Chris Stein / Negative: Me, Blondie, and the Advent of Punk Free
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1. Mapplethorpe, Robert, “Patti Smith 1 Fifth Avenue,” 1978
Olivia Swinford April 16, 2015 Mood Board 1 Citations 1. Mapplethorpe, Robert, “Patti Smith 1 Fifth Avenue,” 1978. Smith, Patti. Just Kids. New York: Ecco, 2010. 2. "Publicity Shots 1978 - Blondie." Blondie. Accessed April 16, 2015. http://www.blondie.net/photos/publicity-shots/#gallery/1277/1/0. 3. "See Who Was Playing at CBGB This Week in 1975." - The Strut. June 16, 2011. Accessed April 16, 2015. http://www.thestrut.com/2011/06/16/see-who-was-playing-at-cbgb- this-week-in-1975/. 4. Galindo, Brian. "17 Awesome Photos That Captured CBGB's Iconic 1970s Punk Scene." BuzzFeed. September 9, 2014. Accessed April 16, 2015. http://www.buzzfeed.com/briangalindo/17-awesome- photos-that-captured-cbgbs-iconic-1970s-punk- scen?utm_term=1dpwbpa&sub=3440532_3765090#.fd4LQj1Am. 5. Galindo, Brian. "17 Awesome Photos That Captured CBGB's Iconic 1970s Punk Scene." BuzzFeed. September 9, 2014. Accessed April 16, 2015. http://www.buzzfeed.com/briangalindo/17-awesome- photos-that-captured-cbgbs-iconic-1970s-punk- scen?utm_term=1dpwbpa&sub=3440532_3765090#.fd4LQj1Am. 6. Bokuniewicz, Carol "Album Cover, Talking Heads: Remain in Light, 1980." Cooper Hewitt, Smithsonian Design Museum. Accessed April 16, 2015. https://collection.cooperhewitt.org/objects/18644717/. 7. "Patti Smith Group -- Because The Night." Patti Smith Group -- Because The Night. Accessed April 16, 2015. http://www.springsteenlyrics.com/collection/moreinfo.php?item=6096 &height=500&width=700. 8. "Photos | Sex Pistols | The Official Website." Sex Pistols The Official Website. January 1, 2012. Accessed April 16, 2015. http://www.sexpistolsofficial.com/photos/?wppa-album=4&wppa- photo=302&wppa-occur=1. 9. "Punk Art Catalogue - Section II: Punk Magazine & School of Visual Arts - 98 Bowery: 1969-1989." Punk Art Catalogue - Section II: Punk Magazine & School of Visual Arts - 98 Bowery: 1969-1989. -
Kauffman Center for the Performing Arts Announces Rock Show Double-Header to Kick Off Kauffman Center Presents 2017-2018 Season
NEWS RELEASE Contact: FOR IMMEDIATE RELEASE Bess Wallerstein Huff, Director of Marketing Monday, February, 13, 2017 Kauffman Center for the Performing Arts (816) 994-7229 | [email protected] KAUFFMAN CENTER FOR THE PERFORMING ARTS ANNOUNCES ROCK SHOW DOUBLE-HEADER TO KICK OFF KAUFFMAN CENTER PRESENTS 2017-2018 SEASON Blondie & Garbage: The Rage and Rapture Tour to stop at Muriel Kauffman Theatre on July 18 Kansas City, MO – The first announced show of its 2017-18 Kauffman Center Presents season will feature two quintessential rock ‘n’ roll acts. Blondie & Garbage: The Rage and Rapture Tour will perform for one night in Muriel Kauffman Theatre on Tuesday, July 18. Tickets for the show range from $79 to $149, and go on sale to the public at 10 a.m. Friday, February 24. Tickets will be available through the Kauffman Center Box Office at (816) 994-7222, via the Kauffman Center mobile app, or online at www.kauffmancenter.org. ABOUT BLONDIE Singer-songwriter Debbie Harry, guitarist and co-writer Chris Stein, powerhouse drummer Clem Burke and their band- mates in the punk/new wave band Blondie are undeniable pop icons, their sound and sensibility as fresh as when they first topped the charts in the late 1970s. Since their groundbreaking 1978 album Parallel Lines, the members of Blondie have always been a forward-thinking – and forward-moving – group. Their brand of cross-genre rock has spawned hits including “Call Me,” “Rapture,” and “Heart of Glass,” bringing underground sounds into the mainstream. Blondie’s 11th studio album, Po11inator, is out in May. ABOUT GARBAGE Hailing from Madison, WI, Garbage is guitarist Duke Erikson, drummer Butch Vig, guitarist Steve Marker and lead singer Shirley Manson. -
