“With hundreds and thousands of people in the scene you will for sure meet some new faces in the book. My hope for the film is also my hope for the book, I’d like to inspire young people worldwide to start their own scenes. To put down the video games (do I sound old yet?) and go outside and create a community. I would also like to inspire empathy and understanding with the individuals in this community, a community that is largely Latino, a community that has existed for generations. A community that worked for tens of thousands of hours, for free, to create a scene for themselves. I’d also like to illuminate the history and give counterpoint to the unfortunate assumption that punk is mostly young white kids and that the history of the Los Angeles punk scene begins and ends with Decline of Western Civilization Part 1. The punk scene, specifically the backyard punk scene, in Southern California existed before and during Decline and it and continues to this day.”
Nancy Barile has called the Boston area home for a few decades now, but within a few minutes of meeting her it’s easy to tell she’s a Philly girl through and through. Born and raised just outside of Philadelphia, this nice Catholic School girl found an early rebellion in the emerging punk scene of the late-‘70s and it was the perfect antidote to the stifled creativity and sadistic nuns that ruled her early years. It didn’t take long for Ms. Barile to find an adoptive family of punks, misfits, creative personalities, and music-loving kids devoted to the same principles of freedom. As the title of her forthcoming book suggests, Nancy was no wallflower bystander, and she certainly wasn’t an accessory for the mostly-male punks that dominated the scene at the time. In fact, as detailed in her memoir; Hold my Coat? Not in Philly: The True Story of a Female Punk Pioneer, Nancy tells a tale of women who were very active in the nascent (and very inclusive) Philadelphia punk scene. This was a world where the typical groupie narrative was eschewed; where female stereotypes were decimated and discredited by a small group of women who lived for and by the music, and who were just as involved in growing the scene as the boys were. And while her early roots took hold in the city of brotherly love, it was a fairytale romance with a Boston hardcore icon that led to the second chapter of her life: a highly lauded and unanimously respected teacher in Revere, MA.
Now, in her new book, she not only describes the origins of Philadelphia’s punk scene with a great sense of history, she also tells her story of empowerment and achievement. The correlations are easy: being a teacher in a society that does not value education as much as it should, Nancy used all her DIY capabilities to make a positive difference in her students’ lives by utilizing any and every means possible. It is upon the foundation of punk and hardcore that Nancy has constructed an inclusive environment for students; teaching them the first tenet of hardcore: always stand up for yourself; always fight for what you believe. And never let anyone tell you what you can or cannot be.
What was your inspiration for writing this book? When did you first start to think that your story would make for a good book?
I started to share stories from “back in the day” on Facebook and Instagram, especially when I posted a photo or there was an anniversary of a show I remembered. People seemed to enjoy these reflections, and several said; “You need to write a book.” Since I work as a content writer and storyteller in my side hustle, it wasn’t so hard for me to put my stories into book form. Another huge impetus was the amount of misinformation and assumptions about women’s participation and role in the punk/hardcore scene that I had been reading. As an educator, feminist, documentarian, and punk, I felt the need to clarify the record a bit.
What is the overview of the book? I understand a lot has to do with your days in the music scene of the late ‘70s and early ‘80s.
My book is just my little tale of being an alienated and marginalized Catholic schoolgirl who loved music and was fortunate to be at the epicenter of something magical and exciting. It’s basically a love letter to Philadelphia, its punks, its women, and its punk and hardcore scene. At its core, it's a reflection on the power and importance of music.
We know you’re a teacher; what do you teach? How old are the kids that you teach?
For the past 24 years, I’ve been teaching English Language Arts to students in a low income, urban, multicultural high school – mostly juniors and seniors, 16 to 19 years old. I also teach in the undergraduate and Graduate School of Education at Emmanuel College, where I teach students of a variety of ages, who want to be teachers.
If you hadn’t become a teacher what occupation do you think you might have ended up in?
I think about that all the time. There’s a chance I might have continued in the music business, maybe managing a band, working as a promoter or running a club – but that work is tough. I might have ended up in a non-profit sector fighting for a cause. I was a behavioral science major, so I could have ended up being a therapist or counselor. I love dogs, so maybe I’d run a shelter or rescue facility. But teaching is something that I wanted to do since I was about 5 years old.
What is your favorite thing about teaching?
Building relationships with my students to help them achieve is my favorite thing about teaching. When you see that light in a student’s eyes, or you provide your students with an opportunity they might not have, or you help them overcome an obstacle standing in the way of their success – that’s an exciting, rewarding feeling.
Tell us about the title of your book. What’s it mean? Where did it come from?
I remember over the years hearing stories (from men) about how women weren’t up front or in the pit at shows. Basically, some men said they would tell the women to “hold their coats” while they participated in the action. As someone who was up front and in the pit with my female friends at many shows I took offense and I had a great deal of evidence to prove that, while it may have been true for some, for many women, the whole “hold my coat” notion was insulting and patently false. In addition, there were plenty of female punk pioneers on stage, too. So, I thought I’d stick my two cents in, and this seemed like an apt title for my story.
In your book, you speak often about how your years learning and doing things in the DIY style of punk rock helped prepare you for your teaching career. Can you tell us a little about that? What similarities have you found in both worlds?
I realized pretty quickly that despite years of schooling, multiple degrees, and countless hours of professional development, punk rock contributed much more to my ability to connect with and help my students than any teacher training program. It was through punk rock that I was able to understand and reach disenfranchised and marginalized teens—mainly because I was one—and so were my friends. Punk enabled me to recognize the importance of self-expression through language, and so, as a teacher, I encourage my students to tap into the power of words to communicate anger and joy, and, of course, to change the world. Punk rock introduced me to a diverse and multicultural world. It taught me to believe in the strength of music and the arts to break down racial, ethnic, and class barriers to unite people. The punk creed I subscribed to railed against racism, prejudice, and hatred of any kid. Now, as a teacher, I often create assignments that ask my students to take a stand despite conflicting data, complicated politics, and intense societal pressure. I want to equip my students with the skills necessary to understand perspectives and cultures, to comprehend and critique, and to demonstrate independence. The do-it-yourself work ethic, so vital to the punk rock scene in the early ‘80s, has proven immensely valuable in gaining resources, knocking down walls, and refusing to take no for an answer when it comes to my students. And that sets a strong example for them. Punk taught me not to be manipulated for the sake of a personal agenda, especially if I believe it will harm my students. Most importantly, even at this age, and because of punk rock, I continue to question authority – a fact that still gets me into trouble from time to time. But I refuse to blindly follow the directives of leaders who attempt to compromise my integrity or the integrity of those whom I am entrusted to help. In my classroom, punk rock lives on.
