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“I liked myths. They weren't adult stories and they weren't children's stories. They were better than that. They just were.”
― The Ocean at the End of the Lane
― The Ocean at the End of the Lane
“Matthew had called her harmless. Harmless. And being with him made Frankie feel squashed into a box - a box where she was expected to be sweet and sensitive (but not oversensitive); a box for young and pretty girls who were not as bright or as powerful as their boyfriends. A box for people who were not forces to be reckoned with.
Frankie wanted to be a force.”
― The Disreputable History of Frankie Landau-Banks
Frankie wanted to be a force.”
― The Disreputable History of Frankie Landau-Banks
“An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll.
(...)
A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
(...)
A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
“In fact, the only things in the flat Crowley devoted any personal attention to were the houseplants. They were huge, and green, and glorious, with shiny, healthy, lustrous leaves.
This was because, once a week, Crowley went around the flat with a green plastic plant mister spraying the leaves, and talking to the plants....
Although talking is perhaps the wrong word for what Crowley did.
What he did was put the fear of God into them.
More precisely, the fear of Crowley.
In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt, or browning, or just didn't look quite as good as the others, and he would carry it around to all the plants. "Say goodbye to your friend," he'd say to them. "He just couldn't cut it..."
Then he would leave the flat with the offending plant, and return an hour or so later with a large empty flower pot, which he would leave somewhere conspicuously around the flat.
The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified.”
― Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch
This was because, once a week, Crowley went around the flat with a green plastic plant mister spraying the leaves, and talking to the plants....
Although talking is perhaps the wrong word for what Crowley did.
What he did was put the fear of God into them.
More precisely, the fear of Crowley.
In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt, or browning, or just didn't look quite as good as the others, and he would carry it around to all the plants. "Say goodbye to your friend," he'd say to them. "He just couldn't cut it..."
Then he would leave the flat with the offending plant, and return an hour or so later with a large empty flower pot, which he would leave somewhere conspicuously around the flat.
The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified.”
― Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch
“If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together.
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
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A group to discuss books and topics mentioned on Books on the Nightstand, a blog and podcast about books and reading.
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Grupo para leitores do blog (www.garotait.com.br) e inscritos no canal do youtube Garota it (www.youtube.com/tvgarotait).
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Grupo de leitores do blog da Fê!! https://instagram.com/fecprates/
Burn Book
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Este é um grupo para jovens leitores e adultos. Para aqueles que amam livros de aventura, romances, fantasia, sobrenatural e acreditam na magia de Har ...more
Diana’s 2025 Year in Books
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