American punk – DFB Punk Sat, 25 Sep 2021 23:25:47 +0000 en-US hourly 1 American punk – DFB Punk 32 32 How The Offspring’s Smash Album Changed American Punk Forever – Kerrang! Thu, 08 Apr 2021 07:00:00 +0000

In February 1994, Brett Gurewitz was on his way home in Studio City, Calif., To his 1984 Volvo station wagon, listening to the final mixes of Smash, The Offsprings next third album. With the tape recorder thrown as loud as possible, he circled the block may be 20 times “to listen to the music over and over and over and over again ”. When he finally slowed the vehicle to a stop, he walked through his front door and greeted his then-wife, Maggie, with the words, Honey, everything is going to be different now.

Then as now, Brett Gurewitz was the owner of Epitaph Records, the punk rock brand with which The Offspring was signed. The release of Smash in April 8, 1994 has seen the fortunes of the company (and not to mention the group) change dramatically. Previously, the Orange County quartet had moved somewhere in the region of 30,000 copies of Ignition, their impressive second LP. Epitaph’s most successful artist Bad Religion, for whom Brett Gurewitz plays guitar, may have sold 100,000 records, but he still saw Smash’s 50,000 worthy to be honored with an ice cream cake party. You see, Brett saw such a number as being punk rock gold ”. The reason was, he said, because we could never have a real gold record!

He was wrong. At the end of 1994, Smash had become the ninth best-selling album in the United States, as well as a – um – smash around the world. Powered by ubiquitous debut single, Come Out And Play, the album, starring Green Day’s Dookie, propelled American punk rock onto mainstream America for the first time in its 18-year of history. The difference between the two groups, however, was that unlike Green Day, who had signed to Warner Bros., The Offspring’s success was achieved on a small independent label.

With demand for the album taking off, Brett re-mortgaged his house in order to pay for the pressing of additional copies. In the summer, pallets of the disc were stacked high on the sidewalk outside Epitaph’s headquarters on Santa Monica Boulevard in West Hollywood, as well as in hastily rented spaces across town. The sales figures were so impressive that Sony Music offered Brett an eight-figure sum for a 49 percent of his company’s capital, an approach that was refused.

With over ten million sales to its name, Smash remains the best-selling indie rock album of all time. Not only that, he’s also one of the eternal great bangers of punk rock. This is the story of the fall …

Dexter Holland (The Offspring, vocals / guitar): Before Smash, a lot of things happened that seemed arbitrary at the time, but ended up making a big difference. Getting new equipment was one of them. The equipment we had was sub-professional. We weren’t able to make a record that sounded good enough to be considered by the people who ran the radio. It seemed like a good idea to call [Offspring guitarist] Noodles and say: Can we take some of the band’s money and buy an amp to share? ‘ And that’s literally what it was: an amp and a cabinet. And I think Ron [Welty, former drummer] borrowed money for new drums. But it wasn’t like, We have to do it because our future depends on it! ‘ It was a case of, It sounds like a good idea. ‘ In hindsight, this ended up being quite important.

Noodles (The Offspring, guitar): It wasn’t like we spent a lot of money recording Smash. We couldn’t even afford a hotel room for our producer [Thom Wilson]. He must have been sleeping in an RV the whole time we were making the record!

Jim lindberg (Pennywise, vocals): I first heard Smash when The Offspring backed us up on tour, just before the album came out. I had a feeling the album was going to be huge. I could tell that something was going on so catchy and perfect for radio.

Noodles: I never listen to The Offspring songs unless I play with them!

Dexter: “[Prior to Smash] the real measure of where the punk bands were was Bad Religion, which were the kings of Epitaph. And they sold 100,000 records. It seemed to be the limit; it was as far as anyone in the world could go. One hundred thousand was that. So that was about all I thought we could do. “

Brett Gurewitz (epitaph): I couldn’t believe how good the songs were, or how good they sounded… We sent Come Out And Play to [LA radio station] KROQ and they literally called my office and said, We put that in power rotation. They called me personally and told me that, and the next thing you know you couldn’t turn the radio on in THE without hearing the song. This was the first time this had happened for a group on Epitaph.

Dexter: It was very surprising when things started to move so quickly. A few years ago, there was no punk rock in the mainstream at all. And we knew it, and we had chosen our fate. We said it, Well, what are we gonna do? Are we going to move to Sunset Boulevard and become a hair metal band? ‘ Well no, because it’s not us… and then suddenly we were all over the radio, and on MTV too much.”

Noodles: Before Smash, we were pretty much a part-time band. Even when we blew up I didn’t even quit my job [as a janitor at the Earl Warren School in Anaheim] plain and simple – I took a three-year leave. I was still working on it when we were blowing up because I had promised my boss that I would not quit until the end of the school year. There was this high school girl that I knew [there] and she saw me in the morning and said to me: Man, what are you doing? I just saw you on MTV! ‘”

Dexter: I remember the USC [University of Southern California] The marching band started playing Come Out And Play. I was shocked! I was on the couch on a saturday watching TV and sort of doze off, and I thought I heard us as the camera was going commercial. And I thought, Wait!’ I never had a serious connection with the school band when I was at USC, so I sent them a letter and told them, Hey I’m very flattered maybe we can be friends. Apparently they thought it was a joke from a rival university! So I had to call them up and go over there and say, No, no, it’s me! I think it’s cool. I do not want anything !’

