Radio Silence / A Selected Visual History of American Hardcore Music

What happened

in-between the Ramones and Nirvana?

What happened

in-between the Ramones and Nirvana?

What happened
in-between the Ramones and Nirvana?

What happened 

in-between the Ramones and Nirvana?

What happened
in-between the Ramones and Nirvana?

Hardcore music has been largely overlooked by music history, yet the genre occupies a massively important space in the evolution of popular music. The story of Hardcore music can’t be told from one single voice. It’s possible that the genre was seen as insignificant because there were no single rock hero’s that emerged, but for every band that played a show, hundreds of other kids were inspired to do-it-themselves.

Hardcore music has been largely overlooked by music history, yet the genre occupies a massively important space in the evolution of popular music. The story of Hardcore music can’t be told from one single voice. It’s possible that the genre was seen as insignificant because there were no single rock hero’s that emerged, but for every band that played a show, hundreds of other kids were inspired to do-it-themselves.

Hardcore music has been largely overlooked by music history, yet the genre occupies a massively important space in the evolution of popular music. The story of Hardcore music can’t be told from one single voice. It’s possible that the genre was seen as insignificant because there were no single rock hero’s that emerged, but for every band that played a show, hundreds of other kids were inspired to do-it-themselves.

Hardcore music has been largely overlooked by music history, yet the genre occupies a massively important space in the evolution of popular music. The story of Hardcore music can’t be told from one single voice. It’s possible that the genre was seen as insignificant because there were no single rock hero’s that emerged, but for every band that played a show, hundreds of other kids were inspired to do-it-themselves.

Hardcore music has been largely overlooked by music history, yet the genre occupies a massively important space in the evolution of popular music. The story of Hardcore music can’t be told from one single voice. It’s possible that the genre was seen as insignificant because there were no single rock hero’s that emerged, but for every band that played a show, hundreds of other kids were inspired to do-it-themselves.

Services

Services

Services

Services

Services

Together, with my co-author Anthony Pappalardo, we began by organizing our personal collections of ephemera, records, photographs and interviews into small narratives that illustrated existing folklore. From the beginning, the single most difficult thing was explaining why it was so important to present this project like a museum catalog. Publishers didn’t understand that the audience for this book was grown up, had jobs, families, mortgages. They didn’t want a scrappy throw away ‘zine, they wanted a substantial document. Something that they could show the family that never understood why they skipped senior prom to see a band in a basement. They wanted a document that legitimized their youth and celebrated a different path.

Together, with my co-author Anthony Pappalardo, we began by organizing our personal collections of ephemera, records, photographs and interviews into small narratives that illustrated existing folklore. From the beginning, the single most difficult thing was explaining why it was so important to present this project like a museum catalog. Publishers didn’t understand that the audience for this book was grown up, had jobs, families, mortgages. They didn’t want a scrappy throw away ‘zine, they wanted a substantial document. Something that they could show the family that never understood why they skipped senior prom to see a band in a basement. They wanted a document that legitimized their youth and celebrated a different path.

Together, with my co-author Anthony Pappalardo, we began by organizing our personal collections of ephemera, records, photographs and interviews into small narratives that illustrated existing folklore. From the beginning, the single most difficult thing was explaining why it was so important to present this project like a museum catalog. Publishers didn’t understand that the audience for this book was grown up, had jobs, families, mortgages. They didn’t want a scrappy throw away ‘zine, they wanted a substantial document. Something that they could show the family that never understood why they skipped senior prom to see a band in a basement. They wanted a document that legitimized their youth and celebrated a different path.

Together, with my co-author Anthony Pappalardo, we began by organizing our personal collections of ephemera, records, photographs and interviews into small narratives that illustrated existing folklore. From the beginning, the single most difficult thing was explaining why it was so important to present this project like a museum catalog. Publishers didn’t understand that the audience for this book was grown up, had jobs, families, mortgages. They didn’t want a scrappy throw away ‘zine, they wanted a substantial document. Something that they could show the family that never understood why they skipped senior prom to see a band in a basement. They wanted a document that legitimized their youth and celebrated a different path.

Together, with my co-author Anthony Pappalardo, we began by organizing our personal collections of ephemera, records, photographs and interviews into small narratives that illustrated existing folklore. From the beginning, the single most difficult thing was explaining why it was so important to present this project like a museum catalog. Publishers didn’t understand that the audience for this book was grown up, had jobs, families, mortgages. They didn’t want a scrappy throw away ‘zine, they wanted a substantial document. Something that they could show the family that never understood why they skipped senior prom to see a band in a basement. They wanted a document that legitimized their youth and celebrated a different path.

2018-12Dec_NNCapabilitesPRES_v019
2018-12Dec_NNCapabilitesPRES_v21d
2018-12Dec_NNCapabilitesPRES_v21b

How Much Art?

How Much Art?

How Much Art?

How Much Art?

How Much Art?

A massive archive of photography was uncovered during our initial research. We spent hours talking to photographers, following leads, attributing sources, fact checking dates. When we received original prints or negatives from the photographers we were blow away at the detail. For the most part, few people had seen these images beyond a shitty Xerox reproduction on the back of a 7” record or paper ‘zine. That inspired a traveling photography show. We made it into an extension of our launch parties from NY and LA. Radio Silence Selected Photography spent a year on the road. 12 dates across the US and Canada featuring bands, merch, a group photo booth and 15 framed, hand printed silver gelatin archival fiber prints from the book. Laying your eyes on a 16”x20” print of Philin’ Phlash’s SSD shot from CB’s in 1984 if you’ve only seen is on the record insert is mind blowing.

