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First tagged "indie" by Kathy
see full specs tags: steven blush, punk, indie
Product Description
"American Hardcore sets a record true about a final good American subculture"—Paper magazine
Steven Blush's "definitive diagnosis of Hardcore Punk" (Los Angeles Times) altered a approach we demeanour during Punk Rock. The Sony Picture Classics–distributed documentary American Hardcore premiered during a 2006 Sundance Film Festival. This revised and stretched second book contains hundreds of new bands, thirty new interviews, flyers, a new section ("Destroy Babylon"), and a new art gallery with over 125 singular photos and images.
Product Details
- Amazon Sales Rank: #185351 in eBooks
- Published on: 2010-11-01
- Released on: 2010-11-01
- Format: Kindle eBook
- Number of items: 1
Editorial Reviews
From Library Journal
Culling quotes from countless interviews conducted over a five-year period, Blush presents an verbal story of a initial era of American hardcore song (1980-86) what he deems a golden age. Charting a arise of bands such as Black Flag and a Misfits, as good as some-more famous hardcore alumni like a Beastie Boys and Moby, a book is divided into chapters formed on opposite informal scenes. Rather than carrying a sequential narrative, then, a book bounces behind and onward in time, from section to chapter, that will presumably upset readers unknown with a people and bands discussed. The author's tinge also veers between that of a cloyed ex-hardcore child and a nauseating old-timer, though his comment is nonetheless fascinating and rings with knowledge (he promoted hardcore shows and tours in a 1980s). It should also be remarkable that American Hardcore is a initial book to request hardcore on a inhabitant level; books such as Cynthia Connolly's Banned in D.C. (1988) and Bri Hurley's Making a Scene (o.p.) have informal focuses. Blush also includes an endless discography (just on vinyl and cassette, however) that lists notable as good as forgettable releases. Recommended for educational libraries and ones with endless song collections. Vincent Au, New York
Copyright 2001 Reed Business Information, Inc.
From Booklist
Hardcore stone music, "an spreading mix of ultra-fast music, thought-provoking lyrics, and fuck-you attitude," sprang from a reservoir of post-New Wave punk. According to Blush, punk remade a pop-music landscape and fast flamed out. New Wave, a "watered-down" punk, was afterwards "cranked out by vital labels . . . for mainstream consumption." Enough interpretation. The beef of a book is an oral-history-style continuum of a comments of scads of hardcore movers and shakers, leavened by squibs from aging hardcore-scene participants. One prominence is a contention of a merging of a bend of complicated steel with hardcore to emanate a hybrid called crossover. Metallica's James Hetfield contrasts tellingly with a Dead Kennedys' Jello Biafra and D.O.A.'s Joey Shithead, exemplifying a disproportion between "old school" steel money-mongers and insubordinate punkers. Difference? Well, "an aged propagandize manager" wanted hardcorers Black Flag to debate with steel rope Motorhead though attempted to assign lease for a lights and P.A. "Flag said, 'Fuck you!,' " as good they should. An unusual apparatus on one of cocktail music's many ignored successful subgenres. Mike Tribby
Copyright © American Library Association. All rights reserved
About a Author
Besides a bestselling "American Hardcore," Steven Blush is also author of "American Hair Metal" (Feral House), and ".45 Dangerous Minds" (Creation). Blush also co-produced a eponymous "American Hardcore" documentary expelled by Sony Classics, and was a publisher and primary editor of a award-winning "Seconds" talk magazine. He also writes for Paper and Interview and music-oriented magazines.
Yes, this book has a flaws. At times it can be self-righteous, opionated, and even a bit misogynistic in places--very many like hardcore itself mostly was. The author spasmodic rises above his possess prejudices, though, and provides a reasoning research of what hardcore was, what it meant to a era of amicable pariahs and misfits, and a built-in factors of obsolescence that led to a passing after usually a few years. The verbal story is interesting and informative--I've gotten a flog out of reading a firsthand accounts of how some of my favorite bands came to be, came to prominence, and eventually came to an end. As mentioned in another review, many of a people interviewed have an mattock to grind, even after all these years. But a author creates during slightest a reasonable try during offset stating by many of a book.
