Richard Hell Blank Generation Vinyl
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The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Decadence 1969-76 (These are excerpts from my book "A History of Rock and Dance Music") As usual, the "dark age" of the early 1970s, mainly characterized by a general re-alignment to the diktat of mainstream pop music, was breeding the symptoms of a new musical revolution. In 1971 Johnny Thunders formed the New York Dolls, a band of transvestites, and John Cale (of the Velvet Underground's fame) recorded Jonathan Richman's Modern Lovers, while Alice Cooper went on stage with his "horror shock" show. In London, Malcom McLaren opened a boutique that became a center for the non-conformist youth. The following year, 1972, was the year of David Bowie's glam-rock, but, more importantly, Tom Verlaine and Richard Hell formed the Neon Boys, while Big Star coined power-pop. Finally, unbeknownst to the masses, in august 1974 a new band debuted at the CBGB's in New York: the Ramones. The future was brewing, no matter how flat and bland the present looked. Decadence-rock 1969-75 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Rock'n'roll had always had an element of decadence, amorality and obscenity. In the 1950s it caused its collapse and quasi-extinction. -
Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….…………. -
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. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Raising pure hell a general theory of articulation, the syntax of structural overdetermination, and the sound of social movements Peterson II, Victor Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 RAISING PURE HELL a general theory of Articulation, the syntax of structural overdetermination, and the sound of social movements by Victor Peterson II dissertation presented for the degree of Doctor of Philosophy King’s College, London 2018 Acknowledgements Meaning is made, value taken. -
06-Feb-21 SHOW NAME HOST NAME CRTC TIME START TIME
06-Feb-21 SHOW NAME HOST NAME CRTC TIME START TIME FINISH ARTIST/PSA SONG ALBUM Revolution Rock Dave Konstantino CODE & Adam Peltier 12 19:01 19:06 Talking The Kid With The Replaceable Head 21 Richard Hell & The Voidoids (Destiny Street Remaster) Destiny Street Complete Staring In Her Eyes (Destiny Street 21 Richard Hell & The Voidoids Repaired) Destiny Street Complete 21 Richard Hell & The Voidoids Time (Destiny Street Remixed) Destiny Street Complete 21 Richard Hell & The Voidoids Don't Die (Single Version) Destiny Street Complete 12 19:20 19:25 Talking 12 19:25 19:44 Richard Hell Interview Part One 21 Richard Hell & The Voidoids Love Comes In Spurts Blank Generation 21 Richard Hell & The Voidoids I'm Your Man Time 21 Richard Hell The Hunter Was Drowned Time 21 Dim Stars Baby Huey (Let's Dance) Dim Stars 12 19:55 20:00 Talking 21 20:02 20:25 Richard Hell Interview Part Two 21 Richard Hell & The Voidoids You Gotta Lose Another World EP 21 Neon Boys That's All I Know (Right Now) Spurts: The Richard Hell Story 21 The Heartbreakers Hurt Me (Demo) Time 21 Television Blank Generation (Live) Spurts: The Richard Hell Story Funhunt: Live at CBGB's 21 Richard Hell & The Voidoids Ignore That Door (Live) & Max's 1978 and 1979 12 20:41 20:47 Talking Lowest Common Dominator (Destiny 21 Richard Hell & The Voidoids Street Remaster) Destiny Street Complete 21 Richard Hell & The Voidoids Going Going Gone (Demo) Destiny Street Complete 21 Richard Hell & The Voidoids Funhunt (Demo) Destiny Street Complete 12 20:55 20:57 Talking Destiny Street (Destiny Street 21 Richard Hell & The Voidoids Remixed) Destiny Street Complete *** If you do use this program please let me know that you are using it via email at [email protected] *** **This episode does not feature any Can Con. -
Never Mind the Sex Pistols, Here╎s CBGB the Role of Locality and DIY
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene Ariana Bowe Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Bowe, Ariana, "Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene" (2020). Senior Capstone Projects. 1052. https://digitalwindow.vassar.edu/senior_capstone/1052 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Bowe 1 Vassar College Never Mind The Sex Pistols, Here’s CBGB The Role of Locality and DIY Media in Forming the New York Punk Scene A thesis submitted in partial satisfaction of the requirements for the degree Bachelor of Arts in Media Studies. By Ariana Bowe Thesis Advisers: Professor Justin Patch May 2020 Bowe 2 Project Statement In my project, I will explore the New York City venue CBGB as one of the catalysts behind the rise of punk subculture in the 1970s. In a broader sense, I argue that punk is defined by a specific local space that facilitated a network of people (the subculture’s community), the concepts of DIY and bricolage, and zines. Within New York City, the locality of the punk subculture, ideas and materials were communicated via a DIY micro-medium called zines. -