A massive archive of photography was uncovered during our initial research. We spent hours talking to photographers, following leads, attributing sources, fact checking dates. When we received original prints or negatives from the photographers we were blow away at the detail. For the most part, few people had seen these images beyond a shitty Xerox reproduction on the back of a 7” record or paper ‘zine. That inspired a traveling photography show. We made it into an extension of our launch parties from NY and LA. Radio Silence Selected Photography spent a year on the road. 12 dates across the US and Canada featuring bands, merch, a group photo booth and 15 framed, hand printed silver gelatin archival fiber prints from the book. Laying your eyes on a 16”x20” print of Philin’ Phlash’s SSD shot from CB’s in 1984 if you’ve only seen is on the record insert is mind blowing.

A massive archive of photography was uncovered during our initial research. We spent hours talking to photographers, following leads, attributing sources, fact checking dates. When we received original prints or negatives from the photographers we were blow away at the detail. For the most part, few people had seen these images beyond a shitty Xerox reproduction on the back of a 7” record or paper ‘zine. That inspired a traveling photography show. We made it into an extension of our launch parties from NY and LA. Radio Silence Selected Photography spent a year on the road. 12 dates across the US and Canada featuring bands, merch, a group photo booth and 15 framed, hand printed silver gelatin archival fiber prints from the book. Laying your eyes on a 16”x20” print of Philin’ Phlash’s SSD shot from CB’s in 1984 if you’ve only seen is on the record insert is mind blowing.

A massive archive of photography was uncovered during our initial research. We spent hours talking to photographers, following leads, attributing sources, fact checking dates. When we received original prints or negatives from the photographers we were blow away at the detail. For the most part, few people had seen these images beyond a shitty Xerox reproduction on the back of a 7” record or paper ‘zine. That inspired a traveling photography show. We made it into an extension of our launch parties from NY and LA. Radio Silence Selected Photography spent a year on the road. 12 dates across the US and Canada featuring bands, merch, a group photo booth and 15 framed, hand printed silver gelatin archival fiber prints from the book. Laying your eyes on a 16”x20” print of Philin’ Phlash’s SSD shot from CB’s in 1984 if you’ve only seen is on the record insert is mind blowing.

A massive archive of photography was uncovered during our initial research. We spent hours talking to photographers, following leads, attributing sources, fact checking dates. When we received original prints or negatives from the photographers we were blow away at the detail. For the most part, few people had seen these images beyond a shitty Xerox reproduction on the back of a 7” record or paper ‘zine. That inspired a traveling photography show. We made it into an extension of our launch parties from NY and LA. Radio Silence Selected Photography spent a year on the road. 12 dates across the US and Canada featuring bands, merch, a group photo booth and 15 framed, hand printed silver gelatin archival fiber prints from the book. Laying your eyes on a 16”x20” print of Philin’ Phlash’s SSD shot from CB’s in 1984 if you’ve only seen is on the record insert is mind blowing.

Publisher

Publisher

Publisher

Publisher

Publisher

MTV Press
Jacob Hoye Editor
Lollion Chong
 Assitant Editor

MTV Press
Jacob Hoye Editor
Lollion Chong
 Assitant Editor

MTV Press
Jacob Hoye Editor
Lollion Chong
 Assitant Editor

MTV Press
Jacob Hoye Editor
Lollion Chong
 Assitant Editor

MTV Press
Jacob Hoye Editor
Lollion Chong
 Assitant Editor

Creative Team

Creative Team

Creative Team

Creative Team

Creative Team

APNN, LLC
Nathan Nedorostek Author
Anthony Pappalardo Author
Nathan Nedorostek Designer
Anthony Pappalardo Copywriter
James Fitzgerald Literary Agent
Dave Stein Lawyer
Jacob Pastrovich Producer
Sean Sullivan Producer
Alan Yuch Intern
David Gagliardi Intern

APNN, LLC
Nathan Nedorostek Author
Anthony Pappalardo Author
Nathan Nedorostek Designer
Anthony Pappalardo Copywriter
James Fitzgerald Literary Agent
Dave Stein Lawyer
Jacob Pastrovich Producer
Sean Sullivan Producer
Alan Yuch Intern
David Gagliardi Intern

APNN, LLC
Nathan Nedorostek Author
Anthony Pappalardo Author
Nathan Nedorostek Designer
Anthony Pappalardo Copywriter
James Fitzgerald Literary Agent
Dave Stein Lawyer
Jacob Pastrovich Producer
Sean Sullivan Producer
Alan Yuch Intern
David Gagliardi Intern

APNN, LLC
Nathan Nedorostek Author
Anthony Pappalardo Author
Nathan Nedorostek Designer
Anthony Pappalardo Copywriter
James Fitzgerald Literary Agent
Dave Stein Lawyer
Jacob Pastrovich Producer
Sean Sullivan Producer
Alan Yuch Intern
David Gagliardi Intern

APNN, LLC
Nathan Nedorostek Author
Anthony Pappalardo Author
Nathan Nedorostek  Designer
Anthony Pappalardo Copywriter
James Fitzgerald Literary Agent
Dave Stein Lawyer
Jacob Pastrovich Producer
Sean Sullivan Producer
Alan Yuch Intern
David Gagliardi Intern