Arbiter, April 13 Students of Boise State University
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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. -
New York Dolls Butterflyin' Mp3, Flac, Wma
New York Dolls Butterflyin' mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues Album: Butterflyin' Country: UK Released: 2015 Style: Rock & Roll, Blues Rock MP3 version RAR size: 1583 mb FLAC version RAR size: 1793 mb WMA version RAR size: 1253 mb Rating: 4.1 Votes: 311 Other Formats: MOD RA MP4 MMF VOX DMF MPC Tracklist Radio Broadcast (Recorded At My Fathers Place, N.Y. 14th April 1974) A1 Puss 'N' Boots A2 Looking For A Kiss A3 Trash A4 Stranded In The Jungle A5 Personality Crisis A6 Bad Girl B1 Pills B2 Hoochie Coochie Man B3 It's Too Late B4 Chatterbox B5 Human Being Companies, etc. Recorded At – My Father's Place Credits Bass – Arthur Kane Coordinator [Project] – Carlton P. Sandercock* Design, Layout – Les Clark Drums – Jerry Nolan Guitar, Vocals – Johnny Thunders, Sylvain Sylvain Lead Vocals – David Johansen Liner Notes – Nina Antonia Mastered By – Patrick Bird Photography By [Cover] – Gisbert Hanekroot Notes ℗ & © Easy Action Recordings/New York Dolls Cover Image shot in Hilversum, Holland, on 6 December 1973 Pressed on pink vinyl and inclding a poster Barcode and Other Identifiers Barcode: 5 060174 957819 Other versions Category Artist Title (Format) Label Category Country Year EARS074 New York Dolls Butterflyin' (CD, Album) Easy Action EARS074 UK 2015 Related Music albums to Butterflyin' by New York Dolls Steve Vai - New York, My Father's Place 18/3/'83 New York Dolls - Greatest Hits 73-75 New York Dolls - In Too Much Too Soon New York Dolls - Too Much Too Soon New York Dolls - Dancing Backward In High Heels New York Dolls - Looking For A Kiss New York Dolls - Teenage News New York Dolls - Live From Royal Festival Hall, 2004 Johnny Thunders & The Heartbreakers - L.A.M.F. -
Diedrich Diederichsen
portàtils Quaderns 04 Paradoxical Models of Authenticity in Late 60s/early 70s Rock Performance Diedrich Diederichsen heroin-cool. Not many people probably still know the names Arthur Kane aka Killer Kane, Jerry Nolan, Sylvain Sylvain or even Billy Murcia aka Billy Doll. And even I can’t say exactly who among them is still alive, playing in some New York club, or who died years ago of an overdose. At least Thunders, Nolan and Murcia are dead. Killer Kane, I rember I have been told, has become a Mormone to battle several addictions and then died recently and someone has made a biopic about him. Nevertheless, many know the name; many will even like the music and remember the legend. But very few people will remember the original reception of the New York Dolls in 197. Before I continue about them I will present my central argument, so that you have something to hold onto during my maybe unstructured and too associative journey through some cultural constellations of rock music, pop culture and performance art. Paradoxical Models My central point is this: What distinguishes rock culture and its several offspring and revivals from other forms of pop music or subculture-related music, especially contemporary elec- of Authenticity in tronic pop music, is its ideology of the authentic, from here on called authenticism. This authenticism is something rock culture has in common with certain forms of performance art, as well as theatre. And it has become even more ideological and ossified since the very practises that developed the ideology in the first place have been threatened by other Late 60s/early 70s new media practises and technologies, which claim to be more advanced. -
Kennedy and Garter in Florida: an Undemogatic Encounter a Pre- Nursery-School Guide for the Teachable Twos
