11 April, 2012
by rgonzalezr
The Philosophy Of Punk is an awesome look at the underground scene, philosophies, history, political and social happenings of the punk movement. Craig shatters what the mass media portrays as punk and gives you the truth. There are also some great pictures to boot. I can’t say how good this book is. The Lithuanian authorities stopped the printers from distributing it in their country saying it was “a vile, rebellious, offensive document” so you know it is a good one.
Why Punk: Background comparisons with previous art movements; some defining characteristics of punk.
Media Misrepresentations: How television, glossy magazines, and mindless mass media have done their best to defang the beast. Skinheads: Who they are, where they’re from and do they have to do with punk anyway.
Intra-Movement Communication: Fanzines-communcation from the Xerox machine to the underground.
Anarchism: An alternative to existing systems. What it is and why it is embraced by punks all over the world. The failure of “bought and paid for” politicians has ensured a counterculture receptive to the idea that we would be better off without these vampires. Gender Issues: Sexism, feminism and open homosexuality. Environmentalism and Ecological Concerns: The ideas and techniques of Earth First, ALF, and others have found a comfortable home in the punk scene. Straight Edge: A movement that went from being a minor threat to a convervative, conformist no threat.
* AGOTADO.
(DISPONIBLE SOBRE PEDIDO EN 4 SEMANAS)
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2 February, 2012
by rgonzalezr
El libro que tienes en las manos no es una historia del punk. La autobiografía de John Lydon, cantante de los Sex Pistols, revela más bien la idea de algo que pudo ser y no fue; los mimbres de una revolución imposible que, sin embargo, durante un instante de 1976 lograron prender en algún compartimento de la conciencia juvenil. Este libro sitúa su epicentro en esa explosión instantánea que desató el grupo británico y, describiendo una onda expansiva que pronto desvió su trayectoria gracias a la ambición o la estupidez de muchos de sus artífices, nos invita a imaginar “otro punk”. Porque, más que la historia de Sex Pistols, “Rotten: No Irish, No Blacks, No Dogs” expone las instrucciones de una manera de vida, redactadas a fogonazos, con tanta aportación del cerebro como del corazón y sin un plan maestro detrás.
- ISBN: 9788477741930
- EDITORIAL: A. Machado Libros S. A.
- AÑO PUBLICACIÓN: 2007
- Nº EDICIÓN: 1ª
- ENCUADERNACIÓN: Rústica con solapas
- MATERIA: Biografías.
Posted in Biografía, Música |
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30 January, 2011
by rgonzalezr
- Audio CD (September 28, 2004)
- Number of Discs: 1
- Label: Panic Button
This is a great CD. Full of songs that will stick in your head. Even the slow songs are great. I love the mix between the fast songs and the slower “ballads.” The funny thing about female fronted punk groups is that they tend to not sing about politics. You will not find Bad Religion or Propagandhi anthems on this record. The song tend to discuss love and life, but no politics. But that’s o.k. The songs are so catchy that I forgive them.
The only lame song is their last song, a remake of a 60′s song. It reminded me of the Jam’s “Setting Sons,” another great record that is tarnished by a lame 60′s cover. Please punk bands, stop with the covers. Very few work. Lagwagon may be the only band that can really make a cover their own. The great thing about the Dollyrot’s lame song is that it is the last one.
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30 January, 2011
by rgonzalezr
Bursting at the seams with creative energy, the Clash’s stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978′s tried-too-hard Give ‘Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly (“Brand New Cadillac”) to reggae (“Rudy Can’t Fail”) to pop (the Top 40 hit “Train in Vain”), the Clash knocked down all musical walls and, in the process, ended the argument over punk’s viability in the U.S.
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