You have some pretty interesting stories of going to punk shows in your book, and with some of them there is definitely an element of danger within the experience. Can you give us an idea of what it was like to see bands like Dead Kennedys and Minor Threat back then?
Well, in many cases, the real danger was not in the venue but outside the venue – with locals who didn’t want you in their neighborhood. That was the case with the riots at the Dead Kennedy show in Staten Island and Kensington, PA, the Black Flag show in Kensington, and the Minor Threat/SSD/AF/FOD show in Camden. But in all cases, seeing bands like the Bad Brains, DKs, Minor Threat, SSD, and Black Flag made the danger worth it. Those bands were incredible, and the energy was always frenetic. There was just something inside me that craved that explosiveness, and those bands – and many other great hardcore bands from that time period - fed the beast.
What do you hope readers will take away from your book?
I’d like for people to better understand punk and hardcore. The punk and hardcore scene was made up of a band of brothers and sisters who worked together to create and develop a vibrant scene. We loved each other, fought with each other, worked with each other, promoted shows, made music, and experienced something truly unique right at its birth. I hope I’ve captured some of the power that is punk and hardcore. I hope that the book empowers people to take risks and chances to make shit happen. We didn’t really know what we were doing back then, but we took some risks and made it happen. That’s a timeless concept. I’d also like people to have a better understanding of the historical and sociological characteristics of the time period. Philly in the ‘70’s and early ‘80’s was a very colorful, dangerous, blighted, beautiful place back then, and I hope I’ve brought some of that back to life. Finally, at its heart, the book is about music – music from the ‘60s, ‘70’s, and early ‘80’s - that had the power to transform and which has been enhancing my life for many, many years.
Once the book is finished, will it be required reading in your classes?
Oh God, no. While there are certain aspects of the story that can be empowering and inspiring to kids (and my stories might give me some street cred), there’s a lot that people might find a bit unsettling or disconcerting, like some of the violence. I wouldn’t stop a kid from reading it on his/her own time if they wanted to, though.
Marc Wasserman is no stranger to challenge. Whether on a stage or writing, Marc is not one to shy away from a daunting task. And now he’s initiated a bold undertaking in his attempt to put to paper an oral history of the American Ska scene. While still in its infancy, Marc’s as-yet-untitled collection of history and anecdotal experience centered around the birth and formation of America’s version of a British stalwart, the founder of New Jersey’s first ska band (Bigger Thomas) is at the outset of a historic venture. This is Marc’s first book, and it is also DiWulf’s first foray into the American ska scene. Marc, who divides his time between writing and performing, is finding the demands of being an author intense but satisfying. Tackling the history of such a revered and storied art form is not something to be taken lightly, and he is finding new challenges with every story told.
What was your impetus for writing this book? What made you decide to undertake this project?
I’ve written a ska blog called Marco on the Bass for some time. My goal has always been to tell the stories of bands, DJs, and people who love ska and reggae music. At one point I focused on posts about all the bands of the New York City ska scene of the mid-80s. I interviewed band members and at one point held a reunion party for the 25th anniversary of the iconic NY Beat: Hit & Run LP released by Moon Records that included all the key bands that were part of the NYC ska scene. That opened my eyes to the idea of documenting the origins of the larger American ska and reggae scene of the mid-70’s through late-80s that was influenced by the 2-Tone movement as well as other musical genres like 80s new wave, punk, and hardcore. It’s an incredibly rich subculture that led to the explosion of the 3rd wave ska in the 1990s with bands like Sublime, No Doubt, Reel Big Fish, and more who drew their inspiration from bands like the Untouchables, Bim Skala Bim, the Toasters, Fishbone, and the Uptones.
Tell us a little bit about your life in music. When and how did you discover ska?
Hearing the Specials first album at a friend’s house in 1979 when I was 14 was a life changing experience for me. What I heard confused me at first. The sounds were alien. It was manic and gritty. The syncopated beat was different than anything I had ever heard, and the lyrics were almost indecipherable. But the punk energy of it was amazing, and the reggae vibe and its message resonated with me immediately. It was like a switch was turned on in my brain and I was immediately connected to something much larger. Suddenly, I felt like I was home. I immediately became a disciple of 2-Tone and bands like English Beat, the Selecter, Madness, Bad Manners, as well as UB40 and Steel Pulse. That was the start to a musical journey that has included starting the first ska band in New Jersey in 1988 – Bigger Thomas - and playing ska and reggae music for the next 30 years! I’m still at it, playing live with Rude Boy George and a studio project called Heavensbee.
I know you’re in the early stages of research and writing, what is the most surprising thing you’ve learned so far?
How much more of the story I need to tell! By that I mean, that each interview I do leads me down another path to another story and so on. I thought I knew the whole story but the more I dig the more I realize there is so much more of a story to tell. It’s both overwhelming and exhilarating!
What do you hope people will take away from this book when all is said and done?
I don’t feel that the American version of ska gets the love and respect that other uniquely American sub-genres like punk, hip hop, and hardcore do. I’m hoping through the stories I’m collecting to show how important this music was to a lot of people. This is music that really changed the course of people’s lives. It’s amazing to learn how hearing a ska or reggae song moved a lot of a people to become musicians, promoters and DJs and those people created music scenes that impacted thousands of other people.
Who are some of the people you’ve interviewed so far? Do you have a favorite interview at this point?
