Based in part on the recent interviews with more than 125 people —among them Tommy Ramone, Chris Stein (Blondie), Lenny Kaye (Patti Smith Group), Hilly Kristal (CBGBs owner), and John Zorn—this book focuses on punk's beginnings in New York City to show that punk was the most Jewish of rock movements, in both makeup and attitude. As it originated in Manhattan's Lower East Side in the early 1970s, punk rock was the apotheosis of a Jewish cultural tradition that found its ultimate expression in the generation born after the Holocaust. Beginning with Lenny Bruce, &“the patron saint of punk,&” and following pre-punk progenitors such as Lou Reed, Jonathan Richman, Suicide, and the Dictators, this fascinating mixture of biography, cultural studies, and musical analysis delves into the lives of these and other Jewish punks—including Richard Hell and Joey Ramone—to create a fascinating historical overview of the scene. Reflecting the irony, romanticism, and, above all, the humor of the Jewish experience, this tale of changing Jewish identity in America reveals the conscious and unconscious forces that drove New York Jewish rockers to reinvent themselves—and popular music.
Hilly Kristal originally intended CBGB & OMFUG to showcase the type of music his venue's notorious letters stand for - Country, Bluegrass, Blues. Little did he know when he opened...
Yankees hat with a Jewish star on it.17 In The Official Punk Rock Book of Lists, which Manitoba co-wrote, a caricature depicted Manitoba as a Hasidic Jew, amid a section titled “Gabba Gabba Oy Vey! 22 Nice Jewish Punks.
Without this book, there would be no record of these graphic treatments of the punk aesthetic, especially since the club will soon no longer exist.
The book features new interview material with many of the leading lights of the NY punk scene, including Alan Vega and Martin Rev from the band, as well as Debbie Harry and Chris Stein from Blondie, Moby, Henry Rollins, Marc Almond, Bobby ...
Alan O'Connor, Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY (Lanham, MD: Lexington Books, 2008), x. 2. O'Connor, Punk Record Labels and the Struggle for Autonomy, xi. 3. O'Connor, Punk Record Labels and the ...
Roger Sabin (London: Routledge, 1999), 199–218, and Jon Stratton, “Jews, Punks and the Holocaust: From the Velvet Underground to the ... 22 Quoted in Paul Marko, The Roxy London WC2: A Punk History (London: Punk77 Books, 2007), 119.
A Jewish abstract painter working at the studio , Jules Engel , was hired by the studio to guide dance choreography and design so as to reconcile animation and classical music . Arguably , Fantasia simplified background drawing ...
Rather than taking a narrative, historical approach the book consists of a number of case studies, looking at the American, British and Australian music industries.
Why the Ramones Matter compellingly makes the case that the Ramones gave us everything; they saved rock and roll, modeled DIY ethics, and addressed our deepest collective traumas, from the personal to the historical.
Perfect for dipping (even while drowsing), this collection of lively, literate riffs make sleeplessness not just tolerable but fun. Millions can't sleep; millions more sleep with those who can't sleep.