Ebook My So-Called Punk: Green Day, Fall Out Boy, The Distillers, Bad Religion---How Neo-Punk Stage-Dived into the Mainstream, by Matt Diehl
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My So-Called Punk: Green Day, Fall Out Boy, The Distillers, Bad Religion---How Neo-Punk Stage-Dived into the Mainstream, by Matt Diehl
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When it began, punk was an underground revolution that raged against the mainstream; now punk is the mainstream. Tracing the origins of Grammy-winning icons Green Day and the triumphant resurgence of neo-punk legends Bad Religion through MTV's embrace of pop-punk bands like Yellowcard, music journalist Matt Diehl explores the history of new punk, exposing how this once cult sound became a blockbuster commercial phenomenon. Diehl follows the history and controversy behind neo-punk―from the Offspring's move from a respected indie label to a major, to multi-platinum bands Good Charlotte and Simple Plan's unrepentant commercial success, through the survival of genre iconoclasts the Distillers and the rise of "emo" superstars like Fall Out Boy.
My So-Called Punk picks up where bestselling authors Legs McNeil and Jon Savage left off, conveying how punk went from the Sex Pistol's "Anarchy in the U.K." to anarchy in the O.C. via the Warped Tour. Defining the sound of today's punk, telling the stories behind the bands that have brought it to the masses and discussing the volatile tension between the culture's old and new factions, My So-Called Punk is the go-to book for a new generation of punk rock fans.
- Sales Rank: #2056320 in Books
- Published on: 2007-04-17
- Released on: 2007-04-17
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .62" w x 6.00" l, .90 pounds
- Binding: Paperback
- 272 pages
From Publishers Weekly
In this energetic survey of current trends in punk rock, journalist and music critic Diehl (Notorious C.O.P.) delivers a knowledgeable and sympathetic overview of the current "neo-punk" bands that achieved success with "the pop music mainstream in the mid-1990s," from big names such as the Offspring and Rancid to lesser-known artists such as Brody Dalle. He nails the key musical reason for the megapopularity of neo-punk band Green Day: while they "trafficked in three-chord minimalism, unlike many of their punk peers, they maintained a keen sense for imbuing those three chords with classic pop song structure and melody." But as a fan of punk music since its heyday in 1977, Diehl is also able to explain the various "vital subsets of the already subcultural punk experience." He keenly reports on how the age-old conflict between authenticity and commercial success has become a key issue in all parts of the neo-punk scene, from resolutely "indie" labels like Epitaph and Dischord to the popular Vans Warped Tour's "blending of the mainstream and the underground." Diehl convincingly argues that "[e]ven in its most crass, commercial state, Punk, Inc. offers more integrity and authenticity than anything comparable on the pure pop side." (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Diehl limns the bands who nominally carry forward the colors of the Sex Pistols, Clash, and Ramones in highly readable fashion. Just as every rebellious generation rediscovers Rimbaud, so does every revolutionary pop-music genre eventually deliquesce into slushy mainstream commercial success. According to Diehl, just such success has altered what punk means and how it's expressed. A punker himself in the seventies, Diehl fondly recalls when Patti Smith "reinvented the androgynous cock-rock sex symbol epitomized by Mick Jagger and Jim Morrison in her own persona . . . that reeked of Rimbaud." Punk rock was never homogeneous--what did Sex Pistols and Talking Heads share?--and since it became profitable, he says, it's even harder to define. Diehl finds value and even remnants of proto-punk's DIY ethos in today's punk bands, be they modern-day thrashers or hypersensitive emo practitioners. An essential part of the story of an ongoing movement, Diehl's book provokes lots of interesting questions. So what if he doesn't have all the answers? Mike Tribby
Copyright © American Library Association. All rights reserved
About the Author
Matt Diehl is a music journalist. His work has appeared in Rolling Stone, The New York Times, The Washington Post, GQ, VIBE, Spin, Blender and many other publications. He served as the music columnist for Elle for four years and now serves as a contributing music editor at Interview. He has appeared as a music expert on MTV and was co-producer of the acclaimed five-part television series on VH1, The ‘70's. His books include No-Fall Snowboarding and Notorious C.O.P..