I’ve been amazed at how interesting everyone’s individual stories have been. There is something hilarious, moving, harrowing, and sad in nearly every story that I’ve heard. It’s the human condition with a ska and reggae soundtrack! That said, a few interviews have really stood out. Ron Rhoades of The Shakers was particularly fascinating. The Shakers were the first American reggae band. They built a huge following in Berkley, CA in the mid-‘70s and were signed by David Geffen to Elektra/Asylum Records in 1975. Their story is a microcosm of the music business of that time, but also about how far ahead of the curve they were. No one got reggae music in 1976 in the halls of a major record label. I also really enjoyed interviewing Vicky Rose, who was the original bass player for The Toasters. She was one of the few female musicians in the nascent American ska scene of the early ‘80s. She also paints a vibrant picture of the East Village at that time, including a rehearsal space on Avenue A that was home base for The Toasters but also for the Beastie Boys and Bad Brains and many others.
What made you decide to tell the story using the oral history format?
At one point, a long time ago, I considered being an academic, so an oral history seems like the most accurate and academic way to tell a larger historical story from many varying points of view. Also, I didn’t want to bias the larger story with my point of view. But, I also find the spirit of oral histories to be super creative. They provide a ton of leeway in how you can approach telling a big story. Two recent oral histories that I loved reading and that have served as blueprints for my approach include Mad World – An Oral History of New Wave Artists and Songs That Defined The 1980s by Lori Majewski and Jonathan Bernstein and Walls Come Tumbling Down: Rock Against Racism, 2-Tone, Red Wedge by Daniel Rachel. I hope my book is as good as both of those books.
What has been the most difficult part of writing this book for you?
The most difficult part of writing this book is the actual idea of writing a book –if that makes sense. I’ve never written a book, so intellectually that’s been daunting. But the best advice I’ve received is to just put my head down and do the work and that’s what I’ve been doing. I’m a hard worker and I’ve just been trusting my instincts, which, I think, is a good way to go. I see two parts to this process. The first phase is the research and interviewing process. I’m deep into that now. It’s a lot, and there are still a lot of people I need to speak with. Knowing when I’ve reached the end of that phase is one I worry about. I’m always worried I’ll miss that one key story. The second phase is the actual writing phase. I think that will be fun, but I still need to find the thread that holds the story together. I have an idea of how to do that, but I won’t know until I sit down and look at all the stories I’ve got. And it will be a lot of stories!
As a ska fan, why do you, personally, think this book is necessary?
I’ve had a lifelong love affair with ska and reggae. The music helped me get through some very difficult times when I was young, and being in ska bands; being a part of ska scenes has provided me with a surrogate family that means the world to me. As corny as it may sound, writing this book is my way of giving back to so many people who have given me so much and have inspired me through their music. Plus, the story of American ska is one that deserves to be told.
Your love and passion for ska has been well documented through your blog and your many years being a part of the culture. Is there any other type of music you listen to or that inspires you?
I’m equally as obsessed with ‘80s new wave as I am with ska. 2-Tone ska and reggae revealed harsh economic, social, and racial injustices with a power and a fury that was undeniable, but also danceable. It forever influenced my worldview and moved me to learn an instrument and start a ska band. While ‘80s new wave retained the vigor and irreverence of ‘70s punk music that had fueled 2 Tone, it incorporated style and art in a way that opened my world to ideas of love, friendship, fashion, and helped give form to my own burgeoning identity. I sought refuge in new wave's incredible diversity of nervy pop (XTC), synth pop (Depeche Mode, Duran Duran, Human League), new wave songwriters (Elvis Costello), pop bands (Squeeze, INXS), pop-reggae (The Police) and more mainstream rockers (Billy Idol, The Romantics). Here in the US, 2-Tone was lumped in with new wave, so, in many ways, despite their completely different musical worldviews, they are inextricably linked in my musical consciousness.
What do you think is the reason for the longevity ska has enjoyed as a movement, as fashion inspiration, and as a music scene?
That’s a question I’ve asked a lot of the people I’m interviewing. Despite the diversity of the people I’m talking to, they almost always say that ska music helps to dance the blues away. When it’s done right, there is an undeniable power and energy to it that is emotionally and physically satisfying. You feel it in your soul. As a musical form it’s also mutable, which has had a lot to do with the more American forms of the genre: ska-punk, ska-core, etc., that appeared in the mid-‘90s. I think the 2-Tone dress style that was driven by the traditional Jamaican rude boy look just never goes out of style. Looking sharp and fashionable has always been as important as sounding good!
What can readers expect from your book?
If I do it right, I hope they can expect an epic story on how the music of Jamaica – ska, rocksteady and reggae-- has served as the inspiration for a uniquely American version with its own subculture. At the very least they will be able to read some very entertaining stories from a very diverse group of people who, at one point or another, have made ska music the be-all-end-all of their lives.
Do you have a title for the book yet?
I’ve got an idea for a title that I’ve shared with a few people and their reactions have been positive, but I want to sleep on it a bit longer before I reveal it.
It is with great excitement that we announce Freddy Alva's first book; Urban Styles: Graffiti in New York Hardcore has COMPLETELY SOLD OUT of its inaugural print run. The book, which presents a unique history of the intersection of two New York subcultures: graffiti art and NYHC. Along the way, Urban Styles has garnered critical acclaim for its in-depth research and attention to detail. It stands as an important document that legitimizes and oft-overlook aspect of New York's hardcore scene of the '80s and '90s: graffiti art and the subculture that grew around it. This is DiWulf's second book, and it is the second to completely sell out. I think we're on to something here...
We here at DiWulf want to congratulate Freddy and art director Orlando Arce for their amazing, tireless work in bringing this story to light. They have created a book that now sits among the hallowed annals of hardcore history. Our thanks go out to everyone who took the time to be interviewed in the book; to all those who donated photos and artwork, and, most importantly, to all the people who supported Urban Styles from the very beginning. This was truly an independent, DIY effort that could not have been possible without the contributions and support from the all the people who believed in the project.
Plans for a second printing are in the works. As of yet we do not have a definite timetable for when that will happen, but there will eventually be a second printing of Urban Styles so keep your eyes open!
