Get No Slam Dancing, No Stage Diving, No Spikes Book Here


In case you grew up in the big city, and concerned yourself in underground music during the 80s and 90s, you might need taken rather a lot for granted. Bands want to gig in your town, and there are spots for them to play, so it s pretty straightforward to keep up on the brand new, sizzling stuff. However, for those who grew up near the almost Philly/type of Jersey armpit called Trenton, NJ, you’ll have relied on a effective gentleman named Randy Now Ellis who discovered himself an abandoned car dealership, and created a house-away-from-dwelling for next-level punk, ska, hardcore, metal, hip hop, reggae and various music (when there still was such a thing) called City Gardens. Oh they’d ninety cent dance nights, too. What authors Amy Yates Wuelfing and Steven DiLodovico bring forth within the totally researched No Slam Dancing, No Stage Diving, No Spikes that makes this tome so very vibrant and fascinating, is an understanding that a venue off the crushed path reminiscent of CG, lives nearly completely off the passions of the community surrounding it. They accomplish this by way of the voices of almost each person who made City Gardens tick, together with most of the artists who took to its stage on quite a few events over its years of operation, which includes onetime Trentonite Henry Rollins (Black Flag/Rollins Band), Ian MacKaye (Minor Risk/Fugazi), Peter Hook (Pleasure Division/New Order) and even former Metropolis Gardens drink-slinger, and current Day by day Present host, Jon Stewart, among so many others. –Phrases by Howie Abrams at Mass Attraction

Now right here No Slam Dancing, No Stage Diving, No Spikes that I had been wanting forward to for a long time since I first heard in regards to the challenge just a few years ago. Titled after the notorious signal contained in the long-shuttered Trenton, NJ club City Gardens (the final show there was in 1994), this is nothing lower than an excellent oral history (as the title suggests) of the membership from its early 80s beginnings to its end within the late 90s (dance nights continued there for a couple of years after they stopped doing shows). For many who don t know, Randy Now Ellis started selling reveals in a dilapidated warehouse/former automobile dealership in a depressed part of Trenton, NJ, giving bands who may play nowhere else a chance and reserving many national headliners who usually stopped there between gigs in New York, Philadelphia and Washington, DC.

Though perhaps City Gardens was recognized mostly for punk and hardcore, it should be mentioned that Randy booked bands in all kinds of genres, including ska, reggae, new wave, alternative, hip-hop, industrial and others, typically times mixing up payments in ways other promoters wouldn’t. Many former City Gardens regulars (together with the authors themselves) are interviewed, as are members of some of the many alternative bands that played there over the years. Typically talking, the book is damaged up into sections spanning a couple of years at a time. However, particular chapters are dedicated to The Ramones (who played there 21 times, more than some other band except Ween, New Hope, PA locals from across the river who played the last show there and had been known for getting booed off the stage by followers of headliners like Fugazi) in addition to the ninety cent dance nights that were held each Thursday night. For me, the allure of this book was two-fold. First off, I’d lastly be capable to read about the days I missed there, as I did not begin going to shows there till 1991.

Thus, though I d heard just a few of the stories from the 80s, it s nice to have lots of them in a single place and filled with such intricate detail. Then, of course, there was the thrill of studying about reveals I attended there in 1992 and 1993, together with amazing exhibits by Fugazi, Shudder to Think, Jawbox, Inexperienced Day (their first show in New York or New Jersey ever and the last present they played on the Kerplunk! tour earlier than they signed to a major label) and an unimaginable, impromptu 1993 Descendents reunion I witnessed. There’s also an intensive segment in that chapter about the most violent show I’ve ever witnessed, a 1993 present by FEAR by which Neo-Nazi skinheads fought with others in the viewers and incited a riot. Thankfully, most of my reminiscences of the place are completely satisfied and by the point I began going there, it appeared like many of the worst of the violence (apart from that FEAR present) was over with. However, if I have one very minor grievance, it was that studying about the limitless amount of violence and stupidity that occurred there within the late 80s bought kind of exhausting and discouraging after a while. It does, nonetheless, give the reader a correct context for why shows there eventually had been stopped, as insurance coverage costs, accidents from patrons stage diving and the resulting threats of litigation made it tougher and harder for Randy to continue.

All in all, No Slam Dancing, No Stage Diving, No Spikes book is a terrific read and I had hassle putting it down, barreling by way of its four hundred or so pages quite quickly. If you are a former City Gardens patron or a fan of the 80s and early 90s underground music scene, this book is for you. Even when you by no means attended a show there, should you like books like Our Band Could Be Your Life or different recent oral histories just like the one about The Replacements or another in regards to the early 80s Detroit hardcore scene (which was compiled by Tony Rettman, a Metropolis Gardens regular who is quoted extensively here.

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