Robert Quine Page 1 of 1 6/14/2004
Page 1 of 1 Robert Quine (Filed: 14/06/2004) Robert Quine, who has died aged 61, was acknowledged to be one of the most original and formidably talented guitarists in rock music; a founder member of American punk band The Voidoids, he later worked with Lou Reed, Tom Waits, Lloyd Cole and Brian Eno. At first glance, Bob Quine appeared an unlikely punk. A nephew of the philosopher W V Quine, he was a tax lawyer until his mid-thirties, by which time he was already nearly bald. Even at the height of his success, he took to the stage in a well-ironed shirt and black sports jacket, his only concession to attitude being the wearing of sunglasses. Equally out of keeping with punk's ethos was his command of his instrument, from which he produced an intense, aggressive, dissonant sound. Lou Reed acclaimed him as "a magnificent guitar player . an innovative tyro of the vintage beast". His skills are best preserved on Blank Generation, the album he recorded with Richard Hell in 1977. Having renounced the law, he was then working in a Greenwich Village bookshop with Hell and Tom Verlaine, both members of the proto-punk group Television. Hell, having fallen out with Verlaine and later with Johnny Thunders of The Heartbreakers, which he had gone on to join, put together a new band with Quine, Ivan Julian and Marc Bell (later of The Ramones) - The Voidoids. Quine coaxed suitably angry sounds from his Stratocaster to frame Hell's nihilistic yet purposeful lyrics, and the LP - especially its title track - became an underground success. -
SXSW 2011 Showcasing Artists 1135 Songs, 3 Days, 6.61 GB
Page 1 of 33 SXSW 2011 Showcasing Artists 1135 songs, 3 days, 6.61 GB Name Time Album Artist 1 ready & willing 4:59 SXSW 2011 Showcasing Artists Above All 2 Right Now 3:15 SXSW 2011 Showcasing Artists AC and DELL 3 When Your Love Is Safe 4:27 SXSW 2011 Showcasing Artists Active Child 4 Smile for me, Sun 3:54 SXSW 2011 Showcasing Artists Adam & Alma 5 She Comes To Me 4:37 SXSW 2011 Showcasing Artists Adam Arcuragi & The Lupine Cho… 6 Sound The Alarn 4:37 SXSW 2011 Showcasing Artists Adept 7 Squealing Pigs 3:22 SXSW 2011 Showcasing Artists Admiral Fallow 8 I'm Alright 3:41 SXSW 2011 Showcasing Artists Agent Ribbons 9 No Nostalgia 3:24 SXSW 2011 Showcasing Artists AgesandAges 10 Vampire 4:22 SXSW 2011 Showcasing Artists Ahoora 11 Nail Biter 3:43 SXSW 2011 Showcasing Artists Aislyn 12 Get Yourself Free 4:23 SXSW 2011 Showcasing Artists Akina Adderley & The Vintage Pl… 13 Jackpot 3:41 SXSW 2011 Showcasing Artists The Albertans 14 Smile 4:44 SXSW 2011 Showcasing Artists The Alchemist 15 My Eyes To See 4:08 SXSW 2011 Showcasing Artists Alcoholic Faith Mission 16 The Robot 2:46 SXSW 2011 Showcasing Artists Alessi's Ark 17 Buy Me 2:21 SXSW 2011 Showcasing Artists Alex Khoury 18 Down The Drain 3:13 SXSW 2011 Showcasing Artists Alexis Foxe 19 An Iris 3:33 SXSW 2011 Showcasing Artists All Tiny Creatures 20 Late Bloomer 4:11 SXSW 2011 Showcasing Artists Allie Moss 21 Patience Is Strength 3:30 SXSW 2011 Showcasing Artists Alvarez Kings 22 Dark Into Light 3:54 SXSW 2011 Showcasing Artists AM & Shawn Lee 23 Swimmer, Dreams Don't Keep 3:09 SXSW 2011 Showcasing Artists Amanda Shires 24 After It Breaks 3:27 SXSW 2011 Showcasing Artists Amber Digby & Midnight Flyer 25 Le Kick 2:50 SXSW 2011 Showcasing Artists American Fangs 26 Mr. -
1 2 | Lonestarmusic Lonestarmusic | 3
LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue SHOVELS AND ROPE pg 38 O’ What Two Can Do The triumphant union, joyful noise and crazy good times of Cary Ann Hearst and Michael Trent by Kelly Dearmore FEATUREs 34 Q&A: Paul Thorn — By Lynne Margolis 48 Sunny Sweeney finds the light — By Holly Gleason 52 Lee Ann Womack: When I come around — By Richard Skanse 56 Cory Branan: The wandering musical spirit of Americana’s free-ranging “No-Hit Wonder” — By Adam Daswon 58 Imagine Houston: An excerpt from Reverb, the new novel by Joe Ely Photo courtesy of All Eyes Media 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Design: Melissa Webb Advertising/Marketing: Kristen Townsend Apart from the opportunity to work with a team of really good people Advertising: Tara Staglik, Erica — especially graphic designer Melissa Webb, who I’d already known and Brown greatly respected for years — one of the things that appealed most to me Artist & Label Relations: Kristen Townsend about joining this magazine five years ago was owner Zach Jennings’ vision that LoneStarMusic could be about more than just Texas music. Even more Contributing Contributing and Writers Photographers than Texas Red Dirt music. We all agreed that we would still focus on songwriters and roots and/or country(ish) music — pretty much anything Richard Skanse John Carrico that could directly or even indirectly fall under the category of “Americana” in Lynne Margolis Lynne Margolis Brian T. -
