My so-called punk : Green Day, Fall Out Boy, the Distillers, Bad Religion : how neo-punk stage-dived into the mainstream

Available (3)

Location	Collection	Call #
CLP - Main Library	Second Floor - Non-fiction	ML3534.D54 2007
Location	CLP - Main Library
Collection	Second Floor - Non-fiction
Call Number	ML3534.D54 2007
Carnegie Free Library of Swissvale	Non Fiction	781.66 Die
Location	Carnegie Free Library of Swissvale
Collection	Non Fiction
Call Number	781.66 Die
Penn Hills Library	Non-Fiction	781.66 DIE
Location	Penn Hills Library
Collection	Non-Fiction
Call Number	781.66 DIE

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Summary

Published Reviews

Booklist Review: "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 2007 Booklist"
From Booklist, Copyright (c) American Library Association. Used with permission.
Publisher's Weekly Review: "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.) (c) Copyright PWxyz, LLC. All rights reserved"
(c) Copyright PWxyz, LLC. All rights reserved

Additional Information

Subjects	Green Day (Musical group) Fall Out Boy (Musical group) Distillers (Musical group) Bad Religion (Musical group) Punk rock music -- History and criticism.
Publisher	New York :St. Martin's Griffin,2007
Edition	1st ed.
Language	English
Description	viii, 262 pages ; 24 cm
Bibliography Notes	Includes bibliographical references (pages 243-244) and index.
ISBN	0312337817 (pbk.) 9780312337810 (pbk.)
Other	Classic View