Noodles: There were a lot of things then that we weren’t doing. We didn’t have a late night TV watch until Days Go By [in 2012]! On Smash, we turned down Saturday Night Live, simply because we didn’t think we were good enough. Again I think it has something to do with the fact that we were a part time band. ”

Dexter: I remember having a big talk with Jim [Guerinot], our manager, and he said, You know this is very new to you guys. I’ve seen how the industry can really chew people up. Look at Kurt Cobain… ‘I felt there was a change where people wanted to back down from any exhibition. And there can be a personal cost to all of this. And he was, like, Why not take it slow and see how things go? ‘ “

Noodles: We did the Billboard Awards, which were the TV, but it has not been widely seen. The organizers were pissed off that we played Bad Habit rather than one of the hits, but we thought, We are punks. We are not a pop group. Let’s go out and screw things up a bit. ‘”

Dexter: We actually considered playing Too Drunk To Fuck. [by Dead Kennedys] at the Billboard show. At the end, we played Bad Habit. But we played raw, and in the end I got into the crowd. I remember the looks on the faces of the people up front as I was doing this, and thinking, Wow, these are not the same people who come to see us when we play [punk venue] Gilman Street! “

Noodles: I’m not a nostalgic person, but I remember enjoying this year [1994], for sure. There was a lot of heady things going on, and there was stress too, but it was such an exciting time. I remember that the groups of our friends were also more noticed. We were touring with Rancid at the time and Madonna wanted to sign them. She even came to one of the shows… she watched Rancid then left before us!

Brett: As punks, our allegiance went to independent stores … [and] suddenly these stores were flourishing because they could buy The Offspring’s Smash, and they were selling tons of stuff. It helped independent retail. It helped fanzines and magazines. It raised the sea level throughout the punk community. There are distributors in Europe and Australia who cite this time as the time when their businesses grew and were given the opportunity to establish themselves. So it had a very powerful ripple effect. They are my people, so I’m really proud to have played a part in all of this.

Dexter: The fact that we did it independently seems even more significant now. This is the part I’m most proud of. The success we had came from our own legs. There wasn’t this huge promotional machine behind it. And promotion doesn’t take anything away from a record’s quality – sometimes you just need a helping hand to get people to hear something worth hearing. But we didn’t have that. We had to go it alone. I loved that time. No matter how good things were afterwards – and there were some good times – there was only one time where we went from next to nothing to all the top. It was an amazing thing to be a part of it.

Posted on April 8, 2021 at 10:59 a.m.

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Murcia ready to recharge with American punk rock Mon, 15 Mar 2021 07:00:00 +0000

CREDIT: Facebook

Murcia ready to be recharged with American punk rock.

OVER five hours of nostalgic American punk rock hits are set to hit Murcia’s Beat Club Garage on Friday, June 11, as incredible tribute groups perform some of the ultimate classics.

Tribute bands Nirvana, Green Day, Pearl Jam, The Offspring and Foo Fighters have lined up some of the best songs you can headbang and rock all night long for just $ 12- $ 15. Five groups for five hours from 10 p.m.

The exceptional tributes to Nirvana by Neverminders, Green Day by Suburbia, Pearl Jam by Better Men, The Offspring by Smash and Foo Fighters by Black Limos. To purchase your ticket – visit – simply search for American Punk Rock.

Thank you for taking the time to read this “Murcia Set To Be Reloaded With American Punk Rock” news article. For more UK news, Spanish news and global news visit Weekly Euro News home page.

Euro Weekly News does not cost you anything other than your internet connection. Whether it’s bringing you local Spanish news or international news today, we’ve got you covered!

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American punk band mistaken for ISP receives complaints from distraught Pinoys Mon, 18 Jan 2021 08:00:00 +0000

An American punk group called Converge took to Facebook over the weekend to dodge complaints from Filipinos who mistakenly believed they were the ISP.

Thin. Do your research first, Pinoys.

In a post on their official account, the band said they were still a “hardcore band”.

“Covid has not yet forced us to become an internet provider in the Philippines, but we hope everyone there will get their internet access back,” the group said.

Read: Pinoys hijacking ‘go to Harvard’ campus, Mafia University Facebook page

“While you’re here, click on the link to our online store and grab a cool t-shirt or something,” he cheekily added to his post, which was shared by nearly 8,000. times.

The post included a screenshot of some of the comments they received, many of which were written in Filipino. One person wrote, “Hey, assholes, what happened? [to my internet]? “

Converge’s statement prompted one Michael John Torcuator to say, “I apologize for the mistaken identity. These people are so excited because of the bad service they received from the ISP of the same name.

Image from Converge / FB

Image from Converge / FB

Oh. Well, at least the band gets free publicity, right?

This article, by an American punk band mistaken for ISP, receives complaints from distraught Pinoys, which originally appeared on Coconuts, Asia’s leading alternative media company.