Most helpful customer reviews
3 of 3 people found the following review helpful.
This book seriously sucks.
By C. Holoyda
Matt Diehl writes an exhaustive book about punk rock. And by exhaustive, I mean it's boring as hell. How could a book about punk rock be so excruciatingly tedious and humorless? It's not particularly well-written, but that would be excusable if it at least was interesting. This exceedingly stupid quote from Missy Suicide is basically the thrust of the book: "But that's part of the fun of punk rock - that you can be so punk rock by not being punk rock." Profound. While I've spent a lot more time listening to bands featured in this book, "Please Kill Me" is a far more entertaining and worthwhile read.
18 of 21 people found the following review helpful.
Things I learned reading this book
By Steve Roby
1. Brody Dalle, who took her last name from Louis Dalle, director of Pretty Baby, is really cool.
2. If you only interviewed eight people for a book, go ahead and repeat what they say a few times. Only people who read the whole book will notice.
3. Brody Dalle. Wow. Great singer, totally hot, really important band. She's Australian, you know. Took her surname from Louis Dalle, the guy who directed Pretty Baby.
4. If you're into leftist politics as a neo-punk, that's cool. If you're a conservative Christian neo-punk but not a racist, that's cool. If you're not into politics, that's cool, too. It's all punk and meaningful. Punk is so political whether it is or isn't. And that's... okay. Because it's punk.
5. Suicide Girls. Naked punk girls. *They* think Brody Dalle (did you know she took her name from the film director Louis Dalle?) is really hot. And they're hot punk girls so they should know. In fact, Suicide Girls, a porn website, deserves a whole chapter in this book, because they're so punk. And feminist. Except the ones who aren't. And that's cool. Because they're so darn punk.
What I didn't learn... well, I'm 44 years old. I remember being in a fair sized city high school with maybe a dozen or two other kids who liked punk rock, and then moving to a small town where only two of us in a high school with 1200 kids liked punk (or even knew what it was). I've watched as the kind of kids who hated punk then have spawned the new generation of mall punks who like idiotic bubblegum punk, even though there's still great punk rock being made today. I kind of hoped this book might explain how that happened. I was mistaken.
Oh, and the writing style drove me nuts. Not just the repetition, and the "I must be able to work Brody Dalle into this chapter somehow" singlemindedness, and the way people who were quoted every second page were always identified as (for example) "Agent M of Tsunami Bomb" -- yeah, I remember, okay? -- but the way it reads like a nonfiction magazine article from Rolling Stone for Twelve-Year-Olds. Right down to the end of the book, which ends:
"Meet the new punk.
"Chances are it looks a lot like... *you.*"
Isn't that special?
3 of 3 people found the following review helpful.
Sloppy and disappointing
By Anonymous old punk
Every other negative review is right.
There's a good book to be written about punk in the 90s, the indie vs. mainstream history of the period and the questions about punk authenticity (and how much that idea really matters). This book was a big disappointment. Like other reviewers have pointed out, he's trying to make the Distillers the voice of neo-punk (which didn't really bother me - anybody writing a book like this is going to have a pet band), but it serves as a constant reminder of how this writer involves himself in the story he's telling; the whole thing is either poorly written or badly edited - everyone he quotes is introduced in full ("Tre Cool, drummer for Green Day") even if they were mentioned just a few paragraphs ago; he gets information wrong (Hermosa Beach, as someone pointed out, is not in Orange County, so when he starts complaining about the "OC-ification of punk" it's clear that he doesn't much know what he's talking about).
I should have quit reading when I hit the phrase "Meet the new punk. Definitely (italicized) not the same as the old punk." This is a guy who italicizes words for emphasis and paraphrases the Who when talking about punk. Dismal.
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