Search results for [Punk rock musicians] at Tsuga Consortium

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This beat goes on. [videorecording (DVD)] / by Jennings, Nicholas.; McGroarty, Gary.; Amérimage Spectra (Firm); EMI Music Canada.; Soapbox Productions.;

Various artists.This beat goes on tells the story of Canadian music in the 1970s, a ground-breaking era of great sounds, from glam and progressive rock to punk and reggae.E.DVD ; widescreen presentation ; Dolby digital.

Subjects: Documentary films.; Musicians; Popular music; Popular music; Popular music;

© c2009., Distributed by EMI Music Canada,

Available copies: 1 / Total copies: 1

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Saga boy : my life of Blackness and becoming / by Downing, Antonio Michael,1975-author.;

Antonio Michael Downing's memoir of creativity and transformation is a startling mash-up of memories and mythology, told in gripping, lyrical prose. Raised by his indomitable grandmother in the lush rainforest of southern Trinidad, Downing, at age 11, is uprooted to Canada when she dies. But to a very unusual part of Canada: he and his older brother are sent to live with his stern, evangelical Aunt Joan, in Wabigoon, a tiny northern Ontario community where they are the only black children in the town. In this wilderness, he begins his journey as an immigrant minority, using music and performance to dramatically transform himself. At the heart of his odyssey is the longing for a home. He is re-united with his birth parents who he has known only through stories. But this proves disappointing: Al is a womanizing con man and drug addict, and Gloria, twice abandoned by Al, seems to regard her sons as cash machines. He tries to flee his messy family life by transforming into a series of extravagant musical personalities: "Mic Dainjah", a punk rock rapper, "Molasses", a soul music crooner and finally "John Orpheus", a gold chained, sequin- and leather-clad pop star. Yet, like his father and grandfather, he has become a "Saga Boy", a Trinidadian playboy, addicted to escapism, attention, and sex. When the inevitable crash happens, he finds himself in a cold, stone jail cell. He has become everything he was trying to escape and must finally face himself. Richly evocative, Saga Boy is a heart-wrenching but uplifting story of a lonely immigrant boy who overcomes adversity and abandonment to reclaim his black identity and embrace a rich heritage.

Subjects: Biographies.; Autobiographies.; Downing, Antonio Michael, 1975-; Downing, Antonio Michael, 1975-; Authors, Canadian (English); Musicians; Musicians;

Available copies: 1 / Total copies: 1

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The first 21 : how I became Nikki Sixx / by Sixx, Nikki,1958-author.;

"Nikki Sixx is one of the most respected, recognizable, and entrepreneurial icons in the music industry. As the founder of Mötley Crüe who is now in his twenty-first year of sobriety, Sixx is incredibly passionate about his craft and wonderfully open about his life in rock and roll, and as a person of the world. Born Franklin Carlton Feranna on December 11, 1958, young Frankie was abandoned by his father and partly raised by his mother, a woman who was ahead of her time in some ways and deeply troubled in others. Frankie ended up living with his grandparents, bouncing from farm to farm and state to state. He was an all-American kid-hunting, fishing, chasing girls, and playing football-but underneath it all, there was a burning desire for more, and that more was music. He eventually took a Greyhound bound for Hollywood. In Los Angeles, Frank lived with his aunt and his uncle-the president of Capitol Records. But there was no short path to the top. He was soon on his own. There were dead-end jobs: dipping circuit boards, clerking at liquor and record stores, selling used light bulbs, and hustling to survive. But at night, Frank honed his craft, joining Sister, a band formed by fellow hard-rock veteran Blackie Lawless, and formed a group of his own: London, the precursor of Mötley Crüe. Turning down an offer to join Randy Rhoads' band, Frank changed his name to Nikki London, Nikki Nine, and, finally, Nikki Sixx. Like Huck Finn with a stolen guitar, he had a vision: a group that combined punk, glam, and hard rock into the biggest, most theatrical and irresistible package the world had ever seen. With hard work, passion, and some luck, the vision manifested in reality-and this is a profound true story finding identity, of how Frank Feranna became Nikki Sixx. And it's a road map to the ways you can overcome anything, and achieve all of your goals, if only you put your mind to it."--Provided by publisher.