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11 American punk labels that changed the genre forever – Kerrang! Tue, 26 May 2020 07:00:00 +0000

Unlike heavy metal, punk is devoid of any mystique. With punk rock, what you see is what you get: the musicians on stage are traditionally the same after the show ends and the hall doors close. Thus, the emblematic groups of punk and hardcore had a very direct influence on the direction of the genre. And like a worn and handmade heirloom, punk rock has been passed down from generation to generation, changing shape with each new iteration.

Of course, groups did not build such a legacy on their own. Along the way, major record companies have been there to guide and promote these (frankly, often unruly) artists. To understand how and why punk has become the striking mosaic that it is today, it might be best to take a look at some of the foundational punk labels that have changed the genre forever.

here is 11 of the most important labels to do so in the cradle of punk rock, the United States.


Without OSH Records, there just wouldn’t be any hardcore punk. Founded by Black Flag guitarist Greg Ginn, the label’s first release was the band’s raw and legendary debut album. PE, Nervous breakdown. With this, Black Flag sent a shock wave through the punk scene that can still be felt today – especially on the skin of the thousands of fans who have permanently inked these famous four black bars on their bodies. Other iconic groups that have released music via OSH include Sonic Youth and Bad Brains, both of which played key roles in merging punk rock with other genres, including noise rock and reggae, respectively. OSH built the first big branches on what would become the growing punk family tree.

Alternative tentacles

Dead Kennedys is also one of the most influential punk bands of all time. Their impact is still felt today, both in sound and in ethos. (Example: their infamous line, Nazi punks are going to fuck!‘was used in Stray From The Paths 2017 anti-racist rage Goodnight Alt-Right) Looking back, it’s easy to see why big names in rock like Butthole Surfers, DOA, Leftover Crack and TSOL would team up with Dead Kennedys’ Jello Biafra to release records via his Alternate Tentacles.


Ian MacKaye gave the world Minor Threat and Fugazi, two unmistakable punk rock game changers. These groups (with Bad Brains) effectively put the CC hardcore scene on the map, and even spawned a whole new kind of punk lifestyle: the straight-edge. MacKaye created Dischord Records to make his music and that of his friends heard, but he didn’t stop there; he’s also helped dozens of other Washington-area groups, including Dag Nasty and Jawbox. Today, the relentless musicians of Dischord continue to leave their indelible mark on the past, present and future of the genre.


Bad Religion guitarist Brett Gurewitz started Epitaph Records in Los Angeles for the same reason MacKaye started Dischord. But the punk label became an unstoppable juggernaut when it signed The Offspring, whose Smash album went platinum in 94. Labelmates Rance, NOFX and Pennywise would also reach considerable levels of fame, and the label continues to thrive today with music from groups such as Every Time I Die, The Ghost Inside and Culture Abuse. Epitaph also spawned two sister labels – ANTI- and Hellcat – the latter hosting a roster of punk and ska bands including Dropkick Murphys, The Interrupters and Transplants.

Look for! Recordings

2015 rock & Roll Hall of Fame inductee Green Day has been a major influence both inside and outside the punk genre – and their long and successful career began with Lookout! Recordings. The beginnings of the group, 39/ Smooth, was released by Lookout !, but it was their second release on the label, Kerplunk !, that propelled Green Day to Platinum status. Look for! was also a debut label for Operation Ivy, the band that would eventually split up and give birth to Rancid. Unfortunately, despite the monumental role it played in the advancement of punk, the label was unable to keep up and withdrew. 2012.

Victory Records

Victory Records has been no stranger to controversy over the years, with various artist disputes and lawsuits in its rearview mirror. But you can’t deny the label’s vast reach and seemingly endless reach. Emo, pop-punk, metalcore, and post-hardcore have all been expanded and affected by the bands nurtured by Victory Records. It is virtually impossible to name a great contemporary rock band that was not part of the label at one point in their career: A Day To Remember, Earth Crisis, Atreyu, Between The Buried And Me, Carnifex, Hatebreed, Taking Back Sunday… The list goes on.

Grease wreck chords

Fat Wreck was founded by Fat Mike “Burkett, singer of a prominent contemporary punk group NOFX, and has been a crucial platform for dozens of modern punk bands. Against Me !, Lagwagon, Sick Of It All, Rise Against, Strike Anywhere and Propagandhi are just a few of the bands that demonstrate just how much of a powerhouse punk Fat Wreck has been. The label would help these punk skate groups infiltrate mainstream pop culture with endless compositions and placements in video game soundtracks like the Tony Hawk Pro Skater series.

Equal vision

Equal Vision isn’t as exclusive as it used to be, but the punk label started out as a way to support Krishna Conscious-influenced artists within the hardcore scene. Founded by Youth of Today singer Ray Cappo (a follower of the Hare Krishna movement), the label eventually handed over to label manager Steve Reddy, and it began to open its doors to other hardcore and post-band groups. hardcore whatever their faith. Converge, Bane, Chiodos, Circa Survive, Coheed And Cambria, Say Anything and We Came As Romans are all among the groups that have made Equal Vision home over the years.