From Amy and Steve at DiWulf: Thank you to all those who have stood by us and believed in the work we are doing. To all those who bought a copy of Urban Styles; who told a friend about it or posted about it on social media: THANK YOU. As a small publisher dedicated to publishing niche books, word-of-mouth support is the most important thing to our survival, so we owe you a HUGE debt of gratitude.
Congratulations to Freddy on such a rousing success and we can't wait to work with you again!
DiWulf Publishing House has made its primary mission to document and celebrate subculture in its many forms. One of the most important facets of the punk and hardcore DIY scene has always been the proliferation of the fanzine. In fact, the ‘zine represents the ultimate expression of true independent publishing, one of the founding principles for us here at DiWulf. In a time when no established, “respectable” publications would cover underground scenes, the fanzine was there to broadcast and inform and, most importantly, to inspire. It was the most important part of underground music in terms of communication and information and it was a very powerful tool for kids who would otherwise be voiceless. It can not be overstated how important ‘zine culture is and was to the underground movement, and it is something that is very close to our hearts, and, naturally, we wanted to represent what a huge influence ‘zines were to us both personally and as authors and publishers.
And now DiWulf presents its own ode to ‘zine culture: a retrospective anthology of the seminal NY/NJ/PA ‘zine Hard Times. Tentatively scheduled for an early-2019 release, the as-yet-untitled anthology will contain all seven issues that were published, as well as the long-lost and never-published eighth issue, which featured Government Issue frontman John Stabb on the cover. Included in the book will be all original interviews along with record, ‘zine, and show reviews, scene reports, political commentary, and some really great photography from Hard Times creator and publisher Ron Gregorio. Hard Times was a glossy black and white printed ‘zine that ran from 1984-1985 and covered some of the biggest names in punk and hardcore history.
Hard Times was also a starting point for DiWulf Publishing House co-founder and author of No Slam Dancing, No Stage Diving, No Spikes: An Oral History of the legendary City Gardens Amy Yates Wuelfing. Amy’s presence is featured throughout Hard Times’ life span and her interviews and reviews are a creatively intimate look into her young career as a writer and historian. While the Hard Times anthology will surely spark waves of nostalgia for any east coast punk from the ‘80s, it will also serve as a reminder of the exuberance of youth and a cultural barometer for what was happening in ’84 and ’85.
Included in the features are several interviews with punk and hardcore luminaries like Samhain, Cause For Alarm, Jello Biafra, Ian MacKaye, Butthole Surfers, U.K. Subs, Flipper, The Meatmen, John Lydon, Circle Jerks, The Replacements, and many more.
We will be bringing you all the information as this project moves forward right here on our website, as well as all release date and pre-sale information as it becomes available. We also have a few cool surprises we are working on to go with the book and may even have a few old, original issues of Hard Times stashed away in the DiWulf basement…
We cannot express how excited we are about this book; it is a true labor of love, and it will be something that will add just another small piece to the rich history of the punk and hardcore subculture.
Finally, Philly punk rock gets its due. DiWulf Publishing House is very excited to announce a new book from punk rock teacher and Philadelphia promoter Nancy Barile.
Hold My Coat? Not in Philly: The True Story of a Female Punk Pioneer from 1976 to 1982 is the working title for Nancy's book and it tells the story of a young woman's fight for acceptance, legitimacy, and meaning in a very male-centric scene at a time when punk rock was scary and new. The book is filled with memorable characters, punk rock riots, and colorful anecdotes. Nancy, an accomplished and highly lauded teacher who has spent a lot of time teaching and mentoring at-risk kids in Revere, MA, was instrumental in helping to birth the earliest punk scene in Philadelphia. From booking some of the city's earliest DIY punk shows to managing legendary Philly acts like Sadistic Exploits, Nancy was one of the earliest proponents of the underground music scene in and around the city of brotherly love. Whether it was booking the infamous Buff Hall show with Minor Threat and SSD (which eventually led to a friendship and eventual marriage to SSD legend Al Barile) or getting some of the biggest national and international punk bands to come through Philly, Nancy's story recounts both the history of the Philadelphia Punk scene and the challenges she faced as one of the only females to brave the sometimes-violent, sometimes misogynistic punk rock scene of the mid- '70s. Nancy's journey has been a long, dedicated one that started with punk's inception. Along the way she's forged many lifelong friendships with some of the most notable punk and hardcore bands to ever exist.
In keeping with the DiWulf tradition of working exclusively with family and friends, Nancy is an old friend of the publishers. Nancy was a huge contributor to Amy and Steve's book about City Gardens and, since that first interaction, it has been an inevitable conclusion that Nancy would eventually join the DiWulf family.
Part memoir, part historical document, part inspirational story; Nancy's book aims to show the struggle for legitimacy in a culture that generally regarded women as objects or groupies or showpieces. Through her devotion to the music and her desire to be a part of something bigger, Nancy helped foster a community of outsiders and misfits and made an indelible mark in her local scene. Nancy was involved in booking some of the earliest punk shows in Philadelphia, making her mark with Punk Fest and attending shows at legendary Philly spots like The Elks Club, Omni, and The Hot Club. and it is that indomitable DIY ethic that has driven her in both purpose and execution. To this day she incorporates much of her punk rock experience in her role as an award-winning teacher, instructing the kids in her charge on how to do thing for themselves and to never let anyone decide what you can and can not do.
Work is underway to bring this story to fruition, and, as the publishers, DiWulf is proud to support and help introduce a strong female perspective. It is part of DiWulf's mission to give voice to those whose stories might never make it to publication, and to represent the strength and tenacity of those voices who might otherwise go unheard.