Subjects: Biographies.; Autobiographies.; Sixx, Nikki, 1958-; Rock musicians;

Available copies: 1 / Total copies: 1

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Mellencamp / by Rees, Paul(Music journalist),author.;

Includes bibliographical references and index."John Mellencamp is not your typical rock star. Not only has he absorbed into his own work the influence of Faulkner, Williams, Steinbeck and other such literary giants, but he himself could have stepped straight from the pages of any of their great American novels. A complex, colorful and larger than life character, Mellencamp, like Bob Dylan and Johnny Cash before him, walks to the beat of his own drum. Or, as he told author and veteran music journalist, Paul Rees: "I just refuse to take shit off anyone." Little Bastard will definitively chart the life of one of the most fascinating characters in all of American music. It will bring into full relief the complex, iconoclastic character of the man Billy Joel, when inducting Mellencamp into the Rock and Roll Hall of Fame in 2008, urged to "Stay ornery, stay mean. We need you to be pissed off," Joel continued. "People need to hear a voice like yours to echo the discontent in the heartland. Someone's got to tell 'em, 'Don't take any shit,' and John, you do that very well." Along with Mellencamp's full blessing, Rees will include new interviews from his friends, family and colleagues, including Bob Seger, Stephen King, Willie Nelson, Larry McMurtry, Emmylou Harris, Elvis Costello, Sheryl Crow and Chuck D, among others. Rees will also include interviews from artists he has had a pronounced influence on such as John Mayer, Keith Urban, and Jason Isbell. Telling Mellencamp's story is telling the story of the American heartland, along with such pivotal moments in social history as the dawning of the Civil Rights movement, the hippy era, the anti-Vietnam War protests, Watergate, and the terms of such divisive US Presidents as Richard Nixon, Reagan, George W. Bush and now Donald Trump. In terms of music, Mellencamp's account runs parallel to the advent of rock-and-roll, the Summer of Love, the singer-songwriter superstars and the nihilistic punks of the nineteen-seventies, the founding of MTV and the have-it-all eighties, the creation of Farm Aid, and the radical re-shaping of the music industry that has gone on through this century"--

Subjects: Biographies.; Mellencamp, John, 1951-; Rock musicians; Singers;

Available copies: 1 / Total copies: 1

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This woman's work : essays on music / by Gleeson, Sinéad,editor.; Gordon, Kim,editor.;

"THIS WOMAN'S WORK is a collection of essays by 18 female writers, writing about exclusively female experiences in music, co-edited by Sonic Youth co-founder Kim Gordon and Irish author Sinead Gleeson. This book celebrates the instrument makers, the experimentalists, the harmonizers, the avant-garde, the genre-breakers, the pop queens, and all those on the margins who expose the lack of intersectionality in this industry. For a long time, the narrative of music has been male-centered and hyper-masculine. The purpose of the women within it was to orbit these men: swooning to Elvis, screaming en-masse at Beatles gigs, or trying to get backstage to sleep with the rock bad boys. When women gained visibility in the music of the 1960s, they were-again-allocated specific tropes: backing singer, lone woman in the band, Motown trios singing innocuous love songs. In the 1970s, at the time Kate Bush became the first woman (at just 17) to have a number one with song she'd written herself, the women of punk began to make their voices heard. But many didn't like these acts of assertion; the femaleness, the raging against gender stereotypes, the Amazonian loudness of it all. Joan Jett recalls being knocked over on stage by flying bottles; The Slits were chased and threatened after gigs and their singer Ari Up was stabbed twice. Even as late as the 1980s, as hip hop gained prominence, it made room for only a handful of women, while trading in misogynist rhymes, where women could only be hoes, bitches or gold diggers. How were young female rappers of color to participate when they didn't see themselves represented in that culture? Trapped within an entertainment industry relentlessly catering to men, these rappers, and many other budding female musicians across a variety of genres in modern music, were often othered and exoticized-until the moment when they dared to own it. To speak up. To shout louder. Digging into the depths of an industry hard-coded for sexism, THIS WOMAN'S WORK is an ode to the thousands of women in music whose stories we don't know. Pioneers whose achievements are undervalued, often by virtue of their gender, or because someone else (many times, a man) took credit for it. Featuring brand new essays from notable feminist writers like Ottessa Moshfegh, Juliana Huxtable, Maggie Nelson, Rachel Kushner, Leslie Jamison, and more, THIS WOMAN'S WORK reminds us to pay our respects to the women who shattered ceilings and kicked in doors, vastly expanding the spectrum of women's influence in the world of modern music"--

Subjects: Essays.; Misogyny.; Music.; Women musicians.;

Available copies: 1 / Total copies: 1

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