Kennedyand Garter in Florida: An Undemogatic Encounter A Pre-Nursery-school Guide for theTeachable Twos lIo$uchThing AsPun[ ...Peoplenoticed the Mudd Club;Blondie went platinum..." Beat on the brat Beat on the brat Beat on the brat with a baseball bat. Oh yeah! -The Ramones I thought I was gonna die. There I am at the Mudd Club, four in the morning and I'm exhausted,aching, malnour- ished.This guy in an M.P.'s uniform is perchedin front of me, pointing a macheteat my heart. Two feet to my right a Legr McNell: girl in a German prostitute'soutfit is doing a heavy make. People call him out scenewith a small teenageboy in a Green Beret uni- the orlglnal form. Her lipstick is all over his face. Somebodyelse thinks punk. Dontt it would be a good idea if I slipped on thesehandcuffs he's even Urlnk of proffering. crorcing hlm. The band onstage,Shrapnel, is in full military regalia and screaming and shooting at the audience. I'm sitting on the stage,the lead singer'sbig black boot crashes down, inches from my hand. Johnny "She wanted to do the goose step lhunderr: with me," the singer sang. "I said no He drlvee t{re way bitch, I got my own countree." audiencer at I'd had a little too much to drink or Martr wild wit{t something and wandered outside. It hir rtiring was hard to leave because so many r.endltlon of people were standingbehind the ropes, "Too Much waiting to get in. Somebodywas wear. -
Plexus, London Blondie's New York Roots
unseen 1976 . 1980 Roberta BayleY Plexus, London Blondie's New York Roots In April of 1974, I arrived in New York, not knowing a single Television at Max’s Kansas City. That was something different. glitter scene, which relied on vintage discoveries for its glamour. Blondie were doing gigs at White’s Pub, where Debbie was soul. I had a list of ‘friends of friends’ upon whom to call, and While Patti had been playing around New York for awhile, I had As glitter faded, so did satin and lace. Something new had to also a barmaid. This was where I first saw them play live. Here that was it. I called a woman on my list named Judy Markham, not heard anything about her. I liked Television a lot, they were take its place, and Richard Hell was undoubtedly one of the Debbie also met Anya Phillips, briefly a fellow barmaid and and she invited me to stay at her loft on Warren Street. The next both electrifying and funny, but Patti was a complete revelation masters of this new style. He turned the necessity of holding general all-round girl on the scene. Anya would become a close day, I located an old friend named John Newman from San to me. I had never seen a performer like her, so very his clothes together with safety pins and staples into a look. No friend of both Debbie and myself. She would design some of Francisco, who was living in Brooklyn and had a spare room. I mesmerising and hypnotic. -
In Their Five Years As a Work Ing Band
In their five years as a work ing band - from their first flush of notoriety in early ’66 as the house combo for Andy Warhol’s traveling pop-art circus, the Explod ing Plastic Inevitable, to August 1970, when Reed abruptly left the group dur ing a legendary residency at Max’s Kansas City, in New York - the Velvet Under ground dared with an al most reckless enthusiasm to liberate rock & roll from arrested adolescence. They aspired to the higher grounds of art and litera ture, addressing drug addic tion, sexual deviance and the harsh realities of the decade’s high times with reportorial frankness and explored the orchestral pos sibilities of guitar distor tion and droning feedback. Even in a rock & roll era continually shaken and reshaped by the rapid-fire innovations of Bob Dylan, Brian Wilson and the Beat les, the Velvets distin guished themselves as poet ic extremists, daring to marry the seemingly con tradictory joys of free jazz, the classical avant-garde, doo-wop, folk-noir balladry and primal R&B into a sin-, gular music of corrosive vital ity and deep, at times painful ly personal spirituality. Many of the biggest stars and prime movers in rock & roll during the last 30 years have been ardent VU disci ples, and among them are David Bowie, Patti Smith, Brian Eno, Talking Heads, R.E.M., Ua, Henry Rollins and Sonic Youth. For many bands - known and unknown - covering a Velvets song is like a rite of passage; one of Nirvana’s early recordings was a version of “Here She Comes Now,” on a 1991 VU tribute album. -
Drums and Maga- Dimuzio, Peter Erskine, Vic Firth, Bob Tzines