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic Judith A, Peraino "Rip Her to Shreds" is the tide of a song recorded in 1977 by the rock group Blondie; a song in which the female singer cat tily criticizes another woman. It begins with the female "speak er" addressing other members of her clique by calling attention to a woman who obviously stands outside the group. The lis tener likewise becomes a member of the clique, forced to par ticipate tacitly in the act of criticism. Every stanza of merciless defamation is articulated by a group of voices who shout a cho rus of agreement, enticing the listener to join the fray. (spoken! Hey, psf pst, here she comes !lOW. Ah, you know her, would YOIl look ollhlll hair, Yah, YOIl know her, check out Ihose shoes, A version of this paper was read at the conference "Feminist Theory and Music: Toward a Common Language," Minneapolis, MN, June 1991. If) 20 Peraino Rip Her to Shreds She looked like she stepped out in the middle of somebody's cruise. She looks like the Su nday comics, She thinks she's Brenda Starr, Her nose·job is real atomic, All she needs is an old knife scar. CHORUS: (group) 00, she's so dull, (solo) come on rip her to shreds, (group) She's so dull, (solo) come on rip her to shreds.! In contrast to the backstabbing female which the Blondie song presents, so-called "women's music" emphasizes solidarity and affection between women, and reserves its critical barbs for men and patriarchal society. -
Blondie the Platinum Collection Mp3, Flac, Wma
Blondie The Platinum Collection mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: The Platinum Collection Country: Netherlands Released: 1994 Style: New Wave, Pop Rock MP3 version RAR size: 1987 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1660 mb Rating: 4.7 Votes: 725 Other Formats: DMF MP2 VOX AAC WAV ADX AUD Tracklist Hide Credits X Offender 1-1 3:12 Producer – Richard GottehrerWritten-By – Deborah Harry, Gary Valentine In The Flesh 1-2 2:31 Producer – Richard GottehrerWritten-By – Chris Stein, Deborah Harry Man Overboard 1-3 3:21 Producer – Richard GottehrerWritten-By – Deborah Harry Rip Her To Shreds 1-4 3:21 Producer – Richard GottehrerWritten-By – Chris Stein, Deborah Harry Denis 1-5 2:18 Producer – Richard GottehrerWritten-By – Neil Levenson Contact In Red Square 1-6 2:00 Producer – Richard GottehrerWritten-By – Jimmy Destri Kung Fu Girls 1-7 2:31 Producer – Richard GottehrerWritten-By – Deborah Harry, Gary Valentine, Jimmy Destri I'm On E 1-8 2:13 Producer – Richard GottehrerWritten-By – Chris Stein, Deborah Harry (I'm Always Touched By Your) Presence, Dear 1-9 2:43 Producer – Richard GottehrerWritten-By – Gary Valentine Poets Problem 1-10 2:20 Producer – Richard GottehrerWritten-By – Jimmy Destri Detroit 442 1-11 2:28 Producer – Richard GottehrerWritten-By – Chris Stein, Jimmy Destri Picture This 1-12 2:56 Producer – Mike ChapmanWritten-By – Chris Stein, Deborah Harry, Jimmy Destri Fade Away And Radiate 1-13 4:01 Producer – Mike ChapmanWritten-By – Chris Stein I'm Gonna Love You Too 1-14 2:08 Producer -
The Scar Boys by Len Vlahos
The Scar Boys by Len Vlahos “If Brent Runyon’s The Burn Journals (Knopf, 2004) and Stephen Chbosky’s The Perks of Being a Wallflower (Pocket Books, 1999) could be melded into a single work, it might be this one. Distinguished in every way.”—School Library Journal, starred review “Details like how to cut a record, land a gig at the now‐defunct club CBGB (the novel is set in the 1970s and ’80s), or rework a tour when the van breaks down strongly resonate.”—Publishers Weekly “Harry’s obsession with punk music will appeal to music lovers, while his journey to accept himself for who he is—scarred face and all—is one that will likely resonate with any teen trying to find his way in the world..”