✻ [BOOKS] ✯ Please Kill Me: The Uncensored Oral History of Punk By Legs McNeil ❅ – Dolove.info
when i was a kid and i would whine about not getting new shoes or some stupid shit my mom would sing that old Rolling Stones song, "You can't always get what you want" only she wouldn't sing it she would talk it like it was some ancient wisdom from the lips of Plato inserting pauses to let the complicated cadence of his words sink in, "but if you try some time...you just might find... you get what you need." It always pissed me off and made me embarrassed that my mom thought she was being cool quoting some stupid ass song by some guy with a drippy face. Guess what mom...that song was about heroin.
bad music often good sometimes great noise made by terrible people.
kick out the jams Along with Dave Marsh’s “Before I Get Old,” Ian Hunter’s ”Diary of a Rock N’ Roll Star,” and Tony Sanchez’s “Up and Down With the Rolling Stones,” “Please Kill Me” is right up there on the Mount Rushmore of Rawk Tales from the Naked City but if you come here in search of Malcolm McLaren, Sex Pistols, The Clash, Generation X, or The Stranglers, look away now.
Although, inevitably, there is a bit of overlap with oldschool Brit punk, just beginning to take seed across the pond somewhere along this sordid timeline, Legs McNeil and Gillian McCain hit the ground running er, staggering, trying to explain out how two bands of protopunks – MC5 and the Stoogesplaced Detroit, a noisy nowhere land in midAmerica, on the map forever.
It must have been something in the water around here or the charm and comfort of living in a place where music biz marketing trends and gimmicks are met with a wizened, cynical roll of the eyes. When punk did finally break out, the Detroit faithful had reason to shrug and ask, “What took you guys so long?”
In the end, (MC)five knockaround guys from the downriver shotandabeer enclave of Lincoln Park just weren’t cut out for the revolution, or at least not manager, guru, and counterculture cause celebre John Sinclair’s complicated, woefully misguided, and hopelessly naïve version of it, “dope, guns, and fucking in the streets” completely out of their wheelhouse. Well, the guns part of the equation at least. Their idea of liberation had more to do with smoking marijuana cigarettes, dropping acid, and playing on “10” as a means to an end: avoiding the path of least resistance to their birthrights as shop rats in the automobile factories which have sustained Detroit for most of the past century. The rest they just sort of fell into.
The Stooges…well who knows what the hell they were thinking, their stock in trade a bigbang, primordial collision of monosyllabic angst and convulsing, tribal rhythm that staked out a section of real estate entirely its own, oscillating between grey areas of alienation, tedium, and outright dementia, Iggy yammering, grunting, and howling like a feral cat on methamphetamine and human growth hormone. Plain and simple: they weren’t fooling around.
But by early 1974 the band was done like dinner, Iggy facing down a motorcycle gang at the Michigan Palace, finger on the selfdestruct button while dodging eggs, light bulbs, paper cups and worse, taunting them with, "You nearly killed me but you missed again, so you have to keep tryin' next week" his final comment to close a sevenyear run. Only problem was there wasn't a next week.
From Detroit it’s onward but not necessarily upward to the New York Dolls and the reputation of the toxicallycharming Johnny Thunders as a pharmaceutical repository, most of the band so high they had to call NASA to find their heads. Big Apple dreamers, the band went to the edge of teenbeat stardom and looked down, content to lift a few drinks, crank a few chicks, and wreck a couple of hotel rooms. Anything greater would have been just too much hassle.
Thunders was monumentally talented, everything Keith Richards was supposed to be but often wasn’t; chaotic, lurching, and with nothing else besides rock and roll to live for except…um…a bump of heroin. After the Dolls went belly up in Florida (of all places), Thunders and drummer Jerry Nolan rebounded with the Heartbreakers (not the Tom Petty outfit), equal parts genius and myth and perhaps the most thrilling and selfdestructively drugaddled group of bad influences to ever congeal in one place, once again stalling at secondlevel stardom by willfully mismanaging their career and never quite getting their collective shit together enough to even come close to a followup to their killerbutwoefullymixed debut album “L.A.M.F.”
By the time the Ramones stumble out of Forest Hills, into CBGBs, and then hit the road on a 20year bus ride across the U.S. and beyond (over 2,200 gigs in all), much of America was ripe for the picking. They just didn’t know it yet. Their debut album, released when punk was overlapping disco, fell on deaf dimwit ears for the most part and for those of us who felt they may just change the world – if not the music biz – the failure of their sales to approximate the accolades or even get on the radio once in a while is still a stake through the heart of the 20yearold that beats within my chest somewhere.