WIN LAMB OF GOD • FRANZ FERDINAND • CHRIS CUTLER A Zildjian/Tré Cool GREEN DAY Prize Package Valued At Over $6,600! JULY 2009 The World’s #1 Drum Magazine 12 REASONS TO LOVE U2’S LARRY MULLEN JR. YEAH YEAH YEAHS’ BRIAN CHASE JOHN RILEY DRUM ENLIGHTENMENT MD READERS POLL RESULTS THE FANTASTICF OUR GERALD HEYWARD, NISAN STEWART, CORA COLEMAN-DUNHAM, AARON SPEARS FROM THE CHURCH TO THE SHED PRETENDERS’ MARTIN CHAMBERS NADA SURF’S IRA ELLIOT MODERNDRUMMER.COM SUPERCHUNK’S JON WURSTER VORTEX TRIBE’S MINGO LEWIS REMO • ISTANBUL MEHMET • SABIAN • CANOPUS ON REVIEW July_2009_Cover.indd 1 4/23/09 4:03:27 PM CV2.qxd 4/23/09 11:24 AM Page CV2 001-005.qxd 4/23/09 10:40 AM Page 1 001-005.qxd 4/23/09 10:41 AM Page 2 001-005.qxd 4/23/09 10:41 AM Page 3 001-005.qxd 4/23/09 10:41 AM Page 4 001-005.qxd 4/23/09 10:42 AM Page 5 006_TOC 4/23/09 3:27 PM Page 6 CONTENTS Volume 33, Number 7 Cover photo by Alex Solca Paul La Raia 104 Alex Solca 64 48 Paul La Raia 16 UPDATE FEATURES THE PRETENDERS’ MARTIN CHAMBERS VORTEX TRIBE’S MINGO LEWIS MODERN DRUMMER’S 2009 ALTERED’S STEVE HOLMES 28 18 GIMME 10! READERS POLL RESULTS JON WURSTER The road and recording vet with Superchunk, Robert Pollard, and Bob Mould has seen it all. Who’s hot today to the most knowledgeable drum fans in the world? Some familiar faces—and quite a few first-timers as well. -
All Dolled Up: a New York Dolls Story
Posted: Tue., Dec. 13, 2005, 4:05pm PT All Dolled Up: A New York Dolls Story A Music Video Distributors Inc. production. Produced by Bob Gruen, Rick Fuller. Executive producers, Ed Seaman, Darren Hill, Dan Jagunich. Directed By Bob Gruen, Nadya Beck. With: David Johansen, Arthur Kane, Jerry Nolan, Sylvain Sylvain, Johnny Thunders. By DENNIS HARVEY 'All Dolled Up: A New York Dolls Story' uses early video footage to explore the impact of the seminal New York glam punk band. A Great White Hype that disappointed commercial hopes in its brief early '70s existence, Manhattan's New York Dolls has been upheld ever since as a quintessential cult band ahead of its time. Boiling down 40 hours of footage shot over three years, "All Dolled Up" is a wonderfully intimate on- and off-stage portrait that sees the quartet going from brash, optimistic kids to jaded veterans. Already available on DVD, pic is playing San Francisco's Roxie Cinema in conjunction with the concurrent docudocu "New York Doll," about late bassist Arthur "Killer" Kane, and further limited theatrical exposure seems apt. Friends as well as fans of the group early on, rock photog Bob Gruen and wife Nadya found the musicians delighted to be frequent subjects for their new portable video camera. There was no thought of using the footage commercially, since hardly anyone then had the ability to view videotape. Described accurately enough by Joel Siegel in a local TV news item as "a cross between the Rolling Stones and Alice Cooper," the Dolls were a New York City sensation almost immediately, inheriting the Velvet Underground's role as resident cutting-edge idols at legendary club Max's Kansas City. -
TOMMY CLUFETOS the Journeyman Drummer Has Single-Mindedly Ignored Distractions
!N)NCREDIBLE0RIZE 0ACKAGE&ROM2OLAND /::934/--9#,5&%4/3s0!339/52#/,,%'%!5$)4)/. 7). 6ALUED!T/VER $ECEMBER 4HE7ORLDS$RUM-AGAZINE 353)%)"!22! !.$ 4(% -$02/0!.%, (/44/0)#3&/24/$!9´3$25--%2 #(!$3-)4( 7),,#!,(/5. *!3/.")44.%2 !,,)3/.-),,%2 (/2!#)/(%2.!.$%: 0!5,7%24)#/ 2/$-/2'%.34%). *%&&$!6)3 -/$%2.$25--%2#/- $!.)%,',!33 #(2)30%..)% 0%4%2%23+).% Volume 34, Number 12 CONTENTS 46 28 TOMMY CLUFETOS The journeyman drummer has single-mindedly ignored distractions Paul La Raia and focused solely on what’s important: the song, the groove, and slamming beats like his life depends on it. 34 REXSELL HARDY JR. At a young age, the future Mary J. Blige drummer knew he was preparing for big things. Today his résumé features some of the greatest artists on the R&B and gospel scenes, including Chaka Khan, Kirk Franklin, Keri Hilson, and Marvin Sapp. His mantra for success? Go hard, or go home. 43 THE 2011 MD PRO PANEL The Modern Drummer Pro Panel is an annually revolving group of internationally recognized player/commentators with one essential purpose: to help us master the physical and mental techniques of our noble instrument, the drumset. 46 SUSIE IBARRA Drummer/composer and 2011 MD Pro Panelist Susie Ibarra not only bucks tradition in “out” jazz, she boldly ignores the limits of a drum- 28 34 mer’s influence on the world stage. Alex Solca 58 COLLEGE BOUND! Planning on attending a music school? We illuminate many of the steps to take in order to apply and audition with success. -
Johnny Thunders and the Original Heartbreakers Dead Or Alive Mp3, Flac, Wma