Tooth & Nail

Like equal vision, tooth & Nail started out with a clear, faith-based mission: to let Christian children rock. An overwhelming majority of Dent & Nail groups are rooted in Christianity, most notably the metalcore mavericks of Underoath. While the tooth & Nail had bands such as Anberlin, The Almost, Emery and MxPx on their roster, the company decided to form Solid State Records in 1996 to sign heavier bands such as Norma Jean, August Burns Red, Demon Hunter and Zao – all of which helped establish metalcore as a subgenre.

New Bridge

Hardcore flourished on Bridge Nine Records in the 1990sand 2000s. Without Bridge Nine bands like Defeater, Cruel Hand, Expire, War On Women or Backtrack, contemporary hardcore as we know it wouldn’t be the same. As a genre that constantly branches out into hundreds of subcategories, classic hardcore sound can easily get lost in the mix – but not with this label. The hardcore purist turns to Bridge Nine’s roster for a breather. The label has been able to gain the respect, admiration and camaraderie of many actors in the hardcore scene largely because of its unwavering DIY ethics.

Nice fight

Do you want to follow the most current explosive groups of hardcore punk? Keep an eye out for Good Fight Music. The New Jersey label rolls with local bands as well as international artists – from The Banner to While She Sleeps. Old wounds, 68, Home breaker, TO FINISH, and Fit For An Autopsy are just a handful of what Good Fight has to offer. And the label is just one part of Good Fight Entertainment’s bigger brand, which also offers artist management and sells clothing and artwork. Good Fight illustrates how modern punk and hardcore labels have evolved to focus as much on lifestyle as it is on music.

Posted on May 26, 2020 at 12:39 p.m.

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American punk singer Daniel Dart targets Israel Thu, 23 May 2019 07:00:00 +0000

I had never heard of this wild card before, and neither have most of you: Daniel Dart, who would have made a name for himself as the founder and frontman of the punk band Time Again. Judging by this lie-riddled Facebook post, he appears to be trying a new career as a Hamas spokesperson (Hat tip: Tommy)

I wanted to wait a minute before posting this photo. I had to let the moment and the experience settle in for a bit. So much happened from the time we took this, until the time I left Gaza recently, that I didn’t want to minimize the impact of the Israeli airstrikes on the people of Gaza – or on me. But now I want to celebrate and honor the resilience and determination of the people of Gaza despite these same airstrikes. We took this photo about an hour before entering a lockdown in Gaza in which the next 72 hours, twenty-seven innocent souls would lose their lives. Men, women and children, who do not have the right to leave a blocked territory, people who have no way of escaping the rockets that regularly hit their neighborhoods. Yet despite this, over the past thirty days, dozens of young Gazans have come together to pitch startup ideas, creating minimum viable products for myself and a handful of others to judge. During the 72 hours leading up to the trial, many of them did not even return home. They slept in the very office where this photo was taken, hoping for the chance to start their own business. Never once have I heard of negativity, and I have not heard anyone complain. It was pure positivity and optimism as these young men and women worked hard to create better lives for themselves. It’s a scene you would expect to see in San Francisco, Paris or London. But, it’s not one of those places – it’s Gaza. A place where the world has shamefully allowed millions of people to be cut off from the world and essentially trapped. And to add insult to injury, this is where the world stands idly by each week as its inhabitants are killed or maimed – its youths shot for peacefully demonstrating unarmed. So look at the people in this picture – they are the definition of courage. This is why they are not only my siblings, but they are also my inspiration. Because through them I am inspired to work harder and longer, and to stand up for something bigger and more important than me. I will defend them – and with them. And, I beg you, stay with us. Defend a free Gaza. Please. #FreeGaza #FreePalestine

According to Dart, Gazans are a peace-loving bunch of people who are just trying to create a prosperous and startup nation, but are held back by the big and bad Israelis, who launch airstrikes on them willy-nilly. All of Gaza’s victims are innocent and the Gaza border protests are peaceful.

There is no way Dart could be so oblivious to the truth. You just need a TV or a computer to read how we were rocket attacked and seen the violent border protests. Being in Gaza, these are the kinds of scenes he would have seen on the streets. = -R

No, Dart maliciously rejects the truth, and there is evidence in the comments of his post:

Maybe Dart feels a kinship with Hamas since they both seem to have a penchant for kidnapping.

Time Again singer Daniel “Dart” Richert was reportedly sentenced to two and a half years in prison. According to his group mates, the conviction was due to a “kidnapping” although the specific circumstances were not disclosed by the group, nor through publicly available booking information.

Of course, Dart denies committing the crime. As I said, he seems to be aiming for a new role as Hamas spokesperson.

Tags: Daniel Dart Gaza

David Lange

A law school graduate, David Lange went from working in the petroleum and high-tech industries to being a full-time advocate for Israel. He is a respected commentator and analyst of the Middle East who has been quoted often by the mainstream media.

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Review: The Mekons relaunch their Anglo-American punk-Country-Dub on ‘Deserted’ Thu, 28 Mar 2019 07:00:00 +0000

The high Californian desert is steeped in rock history. This is where country-rock icon Gram Parsons had his corpse cremated by friends; where an Irish band came up with a name and cover image for a great LP; where Jim Morrison dropped acid and made a movie. Now the Mekons – those wacky, scholarly and beloved British punk-country-reggae-rock survivors – are joining the procession with Deserted. Recorded near Joshua Tree, the LP gets lost in the wilderness and finds timely survival metaphors everywhere. And it sinks deep into desert mythology without invoking any of the antiquated tales above (they’ve already paid homage to Bono, after all).