A publication date has yet to be determined. DiWulf is aiming to have the book out in late 2018 or early 2019. Keep up with the progress and learn more about Nancy's process right here at DiWulf.com
DiWulf Publishing House is very excited to announce a new member of the family: Marc Wasserman. Marc is embarking on his passion project: constructing an oral history of the American Ska scene and its place in American subculture. Marc, who has been collecting stories and researching histories for some time now, is currently in the process of putting all the material together. The as-yet-untitled book will be told through the recollections and anecdotes of the people who lived it: the musicians who were heavily influenced by the 2-Tone stuff from the UK, the historians who documented and supported the scene from its infancy, the bands that made music and toured relentlessly, and the fans who fell in love with the American counterpart of a beloved British subculture.
Marc, a New Jersey native, has been playing bass in the band he co-founded decades ago: Bigger Thomas. Bigger Thomas, who were originally known as Panic!, hold the prestigious distinction of being the first Ska band from New Jersey. These days he splits his time between his latest outfit, Rude Boy George;; a band that re-imagines '80s hits in Ska and Reggae formats, and keeping up with his highly-regarded blog Marco on the Bass.
In keeping with DiWulf's family tradition, Marc has long-standing ties with both Amy and Steve, DiWulf's founders. Marc was a big contributor to Amy and Steve's first book: No Slam Dancing, No Stage Diving, No Spikes: An Oral History of the Legendary City Gardens. Marc was a veteran of New Jersey's most infamous punk club, and the relationship he forged with promoter Randy Now has been a long and fruitful collaboration that lasts to this day. It was a natural fit for his first book to be published by DiWulf and it is a bit of a homecoming for both publisher and author.
Marc's book plans to cover the years 1979-1986 and will focus on both well-known names like The Toasters and Bim Skala Bim, as well as smaller regional scenes and the Ska bands those scenes produced. Right now he is in the earliest stages of gathering material and research. DiWulf is looking towards the end of 2018 as a tentative release date.
Marc's book and his alliance with DiWulf illustrate the publisher's devotion to working with and giving voice to first-time authors as well as reinforcing the company's dedication to celebrating and preserving subculture in all its eclectic forms. DiWulf is, first and foremost, a family, and having Marc aboard is a natural fit for both author and publisher.
Stay tuned for more information...
Author Freddy Alva will be appearing at Randy Now's Mancave in Bordentown, NJ on Sunday January 14th to sign copies of his new book Urban Styles: Graffiti in New York Hardcore. Freddy will also be part of a panel discussion about New York Hardcore history, graffiti, subculture, and will participate in a Q & A with legendary NY writers SMOG RIS, FCEE, and JERE DMS. Panel will be moderated by DiWulf co-founder and author Steve DiLodovico.
Randy Now's Mancave, a Bordentown staple, is owned and run by New Jersey's most well-known music promoter, Randy "Now" Ellis. Randy's history with music is a long and storied one that has been chronicled in a book: No Slam Dancing, No Stage Diving, No Spikes: An Oral History of the Legendary City Gardens as well as a documentary film: Riot on the Dance Floor. His shop is an emporium of collectibles, records, books, films, and a whole lot of general wackiness. It has become a favorite among the collectors' community since it opened.
Urban Styles: Graffiti in New York Hardcore is a gritty and vibrant history of art and music colliding in the underground NYHC scene of the '80s. Told through strikingly visual photos and interviews from the artists and writers who lived it, Urban Styles tells of a mostly-unknown cross-section of subculture that could only have happened in New York. Elements of graffiti, hip-hop culture, skateboard culture, and, of course, NYHC are all seen intersecting in a wild randomness that flourished in a pre-internet world. Featuring art and interviews from such NYHC giants as Mackie Jayson (Cro Mags, Bad Brains, Leeway), Chaka Malik (Burn, Orange 9mm), LORD EZEC aka Danny Diablo, HOYA ROC (Madball, Dmize), Sacha Jenkins (Mass Appeal editor and member of NYHC outfit The Wilding Incident), Gavin Van Vlack (Absolution, Burn, DIE 116), legendary Absolution frontman Djinji DRUMS Brown, Sergio DEEM Vega (Quicksand, Deftones), and many more
Freddy will also have a limited number of specially-made CBGB prints from artist Andrew Monserrate (whose work is featured in Urban Styles) for sale with copies of Urban Styles.
Andrew is featured in the "artists'" section of Urban Styles, and he has graciously created these one-of-a-kind prints to commemorate the release of Urban Styles and to celebrate the vibrant art scene that came out of the New York Hardcore scene in the '80s. Andrew's prints are limited to a first-come first-served basis and will last as long as supplies hold out.
This event is free and open to the public and starts at 1pm on Sunday January 14th. Randy Now's Mancave 134 Farnsworth Ave Bordentown NJ 08505. For more information check out the official facebook event page.
By: Steven DiLodovico
I often get asked how I got involved with co-writing No Slam Dancing. Did I know Amy from back in the day? That sort of thing. It’s kind of a funny story. Well, you may find some smiles in it; to me it’s more of a rescue tale than anything else. A harrowing escape, it was. From the depths of a hell-filled indignity I arose… ok, that’s a bit much.
But, for real, she did get my ass out of a bad, bad situation.
I had been living in Charlotte, North Carolina (don’t ask, it’s an even longer story than this, and one I am not at all fond of) for a few years doing nothing but existing. That, and informally adopting colonies of feral cats. I worked in the service industry; a befitting fate for someone as miserable and un-customer-service-friendly as I. I hated it. I hated my life. My wife was just as miserable. The business of existing was thoroughly inhibiting our desire to live.
I was scratching out a few bucks here and there doing some freelance writing. I hated that, too. Lots of “ehow.com” how-to articles for $15 a pop. You know; the big money. I had neither talent nor drive. I hated writing; I hated the act of writing and the self-abasement contained therein. Mostly I just couldn’t stand the sound of my voice in my head dictating the words.
I had a small gig; I forget who it was for, to write about my own experiences in the Philly hardcore scene of the ‘80s. It was nothing major, but it was better than writing step-by-step instructions for changing turntable belts and the other dumb shit I was writing. The piece was turning into more of an essay/memoir than an actual historic document. I was recalling all the great shows I had seen in such hallowed venues as Pizzazz, Revival and such, and I thought to myself; what about that place in Jersey we always went to? City Gardens? I honestly had not thought about City Gardens in well over 10 years. I figured I had to at least give the place a mention, since it had been so important to me at the time. When I was going there I knew practically nothing about the place. I knew there was some guy named randy who ran the place, and I knew that most of the Philly promoters absolutely hated him. That’s about all I had to go with, so I figured I better do some research.