Steven Blush, American Hardcore: A Tribal History (Feral House, 2001)
First off, in answer to some of a reviewers who were some-more ubiquitous in their comments about a peculiarity of a book (and, specifically, Blush's writing): this is, pristine and simple, a nostalgia trip. With a difference of a few specific incidents, where a design atmosphere comes from Blush stating opposing viewpoints on certain events, this book seems to have no fake whatsoever to objectivity. Of march it's inflammatory and opinionated. So was hardcore.
I hatred to tumble into a trap of "if we weren't there, we wouldn't understand," yet we have to. (Actually, we took half a star off my examination since that arrange of thing bugs me.) It seems ot me that this book's aim assembly is those who were indeed partial of a stage (even those of us on a fringes, in towns where there were maybe twenty of us listening to a integrate of internal bands and a peculiar Black Flag manuscript that happened to surface-- come to consider of it, maybe we're generally a aim audience) and wish to relive those days. It never struck me, while reading, as a kind of book we could give to someone not alive during that time with a matter "if we wish to know my teenage years, examination this." That's a book's vital flaw, of course; somewhere along a line, someone will write an design story of hardcore. This book is not it.
For a many part, Blush gets out of a proceed and simply reports snippets of interviews he conducted with hundreds of people, mostly those who were in bands, essay zines, producing records. This bent of Blush's to try and be unimportant does go they proceed of a good auk about two-thirds of a proceed by a book, when Blush starts articulate about smaller city scenes and relating his personal practice in those towns; this can be fit by a fact that there simply wasn't many in those scenes to speak about otherwise. (The city where we initial detected hardcore, in fact, isn't even mentioned. Not surprising, as we never indeed saw a hardcore uncover until we altered to Pittsburgh; my memories of a city imitate utterly good with Blush's reporting, yet he does slight to discuss Pgh's best hardcore band, Battered Citizens.) Because of a book's interview-centric format, things tend to be a small some-more incongruous than one competence expect. Again, however, "disjointed" is substantially a best proceed to proceed any arrange of story of hardcore; as Blush righteously states, a thought of a "unified scene" was flattering many a fun in many places.
This is a fun book. It's a teenager book, yet it's fun. Don't proceed it as being in any proceed definitive, and you're expected to get a whole lot some-more out of it. ***
This book is a smashing garland of quotes, stories and recollections. we spent many of high propagandize listening to and going to see these bands "back in a day." we consider it does a genuine good pursuit of putting it all into perspective. Other reviewers indicate out that this book doesn't concentration adequate on a certain aspects of hardcore. Like what? Hardcore was mostly about annoy and...well, we can't contend "disillusionment" as many listeners had prescious few illusions. They were clued into accurately what pissed them off and hardcore is substantially deputy of criticism song in that respect. While there are critical exceptions, we consider that observant hardcore had "positive" aspects is like observant Reagan did a lot for airline reserve (he dismissed all a air-controllers for those of we who don't know...ALL of them in a union, anyway).
When we was a child we was all about hardcore and punk and a stage and have many lustful memories of it. For all it's lipservice about individuality and non-conformity, hardcore could be unequivocally male-oriented, peremptory and uniform. Still, hardcore was one of a few subgenres that simply and mostly mocked itself. If we were in a stage it could be darned funny. we was unhappy that it flattering many left and that younger generations didn't unequivocally continue a "I don't caring if we can't sing or play good I'm gonna make shrill stone and roll" idea. The few sonic elements of hardcore that are still out there have flattering many mislaid a lot of a amusement and/or are mostly about posturing.
Please note that bands like Green Day, Sum-41, Good Charlette et al are NOT during all deputy of what your normal hardcore rope sounded like. Those guys wouldn't ever be on a bill.
While Henry Rollins has created extensively and vividly of his days in Black Flag, it is still usually his indicate of perspective of being in a hardcore band. This book is some-more dull out with sum of a hundreds of OTHER hardcore bands that were out there on a highway and personification for $50 a uncover if they were lucky. we was in one of those bands and it was a gas. Sometimes we run into guys (they're always guys)that saw us or went to shows we went to. Many haven't altered a bit what with a shaved conduct and leather coupler with a hardcore trademark and rope T-shirt. Only now they're about 40 years old, dumpy, still jaded, splash to much, and single.
