EVERYBODY LOVES OUR TOWN（ISBN=9780307464439） 英文原版 下载 pdf 百度网盘 epub 免费 2025 电子版 mobi 在线

A tribute to the Pacific Northwest's grunge genre draws on the

observations of individuals at the forefront of the movement from

Soundgarden and the Melvins to Nirvana and Pearl Jam, citing the

influences of such factors as the rise of Seattle's Sub Pop record

label and the death of Kurt Cobain.

暂无相关目录，正在全力查找中！

　　MARK YARM is a former senior editor

at Blender magazine. He lives in Brooklyn with his

wife, Bonnie, and is in no way related to Mudhoney frontman Mark

Arm.

暂无出版社相关信息，正在全力查找中！

　　Chapter 1

　　LARRY REID (U-Men manager; co-owner of Roscoe Louie/Graven Image

galleries; Tracey Rowland's husband) This was Labor Day weekend of

1985. Here's how I remember it. The U-Men's roadie, Mike Tucker,

thinks it was my idea; I think it was Charlie Ryan's idea. And it's

not that I don't want to take credit for it, because it was

brilliant. But I'm sure it was Charlie's idea because Charlie had a

fetish for Zippo lighters.

　　MIKE TUCKER (U-Men roadie) The idea, I do believe, was born out

of a conversation between Larry and me. I remember going with Larry

and getting the lighter fluid, which someone poured into Mickey's

brand malt-liquor bottles.

　　JIM TILLMAN (U-Men/Love Battery bassist) I'm fairly positive it

was John's idea. Suffice it to say that we all thought it was

brilliant.

　　CHARLIE RYAN (U-Men/Cat Butt/the Crows drummer) It was my idea. I

collected lighters. I was the firebug. I was the pyro. My

idea!

　　LARRY REID The U-Men were the first real punk band ever booked at

the Bumbershoot Festival. I managed to sell them as a

performance-art combo. God bless 'em, the producers trusted me, and

they shouldn't have-and never did after this!

　　CHARLIE RYAN Larry says, "We're on Bumbershoot." And we're like,

"Oh, my God. Okay. This is going to be the ultimate showcase for

us." I start thinking about the fact that there's the moat, this

body of water in front of the stage. I wondered, Could we light it

on fire?

　　LARRY REID Nobody was quite sure it would work, so we filled up

my bathtub, poured some lighter fluid on it, and...

　　CHARLIE RYAN We took a match and threw it in, and it went boom!

Flames.

　　LARRY REID There was a curtain on the window above the bathtub

and it fucking went up, man. If we would've thought about it, we

probably would've tried it outside using a bucket of water. The

alarm went off, all hell broke loose-they had to empty the

building, but it didn't catch the apartment on fire. We were all

high-fiving each other, and like, "Yes, this was a good thing. This

is gonna work!"

　　So skip to the gig, a couple weeks later. Bumbershoot was held at

an outdoor venue called the Mural Amphitheatre, which is on the

grounds of this large city-owned property called the Seattle

Center. There were hundreds of people in the audience because it

was free.

　　KURT BLOCH (Fastbacks/Young Fresh Fellows guitarist) I was right

there in the front. They're setting up and everybody's like,

"Something crazy's gonna happen, something crazy's gonna

happen."

　　KERRI HARROP (Sub Pop Records sales and retail employee) I can

even remember what I was wearing, the show was that significant.

First of all, Bumbershoot's this family-friendly event-it's out on

the open lawn in the shadow of the Space Needle-and you have these

complete weirdos out on this stage.

　　CHARLIE RYAN It's sunny and nice out, and we're all in black

leather and top hats and dark shades and being as menacing as we

could be. Our freak show only appeared at night, in dark places,

but here we are, in broad daylight. My mom was there-the end of the

show wasn't her proudest moment.

　　LARRY REID At the end of the set, the sun was just going down.

Mike Tucker and myself walked out to the edge of the stage, and

we're each pouring what appeared to be a gallon of vodka into the

pond. And Bigley comes out-they're doing this song called "They,"

which at that point was the standard last song.