There was no Facebook or Twitter or any of that other shit (Facebook may have been in its infancy at the time; this was late in 2007. If Facebook did exist, I sure didn’t know about it.) I went with the standard Google search and, surprisingly, found very little information about City Gardens. I did find something called “The Seedy Gardeners Group.” It was a Yahoo news group kind of deal, where members went back and forth with conversations via group emails (how quaint!). So I joined and began throwing about general questions asking to speak to anyone who attended shows (specifically hardcore shows) at City Gardens. Just about all of the responses I got were to the effect of: “most of us in this group went to the dance nights at City Gardens and were more into new wave than hardcore. Sorry.” I had effectively given up when I got this message from a woman named Amy:
Email me off group. I have a calendar with every City Gardens show.
Intriguing, to say the least. I emailed her. She told me she was writing a book about City Gardens and she had compiled a calendar with show dates and bills that covered about 15 years’ worth of the club’s existence. Now that was pretty fucking impressive. She sent me something called a PDF file. I had no idea what that was and it took me four days to figure out how to open it. Once I did, though, the floodgates opened and there was no stopping the heavy rush of nostalgia and sentimentality that washed over me. So many shows… So many that I had forgotten more than I remembered (there would come a time, a few years later when I was fully immersed in the writing of this book, where old friends would tell me detailed accounts of shows I had been to with them that I had no memory of. This would become a very common occurrence).
Even stronger than the memories of the shows was the memory of friends I hadn’t seen in so many years. The fun times, the scary times… everything we shared. I was very excited that someone was writing a book about City Gardens, and I enthusiastically volunteered to help in any way I could. Amy offered to send me a chapter she already had done and I couldn’t wait to read it. She sent me a link to a site called the Rumpus. They had posted the (now-infamous) story of the Butthole Surfers wreaking havoc in their own, special way. I was blown away. It wasn’t just the story that got me; it was the format. I had never read an oral history before. I quickly dashed off several of my own recollections and sent them to Amy. We began chatting through email. Amy and I were from two different eras. I was the young late-comer to everything; uninterested in anything that wasn’t hardcore, thrash, etc. The hard stuff. Amy was a new wave/dance night girl who covered a lot of early hardcore while doing her ‘zine Hard Times in the early ‘80s. We both had our areas of expertise and it was almost too perfect how complementary they were.
A few months went by and I kept sending Amy stories. I must have sent over a dozen, and I hadn’t even begun to scratch the surface of my City Gardens life. I really wanted to contribute to this book. Again, it was the format that pulled me in so deeply. All these different perspectives telling their details of the same story. It was sometimes contradictory and sometimes eerie the way two strangers would point out the smallest details and describe them identically. Meanwhile, Amy and I formed an electronic friendship. I would write her early in the morning before I left for my soul-killing job and return home each night to her reply. No, I didn’t have a phone where I could check email. I didn’t even have a flip phone then. Just a landline. I was always excited when I saw her name in my inbox, and always disappointed when I didn’t. She became a lifeline to my home and my previous life. I wanted in, and I was going to keep pestering her until she asked. I asked her if she had any contacts into the world of the later hardcore bands; the post-’86 wave. She didn’t. Either did I, really, but then I found this Facebook thing…
So, there I was: stuck in Carolina and writing like a madman. Writing to live, really. I got by on more “how-to” articles, interviewing bottom-of-the-barrel porn stars (true story!), and freelancing for a bunch of Hip Hop Magazines. I got to interview some really cool people, and it was fun and all, but I wasn’t making any money. Every week something got cut off; electric, water, gas… It was a laughable combination of juggling and plate-spinning, and each day something new crashed. And me on my psychotic unicycle looking ridiculous amidst the buffoonery. And with each shut-off notice came that dull, impotent anger and guilt-ridden shame of not being an earner of any worth. I just wanted to write; to disappear into that page and forget everything around me but it’s hard when you have a wife staring at you, wondering how the bills are going to get paid…
Each day got a little brighter, though; messages from Amy were a godsend. We would have these really great conversations through email and things were beginning to really click between us. Amy had a very motherly persona; I could tell that even before I heard her voice. As evidence I point to her many stray cat adoptions. She’s that lady in the neighborhood that feeds all the lowly wretches; she has room in her heart for every unkempt straggler, both human and animal. Amy was also very structured, organized and able to get shit done. I could tell just from her emails. She wrote me a proper resume to help me get a decent job (I had no problem getting jobs, I’m hip to the interview gimmick and how it works. What I was not good at was keeping my mouth shut long enough to actually keep the job. I usually got fired after about 6 months. But that’s a whole ‘nother story…)
I was really, really interested in her book. I wanted to be a part of it any way I could and I pestered her with every little thing I could remember about City Gardens. At this point, I’m pretty sure we hadn’t even talked on the phone yet.
I started contacting people; bands mostly. Almost every person I contacted from the hardcore scene of my era was enthusiastic and helpful. Jordan Cooper at Revelation Records gave me email addresses of a large part of the Rev roster circa 87-91. Every person I spoke to turned me on to two or three new contacts and it kept growing. The first person I interviewed was Richie Birkenhead. In my mind, it may as well have been Bowie or someone of that stature. I was that much of a fan and I was incredibly nervous. Luckily it was a phone interview. Richie was very mellow, very nice and endured a good two hours of me gushing about how much I loved all of his bands. Again: I couldn’t have been more un-punk.
I would transcribe these interviews from cheap microcassettes that had been used in a tape (TAPE??) recorder that was at least 25 years old. I’d send them off to Amy and tell her to do whatever she wanted with them. I didn’t care; at that point I was just excited to connect with people whose music had been such a big part of my life. Well, I guess my insidious plan of constant bombardment worked, because soon enough I got an email “formally” asking me to co-author No Slam Dancing with her. Fuck YEAH!
