Paperback: 328 pages
Publisher: PM Press (February 14, 2013)
Language: English
ISBN-10: 1604863943
ISBN-13: 978-1604863949
Product Dimensions: 8 x 0.8 x 9.9 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review: 3.6 out of 5 stars See all reviews (8 customer reviews)
Best Sellers Rank: #923,634 in Books (See Top 100 in Books) #197 in Books > Arts & Photography > Photography & Video > Lifestyle & Events > Lifestyle #299 in Books > Arts & Photography > Music > Musical Genres > Punk #1229 in Books > Arts & Photography > Photography & Video > Portraits
How "The Bars" signify not only Black Flag's relevance three decades after their career, but the impact of punk upon those who in this collection were usually far too young to have seen a gig makes this photographic and journalistic anthology compelling. As I was born the same year as Dez Cadena and Henry Rollins, and as I grew up watching this L.A. scene, I admit some surprise.Everybody interviewed with the icon is younger (with one exception: Ron Spellman, a second-generation tattoo artist a few years older) than me--or therefore the famous Hank whose arms, torso, and back became ever more inked as his power as the band's longest-lasting singer dominated the band's image and presence. Why tattoos perch or crawl over the bodies of the hirsute or hairless hundreds in these pages portrayed, whereas earlier punks did not tend (as chronicler Stewart Dean Ebersole, Spellman, and Chuck Dukowski concur) to decorate themselves with so many or so "graphic" an array of body art remains more an observation than a consideration. Yet, the generational gap between those who come after the band who choose to don The Bars and those who heard the band in its heyday persists.While I wish this aspect was explored more, this isn't a sociological treatise. It's an angular presentation that mingles Ebersole's own rambling memoir of life in Red Lion PA with his coming-of-age with the Flag. Interspersed are intelligent interviews with band members, Spellman, and photographer Glen E. Friedman. (Greg Ginn no longer talks to the press; Rollins talks to them but not here.
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