　　JIM TILLMAN The last song was "Green Trumpet," though I could be

wrong. There were 2,000 or 3,000 people there. A couple of our

friends, this guy Mike, who was sort of a roadie, and this other

guy Tommy Bonehead-his real name was Tom Simpson, but he was called

Bonehead because it didn't matter how hard you'd hit him, he'd

always fight-are pouring lighter fluid on either side of the

stage.

　　TOM PRICE (U-Men/Cat Butt/Gas Huffer guitarist) We were playing a

song called "10 After 1." And John ducked behind an amp, because we

didn't want the authorities to see what was going on.

　　JOHN BIGLEY (U-Men/the Crows singer) I had gotten a broom and cut

off the bristles, so it was just a nub where the bristles joined

the handle, and wrapped it in a T-shirt soaked in lighter fluid. I

ran back behind the drums, lit the broom with my lighter, and

waited until the song "They" kicked into gear.

　　CHARLIE RYAN And John comes out, doing this insane tribal voodoo

dance with a lit broom, menacing the crowd. And then he chucks it

into the water.

　　MIKE TUCKER When John dipped his torch into the moat, it didn't

immediately ignite. It was like, "Oh, fuck, it didn't work." The

second time he dipped it in, suddenly this wall of fire went

up.

　　JOHN BIGLEY I throw the broom in and there was a giant fireball,

20 to 30 feet high, easy. It was gigantic and it made a sound, this

whoosh of oxygen.

　　LARRY REID The pond fuckin' exploded, man! I mean, it made the

bathroom look like child's play. It went up, oh, 10, 12, 15

feet.

　　JOE NEWTON (Gas Huffer drummer) My recollection was that it was

over in the blink of an eye. It burned fast, it burned hugely high

and bright, but it just lasted a second. I knew they were going to

do it, and it was like, "That's it?" Other people totally remember

it being this huge wall of fire.

　　DENNIS R. WHITE (Pravda Productions partner; Desperate Times zine

cofounder) In a lot of cases, people remember things being much

bigger than they were. In this case, they don't. It looked like the

band was engulfed in flames.

　　JOHN BIGLEY And with the supercharged rock-and-roll music, that's

when the vast majority of the folks started jumping around and

dancing. It was a crazy primal deal.

　　JAMES BURDYSHAW (Cat Butt guitarist; 64 Spiders guitarist/singer)

The U-Men were into bones and skulls and black clothes and

witch-doctor sort of imagery. The whole voodoo tribal thing became

real 'cause the sun went down right when the flames happened. You

felt like there was something dangerous going on but you couldn't

look away. The crowd was screaming, but it wasn't out of fear. It

was like, Yes! Yes! It was elation.

　　It was like, Fuck the Man, we're the most dangerous voodoo

band-and we're gonna do a human sacrifice next. It felt like that

was gonna happen.

　　LARRY REID It was perfect, except we'd failed to take into

consideration that the stage was built out over the pond. There was

creosote and tar underneath the stage, so there was just black

smoke billowing long after the flames had died down. And the

soundman freaked out, thinking the stage was on fire, and he's

running up, trying to get his sound equipment off the stage. The

audience is now going apeshit crazy. Cops being cops, they started

wading into the audience and beating people with their billy

clubs!

　　CHARLES PETERSON (photographer) The thing I remember most is that

we all just went fuckin' bonkers, and started slam-dancing into

each other. And there were these Seattle Center security guards who

thought we were getting into fights and were trying to separate us.

This 60- year-old security guard was just freaking out, and some of

us were like, "Dude, they're just dancing!" I recall somebody

grabbed a security guard's hat and danced around. It was

mayhem.

　　JOHN BIGLEY We finished the song, definitely. Someone, it might

have been Larry, grabbed me and threw me towards the drums: "Get

the fuck out! Load the shit!" It was very chaotic-people running

and screaming and kids holding their eyes and arrests and that

whole thing.

　　TRACEY ROWLAND (co-owner of Roscoe Louie/Graven Image galleries;

Larry Reid's wife) Norman Langill, who was running Bumbershoot, was

yelling and screaming and freaking out and jumping up and down. He

was furious.

　　JIM TILLMAN I'd parked our tour bus-it was a 1960s Chevy city

school bus that said tacoma hillbillies on the side, though I have

absolutely no idea why-in this spot next to the stage.

　　JOHN BIGLEY "Load the shit, load the shit!" We got loaded up and

drove off before the police had gotten their act together to

approach us.