I generally like a fact that many of this book is orderly by geographical locations. we consider that any book claiming to try a story of stone and hurl ought to be orderly this way, it's not usually for a Blues. NOT organizing a story of song book by locale, or "scene", leads to notions and assumptions by possibly a reader or a author that are usually plain wrong. Geographic low-pitched story is closer to a law and traces a change that several bands had on any other.
The indexes during a behind of a book, as deficient as a impossiblity of them being complete, are many appreciated.
The usually thing that would tip this book would be a finish collection of Flipside Magazine and Maximum Rock and Roll from 1981 to 1987....fortunately, we still have many of them.
On a side note, we can't trust that some people still caring about a supposed argument between Maximum Rock N Roll and Flipside magazines. Real or not, does it (did it) even matter? Grow up! Move on with your life or turn a joke. You know, there ARE some-more critical things to be pissed off about!
Customer Reviews
Most useful patron reviews
18 of 22 people found a following examination helpful.
Flawed yet enjoyable
By David Stork
Yes, this book has a flaws. At times it can be self-righteous, opionated, and even a bit misogynistic in places--very many like hardcore itself mostly was. The author spasmodic rises above his possess prejudices, though, and provides a reasoning research of what hardcore was, what it meant to a era of amicable pariahs and misfits, and a built-in factors of obsolescence that led to a passing after usually a few years. The verbal story is interesting and informative--I've gotten a flog out of reading a firsthand accounts of how some of my favorite bands came to be, came to prominence, and eventually came to an end. As mentioned in another review, many of a people interviewed have an mattock to grind, even after all these years. But a author creates during slightest a reasonable try during offset stating by many of a book.
I theory that for me, a primary interest of this book is that it's like a outing behind in time to a days when my buddies and we would listen to a latest SST or Alternative Tentacles comps after school, go to shows during a internal "underground" venues and check out a record reviews in a 'zines. Before we were out of high school, we'd shaped a possess rope and were appearing on a tiny widen of a northeast HC circuit, with some medium success. My early practice in a HC years fostered a adore of formulating and personification song that persists to this day. The overarching summary of HC, as distant as we was concerned, was this: YOU can do this yourself. YOU can make your possess song and your possess "scene." You don't have to lay behind and wait for a large party companies to spoon-feed you. Long after many other aspects of HC ceased to be relevant, this elemental law during a core continues to ring with many kids, immature and old, banging divided on guitars and drums in basements and garages all over a nation.
If we were concerned in HC in a early or midst '80s, possibly we were personification in a band, going to shows, pasting adult flyers or removing your donkey kick by aroused jocks since of your "weird" appearance--then we will suffer this book. If not, we competence find a "I was THERE, man!" opinion that pervades some of a content off-putting.
13 of 16 people found a following examination helpful.
Nostalgic, yet uneven.
By Robert P. Beveridge
Steven Blush, American Hardcore: A Tribal History (Feral House, 2001)
First off, in answer to some of a reviewers who were some-more ubiquitous in their comments about a peculiarity of a book (and, specifically, Blush's writing): this is, pristine and simple, a nostalgia trip. With a difference of a few specific incidents, where a design atmosphere comes from Blush stating opposing viewpoints on certain events, this book seems to have no fake whatsoever to objectivity. Of march it's inflammatory and opinionated. So was hardcore.
I hatred to tumble into a trap of "if we weren't there, we wouldn't understand," yet we have to. (Actually, we took half a star off my examination since that arrange of thing bugs me.) It seems ot me that this book's aim assembly is those who were indeed partial of a stage (even those of us on a fringes, in towns where there were maybe twenty of us listening to a integrate of internal bands and a peculiar Black Flag manuscript that happened to surface-- come to consider of it, maybe we're generally a aim audience) and wish to relive those days. It never struck me, while reading, as a kind of book we could give to someone not alive during that time with a matter "if we wish to know my teenage years, examination this." That's a book's vital flaw, of course; somewhere along a line, someone will write an design story of hardcore. This book is not it.
