Rock and Roll

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Rock and Roll from Iggy Pop to Brian Eno through CBGB and David Byrne Levels B1 – C2 - David Herz From around 1973 to the early 1980s, the CBGB club scene in New York City reinvented rock and roll. Despite its name, Country Blue Grass Blues, of which the club had none, everyone from The Police to Patti Smith to Richard Hell and the Voidoids graced its cramped space and genius sound engineer who made the sound there so memorable. The club claims to have invented underground rock or at least a street level variety…. The variety of acts and styles that went through its doors when I was there from 1976 to 1979 included: The Ramones, who made one two three four a rock anthem with simple and lovable melodies, Television which brought guitar improvisation to a new height of artistry, The Cramps who made Rockabilly right for normal people, The Talking Heads led by the all round and still around musical genius David Byrne , Wayne Country and transvestite rock, the transvestites and Hells Angels who were there, The Dictators with their macho brand of rock, Suicide who played not long ago at the Fondation Cartier in Paris, and of course Richard Hell and the Voidoids whose guitarist later played with Lou Reed . This is New York at its most dangerous and rock and roll at its most vital, before AIDS, just before crack cocaine, a city riddled with crime, art, literature and invention. In this course you will sing the lyrics, hear the songs, analyze the context and the meaning of it all. Your grade will be based on participation and presentations. .

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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.
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Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 1 Opened in 1973 on Bowery in Manhatt
Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 Opened in 1973 on Bowery in Manhattan’s East Village, CBGB was a bar and music venue which features prominently in the history of American punk rock, New Wave and Hardcore music genres. The club’s owner, Hilly Kristal, was always involved with music and musicians, having worked as a manager at the legendary jazz club Village Vanguard booking acts like Miles Davis. When CBGB first opened its doors in the early seventies the venue featured mostly country, blue grass, and blues acts (thus CBGB) before transitioning over to punk rock acts later in the decade. Many well know performers of the punk rock era received their start and earliest exposure at the club, including the Ramones, Patti Smith, Television, Blondie, and Joan Jett. During the New Wave era, performers like Elvis Costello, Talking Heads and even early performances from the Police graced the stage in the now legendary venue. Located at 315 Bowery, which is situated near the northern section of Bowery before it splits into 3rd and 4th Avenues at Cooper square, the original building on the site was constructed in 1878 and was used as a tenement house for 10 families with a shop (liquor store) on the ground floor. In 1934, 315 and 313 were combined into one building and the façade was redesigned and constructed in the Art Deco style, as documented in the 1940 tax photo. At that time, the building was occupied by the Palace Hotel with a ground floor saloon.
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From Vintage Collectors and Mixology Fans to Surf, Rockabilly and Punk Music Scenesters, the Escapist Vibes of the Tiki Scene Still Have a Strong Hold on Los Angeles
THE BEST TIKI DRINKS REVISITING GORDON PARKS’ CONTROVERSIAL PHOTO ESSAY TV’S FUTURE IS FEMALE ® AUGUST 2-8, 2019 / VOL. 41 / NO.37 / LAWEEKLY.COM From vintage collectors and mixology fans to surf, rockabilly and punk music scenesters, the escapist vibes of the tiki scene still have a strong hold on Los Angeles. And at Tiki Oasis in San Diego, everyone comes out to play. BY LINA LECARO 2 WEEKLY WEEKLY LA | A - , | | A WWW.LAWEEKLY.COM Welcome to the New Normal Experience life in the New Normal today. Present this page at any MedMen store to redeem this special offer. 10% off your purchase CA CA License A10-17-0000068-TEMP For one-time use only, redeemable until 06/30/19. Limit 1 per customer. Cannot be combined with any other offers. PAID ADVERTISEMENT 3 LA WEEKLY WEEKLY | A - , | | A THANK YOU, SENATOR DURAZO, FOR PUTTING PEOPLE BEFORE DRUG COMPANY PROFITS. WWW.LAWEEKLY.COM AARP thanks the members of the Senate Judiciary Committee for standing up for Californians and passing AB 824. This legislation would prohibit brand-name drug companies from paying generic manufacturers to delay the release of lower priced drugs. AARP strongly supports this important fi rst step towards ending the anti-competitive practices of big drug companies and lowering prescription drug prices for everyone. Too many people are struggling to make ends meet while the big drug companies continue to rake in billions. AARP encourages the entire Senate to pass AB 824, and put a stop to drug company price gouging. facebook.com/AARPCalifornia @AARPCA AARP.org/CA Paid For by AARP 4 L August 2-8, 2019 // Vol.