　　CHARLIE RYAN I'll never forget driving our bus out of the Seattle

Center grounds-all of these nice, normal people looking up at us,

these freaks in a school bus who had just set the moat on

fire.

　　KERRI HARROP I was blown away by the audacity of it. I'm sure if

there was a panoramic shot of the crowd, virtually everyone who

ended up in a band or who was in a band at the time was at that

show. I think that if you were in a band and you saw that, it made

you step up your game.

　　MARK ARM (né Mark McLaughlin; Mudhoney singer/guitarist; Green

River singer; Mr. Epp and the Calculations guitarist/singer; the

Thrown Ups drummer) I don't know if it was necessarily the best

U-Men show I ever saw, but that was the coolest event at a U-Men

show. They really made something happen.

　　LARRY REID The U-Men were banned from Bumbershoot, and I wasn't

the most popular guy around there for a while. The year after that,

they started draining the pond. And now they've filled it in with

cement.

　　The day after the show, I met the Everly Brothers at the hotel

and brought them to the venue-I was working at Bumbershoot,

operating as an informal chaperone for the bigger acts-and the

first person I ran into was Norm Langill, the producer of the

festival. He just came unglued. He said, "What are you trying to do

to me?!"

　　Phil Everly was really kinda sweet and came to my defense. He

told this great anecdote, which was possibly apocryphal, about a

show they had played with Jerry Lee Lewis. Jerry Lee was squirting

lighter fluid on the 88s and pounding out "Great Balls of Fire."

And the next thing you know...accidents happen. Apparently Jerry

Lee was dancing on the piano, which was an impromptu addition to

his normal routine, and caught his pants on fire.

　　That story got me off the hook. That calmed everything down,

because Norm held the Everly Brothers in real high regard. Phil

told him, "Leave the kid alone. That's rock and roll."

　　. . .

　　TOM PRICE The U-Men started in late '81. My family had moved to

Seattle in 1965. I sta...

在线阅读地址：EVERYBODY LOVES OUR TOWN（ISBN=9780307464439） 英文原版在线阅读

在线听书地址：EVERYBODY LOVES OUR TOWN（ISBN=9780307464439） 英文原版在线收听

在线购买地址：EVERYBODY LOVES OUR TOWN（ISBN=9780307464439） 英文原版在线购买

暂无原文赏析，正在全力查找中！

编辑推荐

　　Twenty years after the release of Nirvana’s landmark album

Nevermind comes Everybody Loves Our Town: An Oral History of

Grunge, the definitive word on the grunge era, straight from the

mouths of those at the center of it all.

　　In 1986, fledgling Seattle label C/Z Records released Deep Six, a

compilation featuring a half-dozen local bands: Soundgarden, Green

River, Melvins, Malfunkshun, the U-Men and Skin Yard. Though it

sold miserably, the record made music history by documenting a

burgeoning regional sound, the raw fusion of heavy metal and punk

rock that we now know as grunge. But it wasn’t until five years

later, with the seemingly overnight success of Nirvana’s “Smells

Like Teen Spirit,” that grunge became a household word and Seattle

ground zero for the nineties alternative-rock explosion.

　　Everybody Loves Our Town captures the grunge era in the words of

the musicians, producers, managers, record executives, video

directors, photographers, journalists, publicists, club owners,

roadies, scenesters and hangers-on who lived through it. The book

tells the whole story: from the founding of the Deep Six bands to

the worldwide success of grunge’s big four (Nirvana, Pearl Jam,

Soundgarden and Alice in Chains); from the rise of Seattle’s

cash-poor, hype-rich indie label Sub Pop to the major-label feeding

frenzy that overtook the Pacific Northwest; from the simple joys of

making noise at basement parties and tiny rock clubs to the tragic,

lonely deaths of superstars Kurt Cobain and Layne Staley.

　　Drawn from more than 250 new interviews—with members of Nirvana,

Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole,

Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the

Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the

U-Men, Candlebox and many more—and featuring previously untold

stories and never-before-published photographs, Everybody Loves Our

Town is at once a moving, funny, lurid, and hugely insightful

portrait of an extraordinary musical era.