Anyone who’s been following the plot knows things don’t end well here, the entire New York scene going down in flames faster than The Clash after releasing “Sandinista!” but it’s like rubber necking a multicar pileup on I75 North the Friday before Labor Day. It’s impossible to look away. Please Kill Me Online The Uncensored Oral History Please Kill Me And Other Books Projects By Legs McNeil And Gillian McCain Music, Art, Culture, Fashion, Poetry And Movies From The S Through Today Please Kill Me L Histoire Non Censure Du Punk Par SesPlease Kill Me Est Le Fruit Vnneux De Centaines D Heures D Entretiens Avec Ceux Qui Ont Anim L Un Des Mouvements Culturels Et Musicaux Les Plus Dtonants De La Fin Du XXe Sicle Le Punk Rock Amricain Ralis Sous Forme De Montage Nerveux, Extrmement Vivant Et Souvent Impitoyablement Drle Ou Tragique, Ce Livre Dans Lequel Les Voix Se Rpondent Rarement Pour S Accorder NousPlease Kill Me L Histoire Non Censure Du Punk RacontePlease Kill Me Est Le Fruit Vnneux De Centaines D Heures D Entretiens Avec Ceux Qui Ont Anim L Un Des Mouvements Culturels Et Musicaux Les Plus Dtonants De La Fin Du Vingtime Sicle Kill Me Please FilmAlloCin Malgr Son Petit Budget, Kill Me Please A Russi Attirer Quelques Stars Comme Benot Poelvoorde, Bouli Lanners Ou Encore Virginie Efira Il Faut Prciser Qu Une Partie Du Casting Est Issue De Editions Allia Livre Please Kill Me L Histoire NonPlease Kill Me Est Le Fruit Vnneux De Centaines D Heures D Entretiens Avec Ceux Qui Ont Anim L Un Des Mouvements Culturels Et Musicaux Les Plus Dtonants De La Fin Du XX E Sicle Le Punk Rock Amricain Please Kill Me Traduction Franaise Linguee De Trs Nombreux Exemples De Phrases Traduites Contenant Please Kill Me Dictionnaire Franais Anglais Et Moteur De Recherche De Traductions Franaises Trailer Du Film Kill Me Please Kill Me Please BandeRegardez La Bande Annonce Du Film Kill Me Please Kill Me Please Bande Annonce VF Kill Me Please, Un Film De Olias Barco VIOLENT FEMMES NO NORMAL BAND PleaseKillMe Is The Home Of Please Kill Me The Uncensored Oral History Of Punk, And Other Books Projects By Bestselling Authors Legs McNeil And Gillian McCain The Site Encompasses Music, Art, Culture, Fashion, Poetry And Movies From The S Through Today THIS IS WHAT S COOL Visit Our Store Men S Please Kill Me Iggy Pop T ShirtAutographed Please Kill Me Th Anniversaryplease Kill MeYouTube Jeremy Audrey Roloff Couple Things With Shawn And Andrew Duration Couple Things With Shawn Johnson And Andrew East Recommended For You New Would Someone Kill Me Please I Stumbled Accross This Searching Someone Please Kill Me On Google Bc Thats How I Feel Right Now I Have Attempted And Obviously Failed To Kill Myself So Many Times Ive Lost Count For Myself It Comes Down To The Little Things Ie IF I Shoot Myself There Will Be A Hole In The Cieling And Alot Of Blood To Clean Up I Have Tried Seeking Help From Family And Friends But They Always End Up As an avid reader (and subsequent loather) of "punk rock" history, I was excited to get into this. And although I didn't get exactly what I was looking for, it's certainly worth a read for those who can stomach it.
I can't claim to not like oral histories having only previously read the "People's Oral History" by Zinn which is a blood orange compared to Wayne Kramers' red delicious. That being said, I found this book far too gossipy and "sceney" making me think that cliques in music existed long before the internet came and quantified it for the world to see/read. You fucked Johnny thunders? Great! He vomited on your couch!!? NO WAY!
For those who want the shortened version, I'll sum it up. Patti Smith was a delusional bitch. Lou Reed had tons of gay sex and was mean to everyone. Dee Dee Ramone was a prostitute and hated the rest of his band. The Dead Boys and The Heartbreakers did a lot of drugs. Iggy Pop manipulated people for smack. The New York Dolls were popular for a year, tops. MC5 were sexist and full of shit. A few people OD'ed, and the Sex Pistols came along and ruined the fun for everyone.
Sound good? Kind of. But a few major gripes here. This book, first and foremost should be about the history of NEW YORK punk. Or "people Legs McNeil was friends with." It is embarrassing that the Talking Heads were completely excluded from this because the writers thought that they were "yuppies." How you can talk about Blondie, Television and Patti Smith and completely leave out David Byrne (for better or worse) to me seems ludicrous. It's the same with the British movement. Malcolm Mclaran is of course given his due here but the raging prejudice put against the UK bands ("The Damned were posers! The Clash didn't know what they were talking about!") seems more like territorial squabbling than actual criticism.