For a many part, Blush gets out of a proceed and simply reports snippets of interviews he conducted with hundreds of people, mostly those who were in bands, essay zines, producing records. This bent of Blush's to try and be unimportant does go they proceed of a good auk about two-thirds of a proceed by a book, when Blush starts articulate about smaller city scenes and relating his personal practice in those towns; this can be fit by a fact that there simply wasn't many in those scenes to speak about otherwise. (The city where we initial detected hardcore, in fact, isn't even mentioned. Not surprising, as we never indeed saw a hardcore uncover until we altered to Pittsburgh; my memories of a city imitate utterly good with Blush's reporting, yet he does slight to discuss Pgh's best hardcore band, Battered Citizens.) Because of a book's interview-centric format, things tend to be a small some-more incongruous than one competence expect. Again, however, "disjointed" is substantially a best proceed to proceed any arrange of story of hardcore; as Blush righteously states, a thought of a "unified scene" was flattering many a fun in many places.
This is a fun book. It's a teenager book, yet it's fun. Don't proceed it as being in any proceed definitive, and you're expected to get a whole lot some-more out of it. ***
12 of 15 people found a following examination helpful.
Finally, A Good History of Hardcore
By Matthew Sahlgren
This book is a smashing garland of quotes, stories and recollections. we spent many of high propagandize listening to and going to see these bands "back in a day." we consider it does a genuine good pursuit of putting it all into perspective. Other reviewers indicate out that this book doesn't concentration adequate on a certain aspects of hardcore. Like what? Hardcore was mostly about annoy and...well, we can't contend "disillusionment" as many listeners had prescious few illusions. They were clued into accurately what pissed them off and hardcore is substantially deputy of criticism song in that respect. While there are critical exceptions, we consider that observant hardcore had "positive" aspects is like observant Reagan did a lot for airline reserve (he dismissed all a air-controllers for those of we who don't know...ALL of them in a union, anyway).
When we was a child we was all about hardcore and punk and a stage and have many lustful memories of it. For all it's lipservice about individuality and non-conformity, hardcore could be unequivocally male-oriented, peremptory and uniform. Still, hardcore was one of a few subgenres that simply and mostly mocked itself. If we were in a stage it could be darned funny. we was unhappy that it flattering many left and that younger generations didn't unequivocally continue a "I don't caring if we can't sing or play good I'm gonna make shrill stone and roll" idea. The few sonic elements of hardcore that are still out there have flattering many mislaid a lot of a amusement and/or are mostly about posturing.
Please note that bands like Green Day, Sum-41, Good Charlette et al are NOT during all deputy of what your normal hardcore rope sounded like. Those guys wouldn't ever be on a bill.
While Henry Rollins has created extensively and vividly of his days in Black Flag, it is still usually his indicate of perspective of being in a hardcore band. This book is some-more dull out with sum of a hundreds of OTHER hardcore bands that were out there on a highway and personification for $50 a uncover if they were lucky. we was in one of those bands and it was a gas. Sometimes we run into guys (they're always guys)that saw us or went to shows we went to. Many haven't altered a bit what with a shaved conduct and leather coupler with a hardcore trademark and rope T-shirt. Only now they're about 40 years old, dumpy, still jaded, splash to much, and single.
I generally like a fact that many of this book is orderly by geographical locations. we consider that any book claiming to try a story of stone and hurl ought to be orderly this way, it's not usually for a Blues. NOT organizing a story of song book by locale, or "scene", leads to notions and assumptions by possibly a reader or a author that are usually plain wrong. Geographic low-pitched story is closer to a law and traces a change that several bands had on any other.
The indexes during a behind of a book, as deficient as a impossiblity of them being complete, are many appreciated.
The usually thing that would tip this book would be a finish collection of Flipside Magazine and Maximum Rock and Roll from 1981 to 1987....fortunately, we still have many of them.
On a side note, we can't trust that some people still caring about a supposed argument between Maximum Rock N Roll and Flipside magazines. Real or not, does it (did it) even matter? Grow up! Move on with your life or turn a joke. You know, there ARE some-more critical things to be pissed off about!
Labels: indie
posted by Unknown at
4:00 AM Tuesday, March 6, 2012