It’s fair to say that that day, that question changed my life forever.
I began conducting more and more interviews. All phoners; all done with my pitiful little tape recorder running the whole time. One interview would lead to two more introductions; conversations of, “oh, you should really talk to this person. They have a lot of City Gardens’ stories.” The scope of this thing began to unfold exponentially. It was very exciting to me; I had never attempted anything so ambitious and the escape it provided was invaluable. When I couldn’t even scrape together enough money to buy new microcassettes, I’d tell Amy, and within a day or two there’d be a package in the mail straight from some office supply chain with packs of tapes. When I couldn’t pay my phone bill to actually do the interviews, Amy would say, “send me the information,” and within an hour it would be back on and working. I’m not proud of these things, but this is the absolute truth. She had never met me, and was doing all this for me. For my family. Without having laid eyes on her, I was ready to do anything she wanted. In an instant she was elevated to that skinhead level of “I would take a bullet for this person” devotion. In my world, that’s the highest honor I could bestow on anyone, and Amy is more than deserving.
But, still, there was a lot of work to be done…
PART III: Amy’s Version
Since Steve is giving his side of the story of how we met – I will give mine.
I started working on this book years ago. How many? I don’t know. I say 15, but I fear it’s been longer than that. Finnegans Wake took less time. The Brooklyn Bridge was built in less time. At times I said I was done with this stupid project, screw it, I’m not doing it. But the Universe was having none it. The story of City Gardens and Randy Now was getting told. By me. No way around it.
I had one bright shining moment when the Butthole Surfers piece was published on The Rumpus – and then nothing. I was at a dead end. I had nothing. I would sit there looking at interview transcripts and wonder, What the hell am I supposed to do with this? I thought of all the people I needed to interview and it just made me want to get drunk and forget the whole thing. My efforts to bamboozle someone – ANYONE – into doing this book with me came to nothing. And then this message appeared on the Seedy Gardens Yahoo newsgroup from some a-hole I never heard of. Steve? Who was this dick? He was all like, I went to City Gardens and does anyone have a list of shows? My first impulse was to ignore it, but I couldn’t.
Emails were exchanged and I could tell this was the sucker, ah – I mean person – I was waiting for. And he knew that whole later era of City Gardens, the era when I had sort of stopped going as much. Literally, a prayer had been answered.
I think the point is never give up. If you’re a creative person and you hit hard times, JUST KEEP GOING. Don’t let circumstances take your vision away. Ever. Keep doing the work, keep producing. You never know what you’ll encounter. It could be life-changing. It was for us.
Social media made No Slam Dancing happen; made it a reality. Suddenly, digging up legends from the past was simple. Contacting them was even easier. Selling them on participating in a book about City Gardens was the easiest part of the entire process. The people who played there had almost as strong a connection with the place as the people who went there. I don’t want to speak in such sacrilegious terms, but I have to imagine the kind of reverence I got from people when they spoke of City Gardens was similar to that which people attached to CBGB’s. I’m not comparing the two clubs (or scenes) by any means, just saying that people had a fondness for City Gardens that went beyond just the structure of the building.
Well, I was working hard; every day was spent engulfed in this world of the past. I found old friends (“show friends”) and we would re-live those great memories through pictures of shows, old fliers, etc. I was getting a lot of interviews on tape; connecting with a lot of people. But there was a wall I was hitting: I was too far away, geographically speaking. I needed to get home.
And, in so many ways, this is what the whole City Gardens project was about for me: going home. I had been away 10 years and now it was time. I couldn’t get anything done being so far away. Phone interviews are great, but it’s just not the same as being able to look a person in the eye when you’re interviewing them. I’ve learned a lot about the interview process: I have found the subtle ways to coax a subject down the avenues you need to get down without being obvious or obtrusive. It was fascinating, and I felt the process evolving as I did. The art of the interview is not an easy thing, especially for me. It’s a constant struggle for me to NOT talk; to just ask a question and let the subject say his or her piece. I talk too goddamn much. I get real excited, especially when the topic is music, and start interjecting and exclaiming. Trying to transcribe my interviews is a fucking NIGHTMARE because I often step all over the responses. And, more than anything, I really, REALLY hate the sound of my voice! This is why I’ve NEVER let anyone else transcribe my interview tapes. I play them back and get the biggest douchechills just listening to myself talk. It’s horrifying.
But jumping into this project was the ultimate trial by fire and I sure did jump in head-first. I navigated on instinct and enthusiasm and a strong sense of purpose. I’ve never taken a single college class; I’ve never studied anything about “journalism” and this flaw was a huge hurdle in terms of self-doubt and lack of confidence. But, again, it was just the sense of purpose; of needing to be a part of this, that drove me. Fake it ‘til you make it, right? Yeah, I’m the fucking KING of that.
So, we went all in (“we” being my wife and I and our two cats). I called in some favors and tried to see about moving back to Philly. I knew in my gut this was what I had to do. Amy had been pleading with me to move for months now. She often offered her home as a place for us to live, and, again, let me stress: we had never even met face to face. I knew Amy only as a facebook picture and a warm voice on the phone. But I had reservations. Doubts. Fears. Bouts of paralyzing anxiety. I am a huge weirdo, with all sorts of annoying habits and “quirks” and I’ve only ever met one person who could put up with living with me (I married her). I didn’t want to inflict myself on these good people. But Amy kept insisting.
I had this job; I was working in an HR call-center that served as an outsourced department for employee health benefits enrollment. It was a giant entity that took on huge corporations as clients and pretended to be their HR department. Companies like Sears and K-Mart and whatever behemoth puppeteer controlled their strings. Their employees called us when it was time for them to re-up their health insurance. They actually thought we were part of whatever company they worked for. Usually the callers were just so happy to hear a voice that spoke English as its first language that they never stopped to think about if we were at all qualified to advise them on their health plans. What a fucking joke. We were $12 an hour wage slaves who couldn’t give two shits about the people calling. It was a 90 minute bus ride each way for me and it was fucking miserable. The last straw was when we were told that our department’s new client was going to be General Dynamics. General Dynamics orchestrated war and did absolutely nothing on this planet but construct things whose only functions were to kill and harm human beings. We got this huge presentation from a couple of over-hyper suits sporting raging war-boners. For real: even the lady suit had a rock-hard warrection while describing missiles and tanks and god knows what else. The people around me got excited, too, which was kind of disgusting and scary. I was sick to my stomach and, on a break, called my wife. I was almost in tears. Crisis of conscience? I’ll say.