Perhaps this book serves as an interesting antidote to the idea that it was "better in the old days" although I'm sure that the author (and the few that survived) probably believes otherwise. It certainly doesn't seem that way. Too many knife fights and junkies shooting up in the bathroom, thanks. Yes, Iggy might have been electrifying rolling around in glass but nihilism, as it turns out, isn't all its cracked up to be. Things I learned from this book...
Everyone involved in the early American punk scene was one big incestuous relationship. Everyone had sex with everyone else at one point or another. Male, female, transsexuals, johns, etc.
Everyone was on drugs. How did punk even get started? I mean really, it amazes me that punk even remotely got off it's feet, everyone was so messed up.
Patti Smith still kind of freaks me out, but you have to respect her determination.
Lou Reed is a douchebag.
Even completely drugged out of his mind, I still love Iggy. He's so perfectly strange.
They consider Jim Morrison to be a forerunner of punk because of his stumbling drunk performances seemed to be a fuck you to the buttoned up squares going to the shows to be "cool". I love the Doors and Jim to a fault, but let's get real. Those performances were less fuck you's and more I'm wasted out of my mind and don't know what is going on. But hey, it gave Iggy motivation too do the Stooges so I'll take it.
Nancy Spungen went to England to clean herself up. Well that worked out well.
to quote William S. Burroughs "I always thought punk was someone who took it up the ass". I find it interesting and a little amusing that this was the term that was used to coin this movement. I respect that they took a derogatory term and flipped it on it's head though. It's very punk of them.
No one liked Steven Tyler. Well, that isn't really new, but it needs repeating.
Malcolm McLaren is still one of the worst things that happened to punk.
I'm a little torn on my feelings on this book. It was incredibly interesting, but less an "oral history of punk" and more of an oral history of the absolute sex and drugged fueled insanity that was NY/Detroit punk. How the albums that came out were even remotely decent is shocking, much less as game changing as they were. It was interesting to see the NY scene's take on the origins of punk, obviously they lay claim to the title for themselves rather than the UK scene. I see it as more of feeding off each other, they both used the same nihilistic anarchy and general fuck off feeling put out through simple but heavy guitar riffs. They both brought music away from the heavily synthesized embellishment that came out of the late 60s/early 70s rock and took it back to the basic 50s rock with a twist. It was garage rock with a flair of fuck you. I guess a majority of the hate towards UK punk seems to come at the heels of the fashion statement that came along with them. Like so many other genres, people latched on to a fad to follow and then they lost their way with the music. It doesn't make [some of] those bands any less influential under all of that crap though.
I loathed to enjoy most of this book. While the antics of the scene had it's moments of enjoyment, the fact that the same scene played a part in destroying so many lives makes it hard to read about it. They did it to themselves, yes, but that doesn't make it any less sad to see how they ended up. They definitely lived the sex, drugs & rock n roll lifestyle full tilt though and created amazingness in their wake. No matter whether it was the NY or the UK scene who started punk, they created something amazing and in turn influenced so many others to create even more.
Now I need to find a book on the Cali punk scene to finish my journey of punk off. If you love gossipy oral histories, this is the book for you. It's probably better if you're familiar with the music, but that's not a prerequisite. And it's often hysterically funny, depending on who's being interviewedRichard Lloyd and Richard Hell both made me laugh out loud a number of times.
One of the best parts: several people are talking about how Jim Morrison was an 18carat prick, and Ray Manzarek comes along saying, "Jim was a shaman." I'll let Danny Fields have the last word on Mr. Mojo Risin', as he said it far better than I ever could:
"Patti Smith was a poet. I think she elevated rock & roll to literature. Bob Dylan elevated it. Morrison's wasn't poetry. It was garbage disguised as teenybopper. It was good rock & roll for thirteenyearolds. Or elevenyearolds . . . . There has got to be a reason why women like Nico and Gloria Stavers, the editor of 16 Magazine, fell so deeply in love with him, because he was essentially an abusive man to women. But it sure wasn't his poetry. I've got to tell you, it wasn't his poetry. He had a big dick. That was probably it." 4.5 stars just not a 5 because I don't think a reread will affect me the same way
Little did I realize that the punk movement started as early as 1968 with the Velvet Underground and amphetamine usage. Thus begins Please Kill Me, a compilation of interviews with some of the most influential talent in the industry and on the streets through the early 90s. Photos throughout
The book is broken into chapters that follow a timeline that flow through music progression and drug prevalence. I'm seriously surprised more of these people didn't die during the early years, although many were dead by the re authorization.
The focus is on American punk, which, unbeknownst to me, is where the movement began, about fifteen years before England. There is a similar book on England's movement, and it is on my toread list if anyone is interested. In this book only the Sex Pistols are discussed. I am ashamed to say that I've had to create a list of bands with whom I'm not familiar so I can Spotify the music.