—Booklist “Etches its way onto the heart and leaves a mark.”—Kirkus Reviews “Playing and touring demand creativity and commitment, forcing the Scar Boys — actually three guys and a girl — to come of age in this wry, stylish tale.” —The New York Times Book Review Summary A severely burned teenager. A guitar. Punk rock. The chords of a rock 'n' roll road trip in a coming‐of‐age novel that is a must‐read story about finding your place in the world. .even if you carry scars inside and out. In attempting to describe himself in his college application essay, Harbinger (Harry) Jones goes way beyond the 250‐word limit and gives a full account of his life. Harry's description of his life in his essay is both humorous and heart‐wrenching. -
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. -
Close-Up with Pioneering Rock Music Photographer Bob Gruen - September 18, 2015 - Newyork.Com 11/14/16, 4:46 PM
Close-up with Pioneering Rock Music Photographer Bob Gruen - September 18, 2015 - NewYork.com 11/14/16, 4:46 PM HOME VISITING NEW YORK LIVING IN NEW YORK Search BROADWAY ▼ HOTELS THINGS TO DO TOURS & ATTRACTIONS EVENTS RESTAURANTS JOBS HOME › JOBS › Everything Jobs › Close-up with Pioneering Rock Music Photographer B... REAL ESTATE HOT 5 COOL JOB Q&A Close-up with Pioneering Rock Music READ MORE ABOUT Photographer Bob Gruen The legendary rock music photographer talks about why he’s more active than » Broadway » Attractions ever, the high school field trip that changed his life and his relationship with » Tours » Restaurants Lennon » Hotels » Real Estate GET WEEKLY September 18, 2015, Craigh Barboza » Jobs 1 Share Like 326 Share Tweet NEWS AND EXCLUSIVE OFFERS When Bob Gruen started taking pictures of rock musicians five decades ago, there was no rock media, Enter your e-mail address SUBSCRIBE or even a nationally distributed journal dedicated to the music. “I didn’t have any role models because the job description ‘rock photographer’ didn’t exist,” Gruen says. “Now I understand you can study it in college.” It would be hard to find a better teacher than Gruen. His work, after all, is a vivid scrapbook of rock ‘n’ roll history in all its messy complexity and magnificence. Pleasant and easygoing with a large nest of curly hair, he is a natural storyteller, capable of rattling off arcane facts about bands or describing the births of various movements as well as memorable tours, performances and the scene inside CBGB. Bob Gruen with Debbie Harry and Chris Stein of Blondie at Gruen’s ‘The 40th Anniversary Of Blondie’ exhibition at Chelsea Hotel Storefront Gallery in 2014 in New York City (Photo: Dimitrios Kambouris/Getty Images) EXPLORE NEW YORK Throughout his illustrious career, Gruen has been seemingly everywhere at once, snapping thousands upon thousands of photos, many of which are encrusted in rock lore. -
Marcella Special Edition: “New Wave” 7 Divjanuary
Cover DIV For . more . diversity Blondie & The Cure Special collage Exclusive interview with Marcella Special edition: “new wave” 7 DIVJanuary Contents 11 4 Exlusive interview with Marcella 7 More about Blondie; Debbie Harry 8 Collage of all popular New Wave bands The Cure will be headlining new 4 11 festivals in the summer of 2019 Interview with Marcella This is Marcella. She was 15 years old when she gotminvolved in the “New Wave” scene. “My grandfather couldn’t appreciate it. He thought my style was not appro- priate. He just couldn’t understand it.” But she didn’t care at all. She saw her New Wave period as temporary: “I wanted to be different, not a standard person”. When she was a kid, She was always Her outfit was also different from her an outsider. She was shy and found it peergroup. Always in black and hairs hard to be in