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Arrive a Tourist. Leave a Local
TOURS ARRIVE A TOURIST. LEAVE A LOCAL. www.OnBoardTours.com Call 1-877-U-TOUR-NY Today! NY See It All! The NY See It All! tour is New York’s best tour value. It’s the only comprehensive guided tour of shuttle with you at each stop. Only the NY See It All! Tour combines a bus tour and short walks to see attractions with a boat cruise in New York Harbor.Like all of the NYPS tours, our NY See It All! Our guides hop o the shuttle with you at every major attraction, including: START AT: Times Square * Federal Hall * World Trade Ctr. Site * Madison Square Park * NY Stock Exchange * Statue of Liberty * Wall Street (viewed from S. I. Ferry) * St. Paul’s Chapel * Central Park * Trinity Church * Flatiron Building * World Financial Ctr. * Bowling Green Bull * South Street Seaport * Empire State Building (lunch cost not included) * Strawberry Fields * Rockefeller Center and St. Patrick's Cathedral In addition, you will see the following attractions along the way: (we don’t stop at these) * Ellis Island * Woolworth Building * Central Park Zoo * Met Life Building * Trump Tower * Brooklyn Bridge * Plaza Hotel * Verrazano-Narrows Bridge * City Hall * Hudson River * Washington Square Park * East River * New York Public Library * FAO Schwarz * Greenwich Village * Chrysler Building * SOHO/Tribeca NY See The Lights! Bright lights, Big City. Enjoy The Big Apple aglow in all its splendor. The NY See The Lights! tour shows you the greatest city in the world at night. Cross over the Manhattan Bridge and visit Brooklyn and the Fulton Ferry Landing for the lights of New York City from across the East river.
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Robfreeman Recordingramones
Rob Freeman (center) recording Ramones at Plaza Sound Studios 1976 THIRTY YEARS AGO Ramones collided with a piece of 2” magnetic tape like a downhill semi with no brakes slamming into a brick wall. While many memories of recording the Ramones’ first album remain vivid, others, undoubtedly, have dulled or even faded away. This might be due in part to the passing of years, but, moreover, I attribute it to the fact that the entire experience flew through my life at the breakneck speed of one of the band’s rapid-fire songs following a heady “One, two, three, four!” Most album recording projects of the day averaged four to six weeks to complete; Ramones, with its purported budget of only $6000, zoomed by in just over a week— start to finish, mixed and remixed. Much has been documented about the Ramones since their first album rocked the New York punk scene. A Google search of the Internet yields untold numbers of web pages filled with a myriad of Ramones facts and an equal number of fictions. (No, Ramones was not recorded on the Radio City Music Hall stage as is so widely reported…read on.) But my perspective on recording Ramones is unique, and I hope to provide some insight of a different nature. I paint my recollections in broad strokes with the following… It was snowy and cold as usual in early February 1976. The trek up to Plaza Sound Studios followed its usual path: an escape into the warm refuge of Radio City Music Hall through the stage door entrance, a slow creep up the private elevator to the sixth floor, a trudge up another flight
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June-Oct 2021
JUNE-OCT FREE & BENEFIT 2021 PERFORMANCES SUMMERSTAGE.ORG SUMMERSTAGE NYCSUMMERSTAGE SUMMERSTAGENYC SUMMERSTAGE IS BACK More than a year after the first lockdown order, SummerStage is back, ready to once again use our city’s parks as gathering spaces to bring diverse and thriving communities together to find common ground through world-class arts and culture. We are committed to presenting a festival fully representing the city we serve - a roster of diverse artists, focused on gender equity and presenting distinct New York genres. This year, more than ever before, our festival will focus on renewal and resilience, reflective of our city and its continued evolution, featuring artists that are NYC-born, based, or inextricably linked to the city itself. Performers like SummerStage veteran Patti Smith, an icon of the city’s resilient rebelliousness, Brooklyn’s Antibalas, who have married afrobeat with New York City’s Latin soul, and hip hop duo Armand Hammer, two of today’s most important leaders of New York’s rap underground. And, as a perfect symbol of rebirth, Sun Ra’s Arkestra returns to our stage in this year of reopening, 35 years after they performed our very first concert, bringing their ethereal afro-futurist cosmic jazz vibes back to remind us of our ongoing mission and purpose. Our festival art this year also reflects our outlook -- bold, bright, powerful -- and was created by New Yorker Lyne Lucien, an award-winning Haitian artist based in Brooklyn. Lucien is an American Illustration Award Winner and a finalist for the Artbridge - Not a Monolith Residency. She has worked as a photo editor and art director at various publications including New York Magazine, The Daily Beast and Architectural Digest.