These bands, except Patti Smith, were men, and were selfdestructive. Their behavior was off the charts, but most were extremely artistic. How they attracted so many women in such a decrepit state is beyond me. I guess like attracts like.
This read was an absolute revelation. I'll never listen to music the same way. Drugs, drugs, drugs. Sex, sex, sex. Violence and vomit and just a little bit of music. Virtually no analysis and not much beyond "first we did this, and then we did this, and then we went there, and we were so stoned, man."
What might have had punch and charm if embedded in an historicallyinformed narrative just drags interminably here, as one after the other rather sad, sordid character races to a tragic and untimely end. The actual oral documentation is valuable and worthy of being recorded somewhere but it does not make a very cohesive or illuminating book. Having just read Arlette Farge's magisterial The Allure of the Archives', a book dealing with 18th century criminal interviews and judicial records which cautions against taking oral sources at face value, not because they're unreliable, but because we are as we "listen" to them without context or a broader sense of how they fit into individual's entire lives and their place in the world, I wondered what a careful historian might make of all this material. Certainly something deeper and more engaging than this. I read most of this one night while working the graveyard shift at a very institutional group home in the real methy part of SE Portland. I was the only person awake and not severely mentallyill in the whole building, except for the parole guys, who I was pretty sure were faking it, or at least greatly exaggerating. There were these big sliding glass doors where of course the methhead psychos lurking in the dark could watch me mopping, all lit up, but I couldn't see out, and most nights I'd be really on edge and ready to run for the parole guys' room if any of the scary noises I heard outside turned out to be some twisted someone smashing through the glass and grabbing my spleen as an ingredient to use in his basement meth lab.
Anyway, that one night I didn't have time to worry about getting chopped into pieces by violent, spunout hicks, because I was too busy drinking Vanilla Coke after Vanilla Coke in the office, not mopping the place and absorbing (naturally) this very absorbing oral history of the seminal New York City punk scene. The best part by farand I wish I had my copy still, so I could quote directlywas this desciption of Richard Hell, who'd rip all those holes in his shirt and then go around all moonyeyed and moaning, "Oh, poor me, my life is so hard, here I am, with all these holes in my shirt!" You'll have to find the book to get the actual verbatim, which is better phrased, but if you don't have time for the whole book (though you should make the time), that's the passage that brilliantly sums up the gist of that whole glorious punk rock movement.
From an educational standpoint, this book really made me appreciate the ladies who intervened in the years after the era it described. Not that things ever got great, but reading this paints a pretty horrifying picture, from a female perspective. With the exception of Patti Smith, and to some extent Debbie Harry, the early punk scene was pretty damn limiting if you were a woman. Basically if you were amazingly gorgeous you were Bebe Buell, and you were considered a "muse," which meant you'd pick some hot rock star and be a highly coveted, specialized, and respected version of what most of the other girls around seem to have been considered during this time, which was interchangeable fuckhole groupies. It might've been worth it to see these bands live in their heyday at CBGB's, but I don't think being a lady hanging around that scene sounds very fulfilling. This book makes for an interesting contrast with his newer porn oral history, from a feminist perspective. I mean, I'd rather be Marilyn Chambers any day of the week than most of these punk chicks. This is not to say it was bad for all of them, but that's one of the impressions this book left me with.
In any case, it's a great read, and anyone who cares at all about classic punk has doubtless read it already, or should have. I absolutely inhaled this. Legs' view is that punk was a strictly American phenomenon with its roots in The Doors, The Velvet Underground, The MC5, & The Stooges, and that the British got it completely wrong and basically killed the movement. And he presents that argument well.
Pretty much everyone in the book appears to be exactly what I already thought:
* Jim Morrison was often drunk and frequently terrible live, and wrote really bad high schoolgrade poetry.
* David Bowie was a rather uptight guy until he fell in with the New York crowd.
* The MC5 were phony revolutionaries, using it as a marketing gimmick.
* Lou Reed is not, as you will see constant reference to, a scatmunching asshole. No, Lou Reed is a scatmunching douche.
* Patti Smith was a truly creepy girl with a tenuous grip on reality, who stalked the stars of the underground scene until they invited her in. (OK, I didn't know that before, but FUUUUUUUUck!)
* Everybody was SO. FUCKED. UP. I can't BELIEVE that more of them did not die...
* Almost everyone in the NY punk scene turned tricks at one time or another to make ends meet.
* Musicians are assholes, or so goes the refrain from the label A&R guy that signed a lot of these bands.
* Of course, so are label execs.
* Despite being just as fucked up, selfish, and selfabsorbed as everyone else in the book Iggy Pop is the only guy that comes out looking good. I'm not even that much of a fan, but it's hard to hate Iggy.
So, highly recommended, is what I'm getting at here...