媒体评论

　　“Yarm’s affectionate, gossipy, detailed look at the highs and

lows of the contemporary Seattle music scene is one of the most

essential rock

　　books of recent years.”

　　—Kirkus Review, *Starred Review*

　　“Hardcore fans of grunge will treasure this.”

　　—Publishers Weekly

　　“Yarm, a former editor of Blender, interviewed more than 250

musicians, scenesters, and record business types

　　to deliver a personal, comprehensive history of grunge

music…Highly recommended.”

　　—Library Journal

　　"Mark Yarm has assembled the gospels of Grunge music. Here is a

warts-and-elbows refresher course for those of us who still find

our memories of the era a little hazy."

　　─Chuck Palahniuk, author of Fight Club

　　"A very noble record of the grunge scene—and an excellent

addition to the growing library of oral history music books."

　　—Legs McNeil, coauthor of Please Kill Me: The Uncensored Oral

History of Punk and the forthcoming Resident Punk

　　"Great oral histories are rare.  Hewing a narrative from all

those chaotic and often conflicting memories with testimony alone

and no guide-prose or stage direction is difficult.  Making

that somehow intimate and epic is nearly impossible.  

When a writer pulls it off, as Mark has with Everybody Loves Our

Town, it's really a gift: the subject or scene finally gets its

definitive record and the reader gains what feels like a room full

of brand new friends.  One of the best rock reads in a very

long time."

　　─Marc Spitz (co-author We Got The Neutron Bomb: The Untold Story

of LA Punk, music blogger VanityFair.com).

　　"In Everybody Loves Our Town, Mark Yarm collects and dispenses

remarkable insights about a genre no one even wants to claim as

their own. As a child of grunge – who spent a humiliating chunk of

the 1990s in an Alice in Chains t-shirt – I loved this book; it

clarified so many things about a sound and a time I thought I

already knew."

　　─Amanda Petrusich, author of It Still Moves: Lost Songs, Lost

Highways, and the Search for the Next American Music

　　"A deeply funny story, as well as a deeply sad story--the

glorious Nineties moment when a bunch of punk rock bands from

Seattle accidentally blew up into the world’s biggest noise. Mark

Yarm gives the definitive chronicle of how it all happened, and how

it ended too soon. But the book also makes you appreciate how weird

it is that this moment happened at all."

　　─Rob Sheffield, author of Love Is A Mix Tape and Talking To Girls

About Duran Duran

　　"A definitive, irreplaceable chronicle of one of rock-n-roll's

greatest eras. It should sit tall on any rock lover's

bookshelf."

　　─Neal Pollack, author of Never Mind The Pollacks

　　“In an attempt to trace the real roots of grunge, journalist Mark

Yarm compiled an exhaustive oral history from the people who lived

it.  In his book Everybody Loves Our Town, there are

interviews with everyone from the early adopters to those that were

late to the party, but nevertheless helped extend [grunge's] shadow

of influence by turning it into a look for the world to

emulate.”

　　—The Fader

　　“This massively readable tome gathers recollections from every

grunge band you’ve ever heard of (Pearl Jam, Nirvana, Soundgarden,

Melvins) and some you haven’t (we hardly knew ye, Skin Yard)…The

genre’s first truly comprehensive insider history…It’s gossipy…and

fascinating, with so much backstabbing and death it’s like

Shakespeare, if Shakespeare had written about heroin addicts with

bad hair.”

　　—Revolver (4 out of 4 stars)

　　“An impressive display of reportorial industriousness… It’s the

feel-bad rock book of the fall.”—Bloomberg Businessweek

　　“Oral history is an art in itself. It’s why Everybody Loves Our

Town will endure as a classic of monumental scale.”—Paste

Magazine.