Instead, they conjure up visions of a swashbuckling Peter O’Toole riding a camel on “Laurence of California”. They quote Percy Bysshe Shelley’s “Ozymandias” on “In The Desert,” expanding their punk-poet ancestor’s meditation on the collapse of the empire to a more recent story (premium quote: “My name is Blank / Une creature of Bush and Blair / Darkness and Despair. ”) And they invoke Arthur Rimbaud’s final temptation upside down through the Somali desert in“ Harar 1883, ”with Everyman Tom Greenhalgh chirp channeling the voice of a another great poet who threw in the towel to distribute coffee in Ethiopia – more than a century before the internet art economy once again brought out intelligent career development

As always on Mekons records, there is some sinister humor. “Weimar Vending Machine” makes puns (“Iggy appears in Berlin”) in a delicious tribute to Bowie who greets the heart of darkness with gusts of Eno-esque synths, alcoholic screams of “the priest is gone!” And a laundry list of delusional end-time visions: “Mankind whines, footprints stretch / Across ragged meadows bloom in circles of sex / a snake’s eye blinks and darkens / A bubbling cauldron of lonely sad beans / A dirty waistcoat. ” (Hey, at least there’s sex.) As bad as things seem, beauty, especially in the natural world, wins out over time. “How Many Stars” takes the classic form of an English folk song about a man lost at sea and a woman dying of a broken heart, the group marveling at the protective sky in jagged, sympathetic harmony. And “After The Rain” offers a promise of post-apocalyptic rebirth, where we could arm ourselves against ruthless habitats and perhaps evolve into more appropriate forms: us after the rain. It is the flowering desert and its inhabitants as a testimony of resilience, summoned by a crew of joyful marauders who have embodied resilience for more than four decades. Things might look more fucked up than ever, but why stop now?

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Only one week left to discover Lydia Breckenbridge: African-American punk rock quilts at the 30 South – Los Angeles Sentinel gallery | Los Angeles Sentry Mon, 24 Sep 2018 07:00:00 +0000 Only one week left to discover Lydia Breckenbridge: African-American punk rock quilts at the 30 South gallery

Rare exhibit to experience the work of an incredible late-career vernacular artist who celebrates music through textiles and has spent time with artists from Billy Idol to Michael Jackson

Show ends September 30, 2018

Gallery 30 South, one of the nation’s most popular galleries for emerging and internationally renowned artists and pop culture enthusiasts is currently hosting the very first rare exhibition – LYDIA BRECKENBRIDGE: AFRICAN AMERICAN PUNK ROCK QUILTS until September 30, 2018. This is the last week to experience this extraordinary spectacle.

Lydia Breckenridge got Billy Idol out of bed and refused dates with Mark Mothersbaugh, Harry Nillson, George Harrison and Bob dylan because she was too busy playing in Bone heads, the flagship LA Punk band that launched the career of Craig Lee (author of Hardcore california), Robert Lopez (co-founder of Zeros, better known as El Vez: the Mexican Elvis), Elissa Bello (co-founder of Go-Go), and Alice Bag (front-woman for The bags) – which Lydia replaced.

Soon after, Lydia found herself working on producing music videos for artists such as A-Ha, Scorpions and Michael Jackson.

Lydia’s punk roots can be traced back to her days at the Wilton Hilton (featured on the cover of The Cramps “Psychedelic Jungle”) where she lived with Kid Congo. Frequent visitors were members of the Blasters, Flyboys, Screamers, Lydia Lunch, Twisted Roots, and Gun Club’s Jeffrey (who screwed up the rug by decorating his denim jacket with fake blood).

One of the last pieces completed is the most provocative; a tribute to Heather Heyer who was killed a year ago when a car hit a crowd of people protesting against white nationalists at a neo-Nazi rally in Charlottesville, Virginia.

Lydia combined her love for the quilt with her musical background to create pieces inspired by her memories of the early days of the punk rock scene, incorporating 80s motifs with age-old craftsmanship.

The artwork in this exhibition represents both an affront and a continuation of classic themes and quilting patterns that have been influenced by African aesthetic, religious and cultural traditions. Lydia Breckenridge’s punk-rock take on the African-American quilt isn’t just innovative, it’s a form of autobiography of a first wave LA Punk Rocker. What could be more punk rock than to subvert a tradition born out of slavery and recast it into a form of empowered memory?

Lydia Breckenridge was born in Los Angeles in 1956. She is the beloved manager of Billy Shire’s famous Wacko.

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Dead Boys Resurrected – 1970s American Punk Rockers Are On Tour Fri, 15 Sep 2017 07:00:00 +0000

One guess: The Dead Boys were the American Sex Pistols. And very few people knew about it.

The Dead Boys came from New York via Cleveland; the Sex Pistols were from London. Both groups lifted dirt around the same time, roughly 1976-1978, spat and smoked spectacularly, and collapsed. Both played fierce and antagonistic punk rock – caustic, confrontational and far from politically correct – and their first albums, “Young, Loud and Snotty” by the Dead Boys and “Never Mind the Bollocks, Here’s the Sex Pistols”, are peaks of the genre.

