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Generally acknowledged as the best study - both written and photographed - of the California hardcore scene. Album cover graphics in colour, hundreds of photos of bands and good text. Over 600 bands mentioned.
As teenagers in 1981, David Markey and his best friend Jordan Schwartz founded We Got Power, a fanzine dedicated to the hardcore punk music community in their native Los Angeles. Their text and cameras captured the early punk spirit of Black Flag, the Minutemen, Social Distortion, Youth Brigade and many others at the height of their precocious punk powers. In the process, the duo's amazing photographs also captured the dilapidated suburbs, abandoned storefronts and dereliction of the era - a rubble strewn social apocalypse that demanded a youth uprising!
A history and social psychology of punk music.
Los Angeles rock generally conjures memories of surf music, The Doors, or Laurel Canyon folkies. But punk? L.A.'s punk scene, while not as notorious as that of New York City, emerged full-throated in 1977 and boasted bands like The Germs, X, and Black Flag. This book explores how, in the land of the Beach Boys, punk rock took hold. As a teenager, Dewar MacLeod witnessed firsthand the emergence of the punk subculture in Southern California. As a scholar, he here reveals the origins of an as-yet-uncharted revolution. Having combed countless fanzines and interviewed key participants, he shows how a marginal scene became a "mass subculture" that democratized performance art, and he captures the excitement and creativity of a neglected episode in rock history. Kids of the Black Hole tells how L.A. punk developed, fueled by youth unemployment and alienation, social conservatism, and the spare landscape of suburban sprawl communities; how it responded to the wider cultural influences of Southern California life, from freeways to architecture to getting high; and how L.A. punks borrowed from their New York and London forebears to create their own distinctive subculture. Along the way, MacLeod not only teases out the differences between the New York and L.A. scenes but also distinguishes between local styles, from Hollywood's avant-garde to Orange County's hardcore. With an intimate knowledge of bands, venues, and zines, MacLeod cuts to the heart of L.A. punk as no one has before. Told in lively prose that will satisfy fans, Kids of the Black Hole will also enlighten historians of American suburbia and of youth and popular culture.
Spot landed in Hermosa Beach, CA in the mid-1970s. A serious musician, he helped build Media Art Recording Studio and stumbled into photojournalism via Easy Reader, the local news weekly. Hermosa proved to be a crossroads abounding with oddball roller skaters who were mostly overshadowed by Venice disco rollers and the Dogtown-inspired leaps into professional skateboarding (never mind that the first skateboard competition ever was in Hermosa in 1963). Then, in the late 70s, a cultural shift hit, fueled largely by music. This time the South Bay was in the vanguard. Spot became the in-house producer and engineer at SST Records--the label founded in 1978 by Greg Ginn as a vehicle for Black Flag, the band that defined LA hardcore. Between 1979 and 1985, he recorded, mixed, produced or co-produced most of SST's pivotal acts, working on all of Black Flag's greatest releases, and on classic albums by the Minutemen, Meat Puppets, Saint Vitus, Descendents, Big Boys, Hüsker Dü, The Dicks, Subhumans and Misfits. Throughout this period, Spot remained a master photographer who documented various Los Angeles subcultures in intelligently composed black-and-white photographs. As this volume reveals, there was no distinction between the musical and the visual--he heard what he saw; saw what he heard--hence, the title of this collection. Spanning the late 1960s through the early 1980s, Sounds of Two Eyes Opening offers an amazing portrait of Southern California beach life, set against the dark clubs and rehearsal spaces of the burgeoning punk scene.
Provides an introduction to the study of gangs how we define them, what we know and not know about gangs. This title offers both a domestic and international view of processes of delinquency and gang formation and identity. It is suitable for criminal justice, sociology and social work, parole practitioners, and public defenders.
On hard core pornographic cinema.
'Art of Engagement' focuses on the key role of California's art and artists in politics and culture since 1945. The book showcases many types of media, including photographs, found objects, drawings and prints, murals, painting, sculpture, ceramics, installations, performance art, and collage.
Zen, plain and simple, with no BS. This is not your typical Zen book. Brad Warner, a young punk who grew up to be a Zen master, spares no one. This bold new approach to the "Why?" of Zen Buddhism is as strongly grounded in the tradition of Zen as it is utterly revolutionary. Warner's voice is hilarious, and he calls on the wisdom of everyone from punk and pop culture icons to the Buddha himself to make sure his points come through loud and clear. As it prods readers to question everything, Hardcore Zen is both an approach and a departure, leaving behind the soft and lyrical for the gritty and stark perspective of a new generation. This new edition will feature an afterword from the author.
"Waksman brings a new understanding to familiar material by treating it in an original and stimulating manner. This book tells 'the other side of the story.'"—Philip Auslander, author of Performing Glam Rock: Gender and Theatricality in Popular Music "While there are a number of histories of punk and metal and numerous biographies of important bands within each genre, there is no comparable book to This Ain't the Summer of Love. The ultimate contribution the book makes is to provoke the reader into rethinking the ongoing fluid relationship between punk, a music that enjoyed considerable critical support, and metal, a music that has been systematically denigrated by critics. This book is the product of superior scholarship; it truly breaks fresh ground and as such it is an important book that will be regularly cited in future work."—Rob Bowman, Professor of Music at York University and author of Soulsville USA: The Story of Stax Records "Debunking simplistic assumptions that punk rebelled and heavy metal conformed, Steve Waksman demonstrates with precisely chosen examples that for decades the two shared strategies and concerns. As a result, this important volume is among the first to extend to rock history the same much-needed revisionism that elsewhere has transformed our understanding of minstrelsy, blues, country music, and pop."—Eric Weisbard, author of Use Your Illusion I & II