| Record ID | marc_openlibraries_sanfranciscopubliclibrary/sfpl_chq_2018_12_24_run04.mrc:105096971:2920 |
| Source | marc_openlibraries_sanfranciscopubliclibrary |
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LEADER: 02920cam a2200505Ia 4500
001 153560406
003 OCoLC
005 20151005082841.0
008 070626s2007 enka k 000 0 eng
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016 7 $a013784579$2Uk
020 $a9781906155025 (pbk.)
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050 4 $aML3477.8.N48$bM32 2007
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100 1 $aMasters, Marc.
245 10 $aNo wave /$cMarc Masters ; foreword by Weasel Walter.
260 $aLondon :$bBlack Dog Pub.,$c[2007?]
300 $a205 p. :$bill. (some col.), facsims., ports. ;$c27 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aDiscography: p. 202-203.
505 0 $aNo! : the origin of no wave -- From ten to one : Mars and DNA Dark Day -- Dissattisfied : Lydia Lunch and James Chance, Lydia Lunch's Queen of Siam -- Theoretical music : the SOHO contingent, Red Transistor -- The Offenders : no wave cinema, TV Party -- Too many creeps : the aftermath of no wave, No Magazine and Tape #1.
520 $aBest known for short songs and even shorter life-spans, no wave bands fused disparate styles to fashion abrasive, rhythmic songs that were completely original and utterly compelling. The primary perpetrators -- Lydia Lunch's howling Teenage Jesus and the Jerks, James Chance's skeletal Contortions, the dark-noise groups Mars and DNA -- all drew on primitivism, performance art, and the avant-garde. The book also delves into no wave cinema, where pioneers like Amos Poe, Eric Mitchell, and Beth and Scott B. translated the aggression and innovation of no wave music to the screen.
650 0 $aNo wave (Music)$xHistory and criticism.
650 0 $aRock music$zNew York (State)$zNew York$xHistory and criticism.
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