The Sex Pistols, everyone knows that. The Dead Boys, not so much. But 40 years after releasing their debut album, the Dead Boys have risen from the dead, in a way, to make a claim, coming to Somerville club ONCE on Monday, September 18th. The current group includes two of the founders, songwriter-guitarist Cheetah Chrome and drummer Johnny Blitz, both 62 years old. Original singer-songwriter Stiv Bators died in 1990, hit by a taxi in Paris.

“We played a lot better than the Sex Pistols. We had better songs.”

Cheetah Chrome

Chrome, on his cell phone leaving New Orleans for another gig, entertained the Pistols comparison for a moment, but shrugged.

“I don’t think we were anything from America, really,” Chrome says. “If you’re looking for an angle on a story, well, this is it. But to me, we weren’t the Sex Pistols at all. We played a lot better than the Sex Pistols. We had better songs. I don’t think we were anything from America “- and this is where he offers an accurate comparison -” except that we got a little screwed up in the music business. I don’t think anyone handled us well or anyone understood us at all. “

And the Pistols / Dead Boys pairing (if you choose to accept it) diverges here: in their prime, the Dead Boys were virtually unknown in America. In the UK, the Pistols were splashed all over the tabloids and went to No.1.

The Dead Boys were one of a number of groups created by the CBGB – as were the more popular Sire Records label comrades, Ramones and Talking Heads – but remain a footnote for the most part, a group that burned in such a way. shiny and noxious, then faded.

Here’s where the Dead Boys started for me. It was the first punk rock band I ever saw. In November 1976, I moved from Maine to Boston – I was in college there – and tried to go to concerts. It turns out that the Dead Boys, who had yet to record their first album, were at the Rat one night and that’s where I ended up with about 50 other people. It was my chance. Punk was starting to gain strength.

I’d heard of shows like this – Iggy and the Stooges were infamous to them – but at 20 I had never seen anything like it. Bators were all over the stage, giggling and sneering. He cut his naked torso with a broken beer bottle, put his head in Blitz’s bass drum, pretended to hang himself with the mic cord – all while the band put on that nasty punk rock, catchy and furious, songs like “Sonic Reducer” “Down in Flames” and “All this and more”. The songs – angry, raw, and strangely uplifting – were new to me and immediately sucked me in.

“In a way, it was a lonely existence. We had a hard time because of it. People thought you were weird everywhere you went.”

Cheetah Chrome

“People weren’t used to this sort of thing,” Chrome says now, thinking back to that time. “In a way, it was a lonely existence. We struggled a bit because of that. People thought you were weird everywhere you went. We kind of took it with us.

Chrome says they never talked about what the Iggy Pop-inspired Stiv was going to do or his game plan for the show of the night. “Some nights he lost it,” Chrome said, with a slight laugh. “He did things that didn’t work out very well, and he was like, ‘Well, I’ll never do that again!’ As if he was pulling my guitar string and the amp was accompanying him all over the stage. Sometimes he would crawl through the drums and put them out of our way so that we couldn’t play and we had to stop and fix them. We would all be on our feet for five minutes.

Following their killer album, “Young, Loud and Snotty”, was the not-so-good 1978 record “We Have Come for Your Children”. Then, as their own song said, they “went up in flames”.

This is a situation where Chrome puts the blame squarely on Sire Records boss Seymour Stein. “He decided to go our separate ways and he did,” Chrome explains. “I have spoken about this matter to death and I have spoken about it in my book. I don’t feel so good today and want to feel better, not worse.

The players went their separate ways. Bators, in particular, formed the psychedelic rock band Lords of the New Church. Chrome collapsed, became addicted to drugs and alcohol, and spent a few years in Boston on the streets.

It was then. Chrome, who now makes his home in Nashville, is a father, has been sober for decades, and published a memoir in 2014 titled “Cheetah Chrome: A Dead Boy’s Tale: From the Front Lines of Punk Rock.” He also runs a small record company, Plowboy, and recorded steamy songs on his only studio album, a 2013 release titled “Solo”.

As “Young, Loud and Snotty’s” 40th anniversary approached, Chrome and Blitz re-recorded the album, but did not return to find the surviving alumni. Guitarist-songwriter Jimmy Zero, known as Chrome, lives in Cleveland and plays music, but has “health issues.” New York-based bassist Jeff Magnum “just isn’t the right guy for this bunch of people,” Chrome says. (Magnum expressed disappointment and anger on his Facebook page for not being invited on board, especially after the 2005 CBGB meeting he was a part of. He did not respond to a message sent asking for comment.)

The three new players are vocalist Jake Hout, who was part of a Dead Boy tribute band called the Undead Boys, guitarist Jason Kottwitz and bassist Ricky Rat, the latter two having performed with the band Chrome Rocket from the Tombs. .