the spotlighgts.She found up (with the help of lots of soap).Her everybody around her standard and make-up was also heavy and black and wanted to divertShe came attached to she wore big earrings.She got a lot of New Wave music by listening to the ra- comments on her looks: “ Everybody dio at night - at times where the played was always complaining on the way I less known music. At those years she looked. Too dark and a misfit.” could get to the library and serach for this music herself. She got home with “I remember how much effort it took albums from The Cure, U2, Simple to get my hairs straight up. -
The Heebie-Jeebies at CBGB's Explores the Intersection of Jewish
For Release: October 2006 Contact: Sara Hoerdeman Publicity Manager Independent Publishers Group (312) 337-0747 ext. 236 [email protected] **digital cover image available** The Heebie-Jeebies at CBGB’s explores the intersection of Jewish identity and punk rock **Jewish-owned punk landmark, CBGB, will close on October 1, 2006** CHICAGO: On October 1, 2006, CBGB will shut its doors for good. The little Lower East Side Jewish-owned club became the center of the New York City punk scene, and on the eve of its closing, a new book examines its role, and that of Jews in the punk movement. The Heebie-Jeebies at CBGB’s: A Secret History of Jewish Punk (Chicago Review Press, October 2006) by Steven Lee Beeber delves into punk’s beginnings in New York City and discovers it to be the most Jewish of rock movements, both in makeup and attitude. The Heebie Jeebies at CBGB’s offers a fascinating mix of biography and cultural study that explores the lives of Jewish punks and creates an in-depth historical overview of the punk scene. In the early 1970s, from in and around New York, came a rag-tag assortment of young people. They came from a wide range of backgrounds, from comfortable and conservative middle class families to poor and immigrant origins, but despite their differences, they all had something burning inside. Fueled by the humor of Lenny --more-- Bruce—and more strongly influenced by their Jewish heritage than even they knew— they emerged, raw, ambitious and ready to rock, into the New York scene and changed music forever. -
Rip “Her” to Shreds
Rip “Her” To Shreds: How the Women of 1970s New York Punk Defied Gender Norms Rebecca Willa Davis Senior Thesis in American Studies Barnard College, Columbia University Thesis Advisor: Karine Walther April 18, 2007 Contents Introduction 2 Chapter One Patti Smith: Jesus Died For Somebody’s Sins But Not Mine 11 Chapter Two Deborah Harry: I Wanna Be a Platinum Blonde 21 Chapter Three Tina Weymouth: Seen and Not Seen 32 Conclusion 44 Bibliography 48 1 Introduction Nestled between the height of the second wave of feminism and the impending takeover of government by conservatives in 1980 stood a stretch of time in which Americans grappled with new choices and old stereotypes. It was here, in the mid-to-late 1970s, that punk was born. 1 Starting in New York—a city on the verge of bankruptcy—and spreading to Los Angeles and London, women took to the stage, picking punk as their Trojan Horse for entry into the boy bastion of rock’n’roll. 2 It wasn’t just the music that these women were looking to change, but also traditionally held notions of gender as well. This thesis focuses on Patti Smith, Deborah Harry, and Tina Weymouth—arguably the first, and most important, female punk musicians—to demonstrate that women in punk used multiple methods to question, re-interpret, and reject gender. On the surface, punk appeared just as sexist as any other previous rock movement; men still controlled the stage, the sound room, the music journals and the record labels. As writer Carola Dibbell admitted in 1995, “I still have trouble figuring out how women ever won their place in this noise-loving, boy-loving, love-fearing, body-hating music, which at first glance looked like one more case where rock’s little problem, women, would be neutralized by male androgyny.” According to Dibbell, “Punk was the music of the obnoxious, permanently adolescent white boy—skinny, zitty, ugly, loud, stupid, fucked up.”3 Punk music was loud and aggressive, spawning the violent, almost exclusively-male mosh pit at live shows that still exists today. -