So, we loaded up the truck and we moved to Beverly. I mean, Morrisville, that is. We cut all ties with Charlotte, having worn out our welcome there several years before. Just us, the cats, a few meager possessions, and one long-ass drive. Do you have any idea how frigging big the state of Virginia is? It’s forever big and takes twice as long to drive through. But we made it. Barely. It had been a long time since I had to worry about gas prices (the last time I owned a car was somewhere around 1994) and I was continually amazed at how often I had to stop and just how damn much money it took to fill that U-Haul up! We seriously didn’t think we’d make the last 20 miles or so, and as we pulled into my parents’ driveway I knew I was going to have to borrow money to get enough gas to make it to Amy’s.
We made it and it was the middle of a weekday, so Amy was doing her 9-5 thing. Her husband let us in and showed us to the room where we would be staying. And that’s when it all came clear to me. In a small bedroom towards the back of the house was a room filled with memorabilia. Some really cool stuff, too. Deep purple walls, Leopard print on the rug, a green vintage couch, a neon light up that said “lounge…” It was a neat, comfortable room. I almost missed it. It blended in so well with the rest of the décor. On the wall, perfectly matted and framed, was a punk rock collage that was beautiful to me. There, under glass, sat three never-folded record sleeves for Halloween, Three Hits From Hell and Bullet. Originals. Assembled in Glenn’s mom’s basement in Lodi New Jersey. Three perfectly un-creased, perfectly preserved and mounted for all the world to see and probably untouched in decades. They were pristine. Just the sleeves, no records or inserts or anything, up there on display like it was perfectly normal to hang such things in a home. It was a sign. It was an immense sign; a portentous forbearing of how all this would go. And it would go swimmingly. It told me that my decision was right; that this was where I belonged. That this was the first step down a path I was meant to travel. Seeing Amy’s Misfits sleeves hanging there so casually was a comfort beyond words and a boost of strength after such arduous journeys.
We had hours to pass, my wife and I, before our host came home and we would actually have the chance to set eyes on our punk rock benefactor. We stretched out under the Misfits monument and talked quietly. I felt a calm come over me; a certitude that only comes from knowing deep in your heart that you are right. It was a joy to know such peace and confidence and I could feel it sooth both of us. She felt it, too.
When Amy came home it was more like a reunion than a first meeting. There were hugs and excited talking. Amy laughed off the Misfits sleeve’s so casually. “Oh, those? Yeah, Glenn gave them to a guy I did a ‘zine with back in the day, and he gave them to me…” Yeah, cause that kind of stuff is no big deal, right? I was freaking out!!!!
We knew we were onto something here, we just didn’t know what, or exactly where it was going to go. But in those first few hours I don’t think either of us cared. Amy had some long-desired help with this burden of a book and I had the long-desired purpose for which I had been searching all my life. We settled in for a cold, cold winter. I hadn’t seen a Philly winter like that in over 10 years. We hunkered down and began walking up a long, snowy hill that at times was such an insane idea, neither of could believe we were attempting to do this.
The real work had now begun. It would be another 4 or 5 years before No Slam Dancing was finished, but we persevered and, eventually, we had a finished book in hand. The problem: no one had any interest in publishing it. We got a fancy agent and everything. No help. We were told it was “too Jersey,” that it “wasn’t sexy enough.” We had no idea what these things meant and we started to get discouraged. But we were not undeterred.
Around this time a new thing was kind of taking over social media: Kickstarter. Now, I get the criticisms of Kickstarter, I truly do. In many ways it is little more than digital panhandling for people who have no business creating anything. But, back before facebook went super-crypto with all their content-suppressing algorithms: you could post just about anything and all the people who followed your public page would see everything you posted. Oh, those were halcyon days. So, Amy and I dove in to Kickstarter and we relied on every DIY lesson 25 years of punk and hardcore had taught us. We figured that if people really wanted to see this book happen they’d be willing to contribute to its production. We were right.
The highlight of the No Slam Dancing days was obviously having Amy booked on The Daily Show with Jon Stewart. That was one of the greatest nights of our lives. And it was HUGE for what we wanted to accomplish. The day after the episode aired we sold out our entire first print run. We quickly set a second in motion and sold all of those as well. It was fucking insane.
And that feeling; that sheer joy of seeing something through to the end; to contributing to a history that we loved and revered, and to see it all come to fruition in a very grass-roots kind of way, was inspiring to us. We wanted to do the same for other authors we respected and admired; authors who might face the same publishing challenges we did. We wanted to provide a home for history, especially the histories that would be overlooked by the mainstream world. We wanted to make dangerous literature and vivid histories. What began as a last-minute name invented just to have something on the spine of No Slam Dancing became an entity itself. DiWulf Publishing House: Heavy Lit Is Our Specialty.
-Steven DiLodovico December 2017
It is with great excitement that we announce Urban Styles: Graffiti in New York Hardcore by Freddy Alva has reached our warehouse and will be going out in the mail very soon. This includes ALL orders through DiWulf.com as well as Amazon orders. Shipping should begin by 11/17/17, and all scheduled book signings will go forth as planned. Cancelled book signings will be rescheduled, and we will bring you that information as soon as we have it. Again, we cannot thank you enough for your patience and your continued support and we promise: you will not be disappointed once you have this book in your hands!
You can also get a signed copy of Urban Styles directly from the author at any one of the upcoming book signing events we have coming up:
Also, stay tuned for more information on book signings in Miami, LA, Queens NY, and Yonkers NY.