The idea for a new Dead Boys was born, Chrome says, earlier this year when he and Blitz were playing concerts in Japan. “We were talking and Jason, who’s been my guitarist for about four years, started talking about ‘Young, Loud and Snotty’ because it was the 40th birthday,” says Chrome. “Ricky Rat, we’ve known that for ages. We ended up having Jake, who was in California, and he fitted in perfectly: “Oh my god, this guy looks like Stiv, but he’s very different from Stiv and he has his own show on stage!” We thought, “Why don’t we call him the f —— Dead Boys?” I own the name and none of the other guys were interested in getting involved in this stuff except getting checks.

They have just started a comprehensive club tour of the United States which runs through mid-November. They impressed them at South by Southwest this year with the raving Paste magazine: “The band played the entire LP with sweat and fire, erasing the past four decades in the process.”

Is there a big dark cloud of punk rock nostalgia hanging over the Dead Boys? Even if it does, Chrome says the music feels as fresh and lively to him today as it did in 1977.

“Totally just as intense,” says Chrome. “And we’re playing a lot more kids now. For a while we played with gray hair. There is some gray hair, but not as much as you might think. In fact, they tend to stay away because there is now a mosh pit.

The extreme of the Dead Boys’ music depends on the context. Some rappers, death metal bands, and hardcore punks have entered dark and violent lyrical territory that goes far beyond what the Dead Boys did 40 years ago. Still, there were songs about rough sex on the floor, about the gratification of punk rock groupies – or, alternatively, about not being able to have sex because you’re too high on drugs – hitting a random old man. on the street or maybe an ex-girlfriend, and one about infamous New York killer David “Son of Sam” Berkowitz, with Bators singing from the killer’s point of view: “I’m a son of Sam / J have the breath of death in my hand. “

“I’m surprised we got away with part,” Chrome admits, “but we were just funny. I mean, we never wanted to see anyone get beaten up or hurt or anything like that. “Unless they pissed us off. It all had a sense of humor. I think we could have been a little more political; we don’t have much in there. We didn’t need to.” ‘be so sophomoric, I guess.

So what about legitimacy? Will the Dead Boys of 2017 be able to reclaim the throne of the Dead Boys, several generations later?

“Go see us,” Chrome said, posing the challenge.

For him, “it’s like the good old days. It’s incredible. But I would like to be much younger because I would appreciate it more. Now by the time I play the set I’m good to go [to bed] and watch TV.

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YallaPunk, Philly’s premier Arab-American punk rock festival, takes over Fishtown this weekend Thu, 31 Aug 2017 07:00:00 +0000

Miriam Hakim lives in Houston. Lucky enough to be in an enclave isolated by flooding but not sinking, she has spent the last week running a whirlwind of volunteer activities, buying supplies, bringing them to shelters and helping with cleanup after Hurricane Harvey.

But even with everything going on at home, she still made the effort to catch her flight to Philly. Hakim didn’t want to miss the YallaPunk festival.

Descending on Fishtown this weekend, YallaPunk presents, celebrates, and was hosted by Americans of Middle Eastern and North African descent. Basically it’s an Arab-American punk rock festival and conference. It attracts participants from all over the country, a testament to the fact that it is probably the first of its kind.

“As far as I know, this is the first thing like this that has been organized in this way,” said Hakim, lead singer of punk band Giant Kitty.

The 26-year-old Syrian-American from Texas participated in smaller gatherings, such as the inauguration day concert, Giant Kitty performed with three other bands who each had a member with Muslims in their family , “but YallaPunk is not about religion,” she mentioned. “Or politics. It’s about uplifting creatives from the Middle East and North Africa. Right now, it feels like even saying “I’m Arab” is a political statement. It is not fair.”

Festival founder Rana Fayez, an Arab immigrant writer living in Philly who DJs next door, said she wants YallaPunk to stay away from politics as much as possible. However, she admits that current events are what prompted her to act.

“In the current political climate, there is a lot of hatred,” Fayez said, noting that she is often afraid to speak Arabic in public. “We have to change the narrative for ourselves as Middle Easterners, as North Africans, as individuals. I saw the healing power of the art and the DIY community, ”she continued. “I want to harness this power. “

Fayez has experience using music festivals for healing. She was a journalism student at Virginia Tech in 2007 when a student there engaged in a shootout, killing 32 people and injuring 17.

“I decided I wanted to change the narrative – I wanted people to talk about something other than the shoot,” Fayez recalls. She had grown up in the same town where the university was located, so she had connections in the community, and she was also a DJ on university radio – “a friend of mine got shot on the radio station this day “- then she knew people in the music business.

So, at 19, Fayez organized his first music festival. “Over 100 bands performed, on eight stages, for three days,” she said. “The party continues to this day. “

She has similar hopes for YallaPunk. “This is our first year, so we’re taking a bit of a loss,” she said. “Me and the artists. But this is a proof of concept.

The festival’s initial funding was mostly crowdsourced, although ticket sales started to generate additional money, needed to pay for things like space at the two concert halls – Johnny Brenda’s and The Barbary. But most of the stuff has been done by hand, from posters to t-shirts, by the dedicated roster of volunteer organizers, spread across the East Coast and across the United States.

When Fayez first pitched the idea for the festival online this spring, it sparked an immediate and intense reaction.

“I remember the first time I spoke to Rana,” Hakim said. “It was so beautiful, I felt like I became that close friend almost immediately.” She described the difficulty of being of Arab descent and also into punk. “Most of my life I have had to choose between behavior that is presentable for my Arab community and behavior that is acceptable for my punk community. With Yalla Punk, I don’t have to choose.