).1Ar..R. O UT ETTE
ISSUE 256 A i t u sFEBRUARY 26, 1979 ..).1Ar..R. O UT ETTE ho signed these guys?" into the production of erstwhile That's the time-honored gospel singer Mavis Staples's W response to much of the solo albu m — which brings up a music that comes pouring out of major A&R problem. the vinyl pipelines each month, "If you're doing black music and anyone who's ever received, today and it's not disco," Wexler say, a fresh-pressed Jobriath says, "you've got a hell of a albu m in the mail can surely problem on your hands. I mean, sympathize. so many doors seem to be closing In an effort to throw some light on the artist & repertoire Meaning radio? Exactly: "It's business — that process by almost a cliche. Everything's so which artists are sought out, formularized; there's no more signed, and ultimately marketed inn free-form, there's no place to go, — Walrus conducted a survey of there's no underground. And of key major-label A&R personnel course a very terrible thing to on both coasts. How do they deal with is the virtual Coventry perceive their job? What are that black music has been put their special problems in into by FM radio — by the world, evaluating new talent? What I mean. Sure it's demographics, does the public want? How does and its the advertisers and radio help — or hinder — them? people playing safe. But if this The answers were illu minating, isn't another reversion to racism to say the least. -
Patterson Hood Looks Back to Move Forward on His New Best Release, Murdering Oscar (And Other Love Songs)
ONE YEAR ISSUE! FREE! METRIC • ASHER ROTH • CYCLE OF PAIN THE GINGER ENVELOPE • ST. VINCENT • CAGE THE ELEPHANT • MATTHEW SWEET CARS CAN BE BLUE • EELS • AND MORE! FOR FANS OF MUSIC & THOSE WHO MAKE IT ISSUE 8 TEN QUESTIONS WITH...311 THE UNDYING ROCK Father OPERA GIRLS IN ATHENS ROCK... Knows LITERALLY NIC CAGE: A STAR’S Best: TREK Patterson Hood PLUS! ULTIMATE Looks Back to MUSICIAN’S Move Forward GEAR GUIDE ATHFEST TURNS 13: OUR 2009 GUIDE 13th annual 4 days of music, art, camping & loving le: Profi SWOP 13th annual No overlapping sets, 35 Headlining Bands, 40+ Hours of music, All Ages, rain or Shine, Even Better VIP section, Microbrews, Kids area, Family camping, Drum circles, Food & Craft vendors & much much more! Ad Name: Full Flavor Closing Date: 1.7.9 Trim: 8.25 x 10.75 Item #: PSE20089386 QC: RR Bleed: 8.75 x 11.25 Job/Order #:594830-199138 Pub: Athens Blur Live: 7.5 x 10 cover story Father Knows (14) Athens legend and Drive By-Truck- ers frontman Patterson Hood looks back to move forward on his new Best release, Murdering Oscar (And Other Love Songs). —Alec Wooden (41) (45) After 19 years, 311 continues Athens’ homegrown music to uplift spirits with reggae- and arts festival continues infused rock on the first to get stronger with each album in nearly four years. passing year. tenquestions with311 — Nicole Black No — Alec Wooden Mystery About it: (51) (45) Ten bands beat the new singles craze and prove the concept album is back on the rise. turns — Natalie B. -
Robert Quine Interview- Perfect Sound Forever
Robert Quine interview- Perfect Sound Forever http://www.furious.com/perfect/quine.html ROBERT QUINE Interview by Jason Gross (November 1997) Who is Robert Quine? According to him, he 'remains one of the most compelling, appalling and universally hated figures in music history.' If you think that's a little too generous, Kenneth Coleman has written his own tribute to Quine. Let me just say that I don't see how you can just say that Quine is a sideman or collaborator who happened to work with Richard Hell, Lou Reed, Brian Eno, Tom Waits, Matthew Sweet and others- he's been an important part of their music, critically shaping it. Since most of his work has been working with these better-known performers, he hasn't become a household name himself. His guitar playing is certainly distinctive enough to warrant this but the fact is that he technically has only two albums to his name (both collaborations). Even so, anyone familiar with his work is rabid about him as I found out when I asked around to drill up some support for this interview. Any old session man can play the right notes in time but Quine just plain TEARS IT UP and takes no prisoners. You KNOW when he plays a solo. How about calilng him a guitarist's guitarist? You get the picture. Enormous thanks go out to Phillip Bull, Scott Russell, Christopher Hamilton, Michael Piper and ESPECIALLY JIM DEROGATIS AND ALICE SHERMAN! JUNE 2004: Old friend Jim Marshall reports to us that Quine took his own life.