　　“For hardcore fans or people just curious about what the fuss was

all about, Mark Yarm’s excellent new book –Everybody Loves Our

Town: An Oral History of Grunge” is well worth the read. Yarm has

done an admirable job of assembling an engaging, funny and

ultimately sad narrative by letting the people who helped create

the Jet City sound talk about what happened in their own

words.—Seattle Post-Intelligencer

　　“Yarm’s account captures the essential tension that made the era

so compelling.”—Greg Kot, Chicago Tribune

　　"We finished all five hundred and forty-two pages of this book in

two days, abandoning all responsibility (this, friends, is why we

do not have children; had there been any children about us, we

would have locked these unfortunate creatures in the bathroom, so

as to not be

　　distracted) and staying up until two in the morning, reading

whole chunks of it out loud to poor long-suffering Support

Team."--TheRejectionist.com

　　Mark Yarm's superb book, Everybody Loves Our Town: A History of

Grunge details the dramatic rise of the grunge movement and all of

its players, including Cobain, Love and Vedder, told through the

voices of the people that lived through it.--Hollywood

Reporter

　　“I came away from this book with a big smile on my face. Lots of

it is like a gray day in western Washington; you’ve been kicked out

of yet another band, and your girlfriend is spending far too much

time with the drummer from the Melvins or the Screaming Trees. In

the end, though, “Everybody Loves Our Town" made me want to be

young, stupid and lucky again. Mainly, it made me want to be

young.”--The Washington Post

　　“Everybody Loves Our Town should inspire new conversations about

the unique culture and people that made grunge so unusual and

unforgettable to so many fans. The book is timely, as 2011 marks

the 20-year anniversary of  Nirvana’s “Nevermind” and Pearl

Jam’s multi-platinum debut album, “Ten.” Everybody Loves Our Town

is as good an excuse as any to put on an Alice in Chains CD and

curl up with a good book about some great old friends with whom we

haven’t spent much time in a while.”--The Washington Independent

Review of Books

　　“Everybody Loves Our Town is authoritatively researched and

compiled, often very funny and always just a little bit

sad.”—Buffalo News

　　"Like a very extended and entertaining all-night bulls--- session

among everyone who mattered during the late-'80s/early-'90s music

scene."--Seattle Weekly

　　"The scope is encyclopaedic and the closeness to the subject

unparalleled."--Record Collector

　　"A wild ride that is in turns uplifting and tragic." --Your

Flesh

　　Named one of the top music books of 2011 by UK Telegraph

　　"Riveting, gossipy, and impossible to put down until the last

quote has been read." --New York magazine's Vulture blog

　　“This exhaustive oral history features unknowns, cult figures,

supporting players and stars; each gets the time he or she deserves

as Yarm pieces together the arc of a scene that built itself from

scratch, blossomed beyond most people's dreams, and then crashed.

Yes, there are plenty of Kurt Cobain stories. But there's much

more, too — indelible characters, weird scenes, creative chaos,

laughs and tragedy and lots of cheap beer.”—NPR.org

　　"Gen-X music geeks: Here’s your holy grail." --Tulsa World

　　"The best book on music I've read this year." --Omaha

World-Herald

书籍介绍

Twenty years after the release of Nirvana’s landmark album Nevermind comes Everybody Loves Our Town: An Oral History of Grunge , the definitive word on the grunge era, straight from the mouths of those at the center of it all.

In 1986, fledgling Seattle label C/Z Records released Deep Six , a compilation featuring a half-dozen local bands: Soundgarden, Green River, Melvins, Malfunkshun, the U-Men and Skin Yard. Though it sold miserably, the record made music history by documenting a burgeoning regional sound, the raw fusion of heavy metal and punk rock that we now know as grunge. But it wasn’t until five years later, with the seemingly overnight success of Nirvana’s “Smells Like Teen Spirit,” that grunge became a household word and Seattle ground zero for the nineties alternative-rock explosion.

Everybody Loves Our Town captures the grunge era in the words of the musicians, producers, managers, record executives, video directors, photographers, journalists, publicists, club owners, roadies, scenesters and hangers-on who lived through it. The book tells the whole story: from the founding of the Deep Six bands to the worldwide success of grunge’s big four (Nirvana, Pearl Jam, Soundgarden and Alice in Chains); from the rise of Seattle’s cash-poor, hype-rich indie label Sub Pop to the major-label feeding frenzy that overtook the Pacific Northwest; from the simple joys of making noise at basement parties and tiny rock clubs to the tragic, lonely deaths of superstars Kurt Cobain and Layne Staley.

Drawn from more than 250 new interviews—with members of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole, Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the U-Men, Candlebox and many more—and featuring previously untold stories and never-before-published photographs, Everybody Loves Our Town is at once a moving, funny, lurid, and hugely insightful portrait of an extraordinary musical era.