“It was like ‘Oh my God, how did I manage to be alone all this time!’ We no longer need to be alone.

While communication has only taken place via email, SMS, a Facebook group, and a Slack, the folks helping organize this weekend’s festival feel like they’ve finally found a community they can trust. were unaware of the existence.

“In Baltimore punk we have maybe one or two more [Arab] people. In DC, I know two or three of them, ”said Lyla Shlon, lead singer of raw punk band from Baltimore Bidet, who is Lebanese-American. But immediately after joining this festival, she said, “I started meeting a ton of other people – from Saudi Arabia, from Syria – tons from countries. It was like, ‘Oh my God, someone else has had a similar experience, someone else understands it.’

YallaPunk doesn’t just create links between cities. The festival brought together people who were already in Philly, but didn’t know there were other Arab-American punk fans among them.

Poet and performer Maryan Nagy Captan has been a Philadelphia resident for 10 years and originally from Egypt (she moved here when she was 5) who will lead a workshop at the Crane Arts Building called House and Home as part of the educational component of the festival.

“I found out about YallaPunk through a friend who knows Rana,” Captan said, “and I immediately knew I wanted to participate – I don’t know as many young people from the Middle East in Philadelphia. I don’t know many of them in general, but I know they are out there, and I’m about to meet them!

As excited as they are to have brought together the punk community of the MENA region, the organizers stress that the festival is open to everyone and that the more diverse the audience, the better, especially during the educational panels, which are free.

“With the way everything is going now, people have to be educated and see that we are humans – we are absolutely not scary,” Shlon said.

“Even for people who are not [Arab], the takeaway from the festival is that diversity makes people stronger, ”said Hakim. She’s also thrilled to “show people that punk isn’t all about white guys getting drunk and complaining that girls don’t date them.”

Fayez warns that because this is the inaugural festival, “what will come out of it will surprise us as much as you!” But she has confidence in her team of volunteers – and the hundreds of hours they’ve put into it – and looks forward to a successful weekend of music, fun and community building.

YallaPunk takes place from Friday September 1 to Sunday September 3. The full program of groups and workshops is available online. Tickets start at $ 15 for a single show and up to $ 200 for the “ultimate experience” which includes all performances, talks, t-shirts, loot and more.

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]]> 0 American punk band Dead Boys comes to life in collection of ‘lost’ photos Sun, 16 Jul 2017 07:00:00 +0000

Just in time for the 40th anniversary of the founding punk album “Loud and Arrogant Young”, the first photographs of DEAD BOYS, one of America’s most important punk bands, will be released in a book titled “Dead Boys 1977: The Lost Photographs of Dave Treat”. Edited and designed by Ron Kretsch (Dangerous spirits), with introductions by both Kretsch and conservative Brittany M. Hudak, the book hits the streets on September 29 to coincide with DEAD BOYS guitarist Cheetah Chromenational fall tour.

The photos in this book reveal “the embryo DEAD BOYS cavorting in the ruins of the mid-1970s Rust Belt in Cleveland, before the CBGB, before ‘Loud and Arrogant Youth’, before the infamy lasted. “This collection of photos relates not only Stiv Bator, Cheetah Chrome, Jimmy zero and Johnny blitz “on the cusp of greatness, but also offers a compelling view of an industrial city on the verge of dying.” (The quotes are from Kretsch, who also explains that “the images were finally unearthed by To treat in 2015 for exhibitions. Other than the participants in these shows, many of these photos have never been seen by the public. The book also contains an intimate and unusually sensitive portrait session with Drummers, and a section of unpublished color photos of the DEAD BOYS opening for DICTATORS. “)

Bringing each photo to life is the colorful commentary of Cheetah Chrome and Johnny blitz, giving personal memories of the photoshoot, Cleveland, the early days of punk rock, and their friend and bandmate the late Stiv Bators.

The cover of the book features a photo that many seem to recognize as the cover of “Loud and Arrogant Young” as shot by Glenn brown. Dave treats explains “After the DEAD BOYS were signed with Bull records, the band wanted the picture I took [the alley shot] to use as an album cover. They wanted me to take the picture again … and they pushed hard for me, but [Sire owner] Seymour Stein had the last word. He decided that since I was not a professional photographer, he wanted Glen brown to shoot it. So he stole Glen in Cleveland and they went back to the exact spot and took my picture back. How do I feel about it? In fact, it’s great to finally be recognized as the person who created the original concept and the photo. As long as Glen, he was hired to do a job and no hard feelings here. ”

Last year, Dangerous spirits published an article on one of the exhibits of these photos, written by Kretsch, who explained: “The negatives of these amazing photos have been buried in a closet for almost forty years, and most were first printed this year by [Bryon] Miller, gallery owner and photographer for Highlights and Billboard, who, out of respect for their origins and provenance, actually printed them the old-fashioned way with gelatin silver. In a real dark room. This background story essentially spawned this book.

Photo exhibitions are slated for Cleveland, New York and Los Angeles in the fall, with more cities and details to be revealed in the coming weeks.

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