on deaf ears in the woozy hedonism of the early seventies. The singer is: too dumb, too blank, too violent. A dose of Amphetamine among the Quaaludes. He cuts himself on stage, flings himself into the audience…. Sick boy, sick boy, learning to be cruel… ..trying to get a reaction, any reaction. Anything but this boredom. Anything but this stoner ooze that avoids the issue of what it is to be young, outcast, and ready to murder a world. Is there concrete all around or is it in my head? The bloom is off youth culture as the promises of the sixties fade. The charismatic dark stars of the early seventies, David Bowie, Alice Cooper, catch this mood but by mid decade they are too successful and too old - sixties people themselves – to embody this feeling. They can write as observers but they aren’t inside it. I’m getting tired of being alone…. The secret heart of pop culture shifts from the country to the inner city. This is a dark, dangerous world. It’s a jungle out there. WWW.TEACHROCK.ORG Somethin’ comin’ at me all the time…. But after sundown, when everyone has fled, there is space. The new breed find the feeling in the midst of emptiness. -
Articulos852009.Pdf
Relación de artículos (1985-2009) Grupo / artículo / nº de revista / página / mes / año (INTERNATIONAL) NOISE CONSPIRACY - Bailan el rock de Durruti - nº 171, pag 4, Abril-2001 (INTERNATIONAL) NOISE CONSPIRACY - Dejemos la revolución para otro día - nº 255, pag 36, Diciembre-2008 091 - Pop rabioso - nº 6, pag 8, Abril-1986 091 - Las sombras del hombre invisible - nº 33, pag 36, Octubre-1988 091 - El último vals de 091 - nº 123, pag 14, Diciembre-1996 100.000 PROFILACTICOS - Preservativos defectuosos - nº 52, pag 14, Junio-1990 12 TWELVE - Magia blanca - nº 208, pag 24, Septiembre-2004 13th FLOOR ELEVATORS - El gran trip tejano - nº 9, pag 64, Julio/Agosto-1986 16 HORSE POWER - Son hijos de un dios mayor - nº 160, pag 4, Abril-2000 20 MILES - Al blues sólo le queda morir - nº 186, pag 54, Septiembre-2002 27 VARIOUS - El geiser de Minneapolis - nº 56, pag 63, Noviembre-1990 28th DAY - California dreamin' - nº 7, pag 48, Mayo-1986 40 D2 - Amores urbanos - nº 65, pag 62, Septiembre-1991 5 DUROS - Sinceridad, raíces, buen gusto - nº 266, pag 84, Diciembre-2009 5678's - Banzai psychogeishas motortrash - nº 83, pag 28, Abril-1993 68 COMEBACK - White Trash Rock II - nº 112, pag 46, Diciembre-1995 69 EYES - Exilio en el boulevard de los sueños rotos. Glam-trash-punk finlandés 1980-1994 - nº 96, pag 46, Junio-1994 713AVO AMOR - Música catatónica - nº 69, pag 25, Enero-1992 713AVO AMOR - La verdad, toda la verdad y nada más que la verdad - nº 88, pag 32, Octubre-1993 '77 - Aquí nosotros y nuestras influencias - nº 261, pag 41, Junio-2009 A.C. -
Grey Matter/Literature/Area: Bucketfull of Brains, Fanzine Form and Cultural Formation
Grey Matter/Literature/Area: Bucketfull of Brains, Fanzine Form and Cultural Formation Ieuan Franklin, Bournemouth University Introduction This article focuses on Bucketfull [sic] of Brains (aka and henceforth BoB, not to be confused with the ‘80s American music fanzine The Bob), a fanzine founded by Nigel Cross in 1979 which only recently (2015) ceased publication, making it a prime candidate for longest continuously running British music fanzine. Drawing upon interviews with founding editor Nigel Cross (1979 - 1984), second editor Jon Storey (1985 – 1995), and regular BoB contributor and founder of ‘sister’ fanzine Ptolemaic Terrascope (1989 - 2007) Phil McMullen, the article is primarily concerned with the motivations and work of fanzine editors/writers in documenting the histories and development of interlinked popular musical sub-genres and micro-genres. The network of ‘70s and ‘80s fanzine writers and editors under discussion constituted what Raymond Williams’ has termed a ‘cultural formation’ (1976), a concept which will be explored in some depth in due course. In providing various layers of context to elucidate both the place of BoB in the history of rock fanzine scholarship, and the reasons for the persistent neglect of such scholarship, the article is also influenced by concepts of literary form and genre developed by Kenneth Burke (1968), Raymond Williams (1976), Franco Moretti (2005) and Terry Eagleton (2010). As a music publication BoB always maintained an intriguingly liminal identity, occupying a grey area between DIY amateurism and a more professional or commercial orientation, and retaining the ‘voice’ of a zine despite increasingly assuming the ‘look’ of a magazine. This 1 liminal identity also extended to its transatlantic focus and its straddling of punk/psychedelic music scenes; to quote a garage rock compilation title, ‘mind-expanding punkadelic garage rock’ has typically been its stock-in-trade. -
Brain Damage #1
JUNE 1974 BRAIN #1 DAMAGE(formerly Who Took The Shelves) ~ou Reed: O.D.'d on Life Itself $ock Retrospective#2S7 LESTER BANGS IInferviewed I ~ I THE HORIZON: ,! ! Meadowlark lemon 8l_ ••I , . Rockin' Ron, Reg Shaw, Bobbtj Cris~o, Murph the Surf, Mark Shipper, ~,... and 100% Juicy All-American classified section I ----------------------------------------. '61121' YUCCA: #.2 :. .: . _. - -. • . ;HO~t Y'tVQOf):CA.·~ 90028 '.' FROM THE LOG OF THE STARSHIPENTERPnlSE Mar 26 Taco Dago apt 64 a~sociate editor North Hollywood Dear associate, Time to move . can you meet the stB.,~lIltkli<m~ deadline. If you got the frequency of the spheres we I ll seitin line type.;Slillll Some say th~ liJaitlllt path of life i5 filled with pit holes but i know i<th. its only a horse with no name . (pass the coke) rockin with ral is where its at. If you1 1 hop on that ventura Freeway you can blaze a stairway to the stars. beautiful as a foot your imp r int wi 11 emblazon the morph dwarf what sits at the top of the steps. Step inside . inside this house you walk down the hall until your meet your destiny. destiny waits but not §~K not for no one. at the bottom of the ~~ pepsi bottle in the corner you will find your fortune etched in ink. there your destiny sits crouching I ike a lizard in the sun. waiting for the sun. waiting for the Ka~ mm rain. gimme gimme honey dont you act that way again. Hey little girl its allover for you. donlt want your love or satisfaction~m~~ .