We Got the Neutron Bomb

Taking us back to late '70s and early '80s Hollywood--pre-crack, pre-AIDS, pre-Reagan-- We Got the Neutron Bomb re-creates word for word the rage, intensity, and anarchic glory of the Los Angeles punk scene, straight from the mouths of the scenesters, zinesters, groupies, filmmakers, and musicians who were there. "California was wide-open sex--no condoms, no birth control, no morality, no guilt." --Kim Fowley "The Runaways were rebels, all of us were. And a lot of people looked up to us. It helped a lot of kids who had very mediocre, uneventful, unhappy lives. It gave them something to hold on to." --Cherie Currie "The objective was to create something for our own personal satisfaction, because everything in our youthful and limited opinion sucked, and we knew better." --John Doe "The Masque was like Heaven and Hell all rolled into one. It was a bomb shelter, a basement. It was so amazing, such a dive ... but it was our dive." --Hellin Killer "At least fifty punks were living at the Canterbury. You'd walk into the courtyard and there'd be a dozen different punk songs all playing at the same time. It was an incredible environment." --Belinda Carlisle Assembled from exhaustive interviews, We Got the Neutron Bomb tells the authentically gritty stories of bands like the Runaways, the Germs, X, the Screamers, Black Flag, and the Circle Jerks--their rise, their fall, and their undeniable influence on the rock 'n' roll of today.

#8220;When Gillian McCain and I wrote Please Kill Me, a number of people asked us, ‘What about the L.A. punk scene?’ We said ‘That’s another book.’ And now Marc Spitz and Brendan Mullen have finally written it. It’s about time.”
—Legs McNeil

Autorentext
Marc Spitz's writing on rock 'n' roll and popular culture has appeared in Spin, The New York Times, Maxim, Nylon, Blender, and Uncut (UK). He is the author of How Soon Is Never?; Too Much, Too Late; and Nobody Likes You: Inside the Turbulent Life, Times, and Music of Green Day and coauthor with Brendan Mullen of We Got the Neutron Bomb: The Untold Story of L.A. Punk.

Brendan Mullen founded the Masque, the Hollywood underground club/rehearsal space hailed as the birthplace of the Los Angeles and Orange County punk scenes. He was a contributing writer for LA Weekly until his death in 2009.

Klappentext
Taking us back to late '70s and early '80s Hollywood—pre-crack, pre-AIDS, pre-Reagan—We Got the Neutron Bomb re-creates word for word the rage, intensity, and anarchic glory of the Los Angeles punk scene, straight from the mouths of the scenesters, zinesters, groupies, filmmakers, and musicians who were there.

"California was wide-open sex—no condoms, no birth control, no morality, no guilt.” —Kim Fowley

"The Runaways were rebels, all of us were. And a lot of people looked up to us. It helped a lot of kids who had very mediocre, uneventful, unhappy lives. It gave them something to hold on to.” —Cherie Currie

"The objective was to create something for our own personal satisfaction, because everything in our youthful and limited opinion sucked, and we knew better.” —John Doe

"The Masque was like Heaven and Hell all rolled into one. It was a bomb shelter, a basement. It was so amazing, such a dive ... but it was our dive.” —Hellin Killer

"At least fifty punks were living at the Canterbury. You'd walk into the courtyard and there'd be a dozen different punk songs all playing at the same time. It was an incredible environment.” —Belinda Carlisle

Assembled from exhaustive interviews, We Got the Neutron Bomb tells the authentically gritty stories of bands like the Runaways, the Germs, X, the Screamers, Black Flag, and the Circle Jerks—their rise, their fall, and their undeniable influence on the rock 'n' roll of today.

Zusammenfassung
Taking us back to late ’70s and early ’80s Hollywood—pre-crack, pre-AIDS, pre-Reagan—We Got the Neutron Bomb re-creates word for word the rage, intensity, and anarchic glory of the Los Angeles punk scene, straight from the mouths of the scenesters, zinesters, groupies, filmmakers, and musicians who were there.

“California was wide-open sex—no condoms, no birth control, no morality, no guilt.” —Kim Fowley

“The Runaways were rebels, all of us were. And a lot of people looked up to us. It helped a lot of kids who had very mediocre, uneventful, unhappy lives. It gave them something to hold on to.” —Cherie Currie

“The objective was to create something for our own personal satisfaction, because everything in our youthful and limited opinion sucked, and we knew better.” —John Doe

“The Masque was like Heaven and Hell all rolled into one. It was a bomb shelter, a basement. It was so amazing, such a dive ... but it was our dive.” —Hellin Killer

“At least fifty punks were living at the Canterbury. You’d walk into the courtyard and there’d be a dozen different punk songs all playing at the same time. It was an incredible environment.” —Belinda Carlisle

Assembled from exhaustive interviews, We Got the Neutron Bomb tells the authentically gritty stories of bands like the Runaways, the Germs, X, the Screamers, Black Flag, and the Circle Jerks—their rise, their fall, and their undeniable influence on the rock ’n’ roll of today.

Leseprobe
Chapter 1

GREG SHAW: The lull in pop culture in 1970-71 was maddening. The decline in radio play from the likes of the Yardbirds to someone like Gordon Lightfoot was ghastly, and it drove me and a lot of my friends into oldies. I started listening to practically nothing but rockabilly, doo-wop, old country, bluegrass, and jazz. There was no college radio, no fanzines, no indie record labels, and no local bands, for the most part. There was nothing! It was very depressing. There were few if any local bands. Nothing amounting to a scene. There was Christopher Milk. And Sparks.

HEATHER HARRIS: Doug Weston banned Christopher Milk for life in 1970 after lead singer Mr. Twister [aka Kurt Ingham] wreaked havoc during the Troubadour's Monday "Hoot Night." Kurt wrecked a bunch of microphones and was pouring hot wax all over himself and running out into the audience and biting people . . . . he was overturning tables and spilling drinks into customers' laps . . . before Iggy Pop ever got to L.A. , and don't forget . . . this was right at the beginning of the mellow solo singer-songwriter era . . . the audience gawked in horror.

HARVEY KUBERNIK: If that wasn't punk rock personified, who or what was?

KURT INGHAM: Christopher Milk stood for theater and drama as opposed to droning introspection, and sure enough, our hideous platform boots and make-up clashed with denim and fringe buckskin jackets. We were 86'd from the Troub for life.

RUSSELl MAEL: Sparks was not involved in any particular music scene in L.A. pre-glam since we were living in England through the early '70s and saw it all from a more British perspective. We felt alienated from L.A. since what we were doing had more in common with what was going on in Europe. Most people assumed that Sparks was from some unspecified European nation. We got no local support at first. We'd play the Whisky for the four waitresses who worked there. We didn't recognize the apparently extreme nature of our band's music at the time. We thought we were kind of like the Rolling Stones live, but I think we missed the mark in that respect and didn't kno…

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