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The Evolution of Emo and Its Theoretical Implications 175
The Evolution of Emo and Its Theoretical Implications 175 Mirosław Aleksander Miernik The Evolution of Emo and Its Theoretical Implications The purpose of this article is to analyze how emo, a youth subculture, evolved in the United States during a period of approximately twenty five years, since the mid-1980s, particularly focusing on how it changed in regard to the zeitgeist of the time period, as well as how it appropriated various elements of past subcultures into itself in order to create its own subcultural identity. Special attention will be paid to the third incarnation, which emerged at the beginning of the twenty-first century and proved to be the most widespread variation of the subculture. It is also interesting how this incarnation was affected by historical events such as the Columbine High School Massacre and 9/11. The theoretical implications of emo are the second issue that this article at- tempts to tackle. In particular, when viewed from the perspective of post-subculture studies, it allows one to revisit certain theories of the Centre for Contemporary Cultural Studies at the University of Birmingham (CCCS), which pioneered sub- culture studies in the 1960s and 70s. The relationship between post-subculture studies and the CCCS’s approach has always been very complex. Even though many representatives of post-subculture studies criticized the CCCS for various shortcomings, most significantly for an a priori approach that ignores empirical evidence and limits the concept of authenticity within subcultures (Muggleton 19–30). At the same time, the work of the CCCS has been always treated with respect and considered a milestone.
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America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).
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The Origins of Iconic Images from NYC's Musical History Explained
COLUMNS COLUMNS LANDMARKS MAX THE BRONX NEUHAUS' The places, spaces, and monuments of A column on "TIMES NYC's musical past, the gear and processes present, and future. that inform SQUARE" the music we make. when antonín dvoRák came to New York from the Old World, he was on a quest, as he put it, to “discov- er” American music, as if it were a rare earth element or it's short-sighted to claim a country a creature from the depths of the sea. In an 1895 essay has a single distinct sound. But even with glob- for Harper’s Magazine, the Czech composer wrote, from al hardware distribution as good as it has ever his house at 327 East 17th Street: “The music of the peo- been, we are all still interested in the kinds of ple is like a rare and lovely ﬂower growing amidst en- creative restraints that geography puts on the croaching weeds. Thousands pass it, while others tram- QUEENS sounds we make. Harald Björk, a 2013 Red ple it under foot, and thus the chances are that it will Bull Music Academy participant, makes synthe- perish before it is seen by the one discriminating spirit sizer music in Sweden. We spoke with him about who will prize it above all else.” MANHATTAN the gear he uses, Swedish and otherwise, and This idea of one person entranced by a siren song how these machines have shaped his sound. while surrounded by the oblivious hordes is in keeping with Max Neuhaus’ “Times Square” installation, which RBMA: What Swedish synthesizers are popu- sits beneath a series of metal grates on Broadway be- lar in Sweden? tween 45th and 46th Streets.