Johnny Thunders And The Original Heartbreakers Dead Or Alive mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Dead Or Alive Country: UK Released: 1985 Style: Rock & Roll, Punk MP3 version RAR size: 1496 mb FLAC version RAR size: 1479 mb WMA version RAR size: 1715 mb Rating: 4.3 Votes: 186 Other Formats: MOD MP3 MP4 VOC VQF AU AHX Tracklist 1 Chinese Rocks 2 Pipeline 3 Personality Crisis 4 One Track Mind 5 Too Much Junkie Business 6 Born To Lose 7 Hurt Me 8 You Can't Put Your Arms Around A Memory 9 Eve Of Destruction 10 Like A Rolling Stone 11 In Cold Blood 12 Seven Day Weekend 13 So Alone 14 Just Because I'm White 15 Baby Talk 16 Do You Love Me 17 Sad Vacation Credits Bass – Billy Rath Drums – Jerry Nolan Edited By – Torquil Dearden Film Producer, Edited By – Eddie Babbage Guitar, Vocals – Johnny Thunders, Walter Lure Other versions Category Artist Title (Format) Label Category Country Year Johnny Thunders And The Dead Or Alive Jungle Visual JVD1 JVD1 UK 1984 Original Heartbreakers* (VHS, PAL) Displays Johnny Thunders And The Dead Or Alive Jungle Visual JVD1 JVD1 US 1985 Original Heartbreakers* (VHS, NTSC) Displays Johnny Thunders And The Dead Or Alive Jungle Visual none none UK 1985 Original Heartbreakers* (VHS, TP) Displays Johnny Thunders And The Dead Or Alive H128-1004 SMS Records H128-1004 Japan 1985 Original Heartbreakers* (VHS, RE) Johnny Thunders And The Dead Or Alive Cherry Red CRDVD 005 CRDVD 005 Europe 2001 Heartbreakers* (DVD, PAL) Films Related Music albums to Dead Or Alive by Johnny Thunders And The Original Heartbreakers Johnny Thunders & The Heartbreakers - L.A.M.F. -
Jerry-Nolan-1.Pdf
BY CURT WEISS aking their initial splash in McLaren, who had managed the Dolls M 1972, drugs, bad business at the time of their split. The goal was deals and internal fighting to spread punk beyond London to the caused the New York Dolls outer regions of the U.K. This tour, to implode in 1975. Since then they which besides the Pistols, also fea- have been name checked as influenc- tured the Clash and the Damned, was ing Kiss, Aerosmith, Poison, so controversial that of the nineteen Morrisey, Guns and Roses and the shows booked only three were Punks of 1976 as well as 2006. Now, allowed to go on, as local town coun- over thirty years past their initial cils were terrified that Punk would breakup, a successful reunion of two subvert their children. When they did surviving members and documen- get to perform, the other bands taries of two deceased members have gawked from the side of the stage in left Jerry Nolan, their drummer who amazement at the simple awe inspir- passed away in 1992, unjustly over- ing power of the Heartbreakers driven looked. His sixtieth birthday would by Jerry’s commanding drumming. have been May 7, 2006 making this Like his first student, boyhood friend an opportune time to re-examine his and Kiss drummer Peter Criss, all of influence and contributions. these bands improved after watching think that the Dolls or the band he Jerry. Unfortunately for Jerry, they all At a time when the accepted great started with fellow ex-Doll Johnny had more success as well. -
Urban Space and the Birth of Punk
Harriet L. Wilkes Honors College Honors Theses Florida Atlantic University Libraries Year Urban Space and the Birth of Punk Paul Fletcher This paper is posted at DigitalCommons@Florida Atlantic University. http://digitalcommons.fau.edu/wilkes theses/9 URBAN SPACE AND THE BIRTH OF PUNK by Paul Fletcher A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences With a Concentration in History Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2006 URBAN SPACE AND THE BIRTH OF PUNK by Paul Fletcher This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Christopher Ely, and has been approved by the members of his supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ___________________________ Dr. Christopher Ely ___________________________ Dr. Daniel White ___________________________ Interim Dean, Wilkes Honors College ____________ Date ii I owe a few people a great deal of gratitude for their guidance, keen insight, and emotional assistance during this long, arduous saga that I like to refer to as my Honors Thesis. These people are: Dr.Ely, for without his support, encouragement, and excitement, I would have given up a long time ago; Amanda Kennedy, for the long hours she spent discussing, correcting, and advising my thesis, without her, I would also be at a great loss; my father, Orland Fletcher, for encouraging and funding my education, without his support, I would not feel as happy and fulfilled as I do now.