Artist-Provided Bios Festival
ARTIST-PROVIDED BIOS FESTIVAL HEADLINERS: The Motet – Friday Aug. 10 at 8:30 p.m. on Mountain Avenue Stage Music and escapism go hand-in-hand, and a concert or an album can unlock another world, if you let it. The Motet respect and revere this time-honored phenomenon. Fusing fiery funk, simmering soul and improvisational inventiveness, the Denver, CO seven-piece—Lyle Divinsky [vocals], Dave Watts [drums], Joey Porter [keyboards], Garrett Sayers [bass], Ryan Jalbert [guitar], Parris Fleming [trumpet] and Drew Sayers [saxophone]—have continually provided an escape for listeners over the course of seven full-length albums since 1998, including their latest release, “Totem.” That extends to countless sold-out shows and festivals everywhere from Bonnaroo, Electric Forest, and Summer Camp to All Good Music Festival and High Sierra Music Festival as well as 16 consecutive years of themed Halloween concerts. After quietly building a diehard and devoted following, 2016 represented a watershed year for the musicians. They welcomed Lyle and Drew into the fold and released Totem, which drew acclaim from Relix, AXS, 303 Magazine and many others. For the first time, The Motet sold out the legendary Red Rocks Amphitheater—the holy grail venue of their hometown—cataloged on “Live at Red Rocks.” Sell-outs followed everywhere from The Fillmore (San Francisco) and Tipitina’s (New Orleans) to Brooklyn Bowl (Brooklyn), Park West (Chicago) and Crystal Ballroom (Portland). The group locked into an unbreakable groove. Following Jam Cruise and a second Red Rocks gig, the band fired up the new single “Supernova.” Strutting between hypnotic horns and swaggering guitars, the track sees The Motet blast off to another galaxy. -
Don Lombardi Danny Seraphine
s s ISSUE 11 ||| 2014 ||| DWDRUMS.COM a a Tommy Clufetos of Black Sabbath on location at the MGM,a Las Vegasa s s Contents Editor’s Notes: A Passion for Innovation ARTIST FEATURES 10 FULL THROTTLE: JON THEODORE At Drum Workshop, our mission statement In the driver’s seat with the Queens of the Stone Age stick man is fairly straightforward: Solve problems for drummers. To do so, means we have to constantly 16 DECADES WITH DW: DANNY SERAPHINE improve, remain ceaselessly innovative, and push Revisiting a Chicago and DW original the envelope of design. Whether it’s a top-of-the- 18 BIG GIGS: ARIN ILEJAY & CHRISTIAN COMA line product or a price-conscious one, the goal is Metal’s newest heavy hitters get friendly with Atom Willard the same. As a company, we were founded on this principle and it’s just as valid and relevant today, 22 TOMMY CLUFETOS maybe more so. Ozzy’s powerhouse joins Black Sabbath for a massive sold-out tour Steve Jobs once said, “Innovation distinguishes between a leader and a follower.” 32 BLUE MAN GROUP The most unique act in drumming joins the DW family There is no doubt that harnessing a wide range of ideas can be a daunting task and, let me assure 36 NOTEWORTHY: COADY WILLIS you, at DW there’s no shortage of ideas. The key See what all the buzz is about with half of The Melvins’ percussive attack seems to lie in looking at the entire landscape and deciding what’s most important and what 46 FOCUS: STEPHEN PERKINS will make the biggest impact on the drumming Nothing is shocking to this Alternative Rock pioneer community.