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I Heard That One a Lot, Y'know, When I Was Six, Seven, Eight Years Old. of Course, Every Kid Learns That Pattern and Tries
“OK! Let’s give it to ’em right now!” screamed Jack Ely of the Kingsmen into this microphone at the start of the guitar solo for “Louie Louie.” With its simple song structure, three-chord attack and forbidden teenage appeal, this single song inspired legions of kids in garages across America to pick up guitars and ROCK. “Louie Louie” has become a touchstone in the evolution of rock’n’roll, and with over 1500 recorded cover versions to date, its influence on teenage culture and the future DIY punk underground can’t be underestimated. Ely’s vocals were so rough and unintelligible that some more puritanical listeners interpreted the lyrics as being obscene and complained. This rumor led several radio stations to ban the song and the FBI even launched an investigation. All of this only fueled the popularity of the song, which rocketed up the charts in late 1963, imprinting this grunge ur-message onto successive generations of youth, by way of the Sonics, Stooges, MC5, New York Dolls, Patti Smith, The Clash, Black Flag, and others, all of whom amplified and rebroadcast its powerful sonic meme with their own recorded versions. NEUMANN U-47 MICROPHONE, CA. 1961 “There was this great record, ‘Louie Louie,’ by a band “I was in seventh grade and ritually would watch Hugh from the Pacific Northwest called The Kingsmen. I bought Downs and Barbara Walters with my mother on the Today their album and it was a great influence on me because Show. The Who did sort of an early lip synch video of they were a real professional band, y’know?” ‘I Can See For Miles’ and then they interviewed Townshend – Wayne Kramer, MC5 and Daltrey.
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The History of American Punk Rock 1980 – 1986
THE HISTORY OF AMERICAN PUNK ROCK 1980 – 1986 A documentary film by Paul Rachman Inspired by the book American Hardcore: A Tribal History by Steven Blush A SONY PICTURES CLASSICS RELEASE East Coast Publicity: West Coast Publicity: Distributor: Falo Ink. Block Korenbrot Sony Pictures Classics Shannon Treusch Melody Korenbrot Carmelo Pirrone Betsy Rudnick Lisa Danna Angela Gresham 850 7th Ave, Suite 1005 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-445-7100 tel 323-634-7001 tel 212-833-8833 tel 212-445-0623 fax 323-634-7030 fax 212-833-8844 fax Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com SYNOPSIS Generally unheralded at the time, the early 1980s hardcore punk rock scene gave birth to much of the rock music and culture that followed. There would be no Nirvana, Beastie Boys or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains and Minor Threat. Hardcore was more than music—it was a social movement created by Reagan-era misfit kids. The participants constituted a tribe unto themselves—some finding a voice, others an escape in the hard-edged music. And while some sought a better world, others were just angry and wanted to raise hell. AMERICAN HARDCORE traces this lost subculture, from its early roots in 1980 to its extinction in 1986. Page 2 ABOUT THE PRODUCTION Paul Rachman and Steven Blush met through the hardcore punk rock scene in the early 1980s. Steven promoted shows in Washington, DC, and Paul directed the first music videos for bands like Bad Brains and Gang Green.
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Rock Clubs and Gentrification in New York City: the Case of the Bowery Presents
Rock Clubs and Gentrification in New York City: The Case of The Bowery Presents Fabian Holt University of Roskilde [email protected] Abstract This article offers a new analytical perspective on the relation between rock clubs and gentrification to illuminate broader changes in urbanism and cultural production in New York City. Although gentrification is central to understanding how the urban condition has changed since the 1960s, the long-term implications for popular music and its evolution within new urban populations and cultural industries have received relatively little scholarly attention. Gentrification has often been dismissed as an outside threat to music scenes. This article, in contrast, argues that gentrification needs to be understood as a broader social, economic, and cultural process in which popular music cultures have changed. The argument is developed through a case study of The Bowery Presents, a now dominant concert promoter and venue operator with offices on the Lower East Side. Based on fieldwork conducted over a three-year period and on urban sociological macro-level analysis, this article develops an analytical narrative to account for the evolution of the contemporary concert culture in the mid-size venues of The Bowery Presents on the Lower East Side and Williamsburg, Brooklyn, as a particular instance of more general dynamics of culture and commerce in contemporary cities. The narrative opens up new perspectives for theorizing live music and popular culture within processes of urban social change. The article begins by reviewing conventional approaches to rock music clubs in popular music studies and urban sociology. These approaches are further clarified through the mapping of a deep structure in how music scenes have framed the relationship between clubs and gentrification discursively.
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