MARC Record from marc_columbia

LEADER: 05819cam a2200589 i 4500
001 14870973
005 20220528225705.0
006 m o d
007 cr |||||||||||
008 191001s2020 nyu ob 001 0 eng
010 $a 2019044700
035 $a(OCoLC)on1123184257
035 $a(NNC)14870973
040 $aDLC$beng$erda$cDLC$dOCLCO$dOCLCF$dOCLCQ$dEBLCP$dYDX$dN$T$dTEFOD$dOWS$dNJT$dOCLCO
019 $a1153306802
020 $a0190908254$qelectronic publication
020 $a9780190908256$q(electronic bk.)
020 $a9780190908249$q(electronic bk.)
020 $a0190908246$q(electronic bk.)
020 $z9780190908232$qhardcover
035 $a(OCoLC)1123184257$z(OCoLC)1153306802
037 $a4FC03C56-BAA8-4A0B-BD1E-51D52F5CDDBB$bOverDrive, Inc.$nhttp://www.overdrive.com
042 $apcc
043 $an-us---
050 04 $aML3534.3$b.M385 2020
082 00 $a306.4/84260973$223
049 $aZCUA
100 1 $aMattson, Kevin,$d1966-$eauthor.
245 10 $aWe're not here to entertain :$bpunk rock, Ronald Reagan, and the real culture war of 1980s America /$cKevin Mattson.
264 1 $aNew York, NY :$bOxford University Press,$c[2020]
300 $a1 online resource
336 $atext$btxt$2rdacontent
337 $acomputer$bn$2rdamedia
338 $aonline resource$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
520 $a"After the blast, Kurt Cobain's body slumped. Next to his corpse lay a piece of paper with his last words. At the time the bullet seared his head, Cobain was a rock star, his grizzled face graced the covers of slick music industry magazines, his songs received mainstream radio play, his band Nirvana performed in huge arenas. But he had been thinking an awful lot about what he called the "punk rock world" that saved his life during his teen years and that he had subsequently abandoned for stardom. He first encountered this world in the summer of 1983, at a free show the Melvins held in a Thriftway parking lot. After hearing the guttural sounds and watching kids dance by slamming against one another, he ran home and wrote in his journal: "This was what I was looking for," underlined twice. As he dove into this world, he recognized its blistering music played in odd venues, but also a wider array of creativity, like self-made zines, poetry, fiction, movies, artwork on flyers and record jackets, and even politics. This too: how all of these things opened up spaces for ideas and arguments. Now in his suicide note he reflected on his "punk rock 101 courses," where he learned "ethics involved with independence and the embracement of your community."2 There are people who can recount where they were when Cobain's suicide became news. I was in Ithaca, NY, finishing up my dissertation... but my mind immediately hurled backwards to growing up in Washington, D.C.'s "metropolitan area" (euphemism for suburban sprawl). I started to remember the first time I entered this "punk rock world." Around a year or two before Cobain went to the Thriftway parking lot, I opened the doors of the Chancery, a small club in Washington, D.C., and witnessed a tiny little stage, maybe a foot and a half off the ground. Suddenly, a small kid about my age (fifteen), his hair bleached into a shade of white that glowed in the lights, jumped up. I remember it being brighter than expected (unlike my earlier, wee-boy experiences in darkened, cavernous arenas where bands like Kiss or Cheap Trick would play to me and thousands of stoned audience members). This kid with the blond hair might have said something, I don't remember, what I recall is that his band broke into the fastest, most vicious sounding music I had ever heard. Suddenly bodies started flying through the air, young men (mostly) propelling themselves off the ground into the space between one another, flailing their arms, skin smacking skin. Control was lost, for when a body moved in one direction, another body collided into its path. When someone fell over, another would pick him up. The bodies got pushed onto the stage, making it hard to differentiate performer from audience member. At one moment it appeared the singer had been tackled by a clump of kids, and he seemed to smile. Sometimes, I could even make out what the fifteen-year old was shouting, especially, "I'm going to make their society bleed!" Overwhelmed, I rushed outside to clear my head"--$cProvided by publisher.
505 0 $aPreface: From Memory . . . to History -- Prelude (1979-1980) : When Punk Broke . . . and Opened -- 1 Teeny Punks : Pioneer Your Own Culture! (1980-1981) -- 2 It Can and Will Happen Everywhere (1982-1983) -- 3 It's 1984! (1984) -- 4 Marching toward the "Alternative" (1985-?) -- Epilogue: Punk Breaks Again.
588 $aDescription based on online resource; title from digital title page (viewed on May 28, 2020).
610 10 $aUnited States.$bPresident (1981-1989 : Reagan)
650 0 $aPunk rock music$zUnited States$y1981-1990$xHistory and criticism.
650 0 $aRock music$zUnited States$y1981-1990$xHistory and criticism.
650 6 $aRock (Musique)$zÉtats-Unis$y1981-1990$xHistoire et critique.
650 7 $aPunk rock music.$2fast$0(OCoLC)fst01084153
650 7 $aRock music.$2fast$0(OCoLC)fst01099204
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
648 7 $a1981-1990$2fast
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iPrint version:$aMattson, Kevin, 1966-$tWe're not here to entertain$dNew York : Oxford University Press, 2020.$z9780190908232$w(DLC) 2019044699
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14870973$zAll EBSCO eBooks
852 8 $blweb$hEBOOKS