Abstract: <<Harley Flanagan provides a fascinating memoir: a child prodigy and family friend of Andy Warhol and Allen Ginsberg, at a young age he became close to many stars of the early punk rock scene like Joe Strummer of The Clash and was taught to play bass by members of the famed black punk band Bad Brains. He started playing drums for the New York punk band the Stimulators when he was 11 years old; playing at places like Max's Kansas City with some of the most notable names of the punk scene. He then went on to start the notorious hardcore band Cro-Mags.
From the memoir's introduction by American Hardcore's Steven Blush: “Harley Flanagan is not like you or me. Most of us grew up in relative safety and security. Harley came up like a feral animal, fending for himself in the '70s Lower East Side jungle of crime, drugs, abuse and poverty. By age 10 he was a downtown star at Max's Kansas City and CBGB, drumming in his aunt's punk band The Stimulators, and socializing with Blondie's Debbie Harry and Cleveland's Dead Boys. Everyone thought it was so cute, but it wasn't.”
Currently a black belt and an instructor for the famed Renzo Gracie Jiu-Jitsu Academy in New York, Harley was never shy: making friends with important figures like Lemmy Kilmister of Motörhead, defending himself in street battles, and finding media play and court battles after former band members betrayed their one-time friend and bandmate.
Of his much anticipated memoir, famed author and celebrity chef Anthony Bourdain explains: “Don't even pretend to talk about New York... if you don't read this.” “This book is the punch in the face you want and need.”>>
[SOURCE: https://www.amazon.com/Hard-Core-Life-Own-Harley-Flanagan/dp/1627310339]
Steven Blush wrote the book's introduction. He “is an American author, journalist, and filmmaker known for his book American Hardcore and its documentary film adaptation. He founded Seconds magazine and has written about music and popular culture for publications including Spin, Kerrang!, and The Village Voice. His work focuses primarily on punk and hardcore music.”
(SOURCE: https://en.wikipedia.org/wiki/Steven_Blush)

Abstract: "Covers all of metal music, from early heavy metal like Jimi Hendrix to the latest extreme metal like Lorna Shore
Combines musical analysis with social/genre analysis
Presents a new critical perspective on the genre's history
This is an open access title. It is available to read and download as a free PDF version on Oxford Academic and is made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 International licence."
(SOURCE: Covers all of metal music, from early heavy metal like Jimi Hendrix to the latest extreme metal like Lorna Shore
Combines musical analysis with social/genre analysis
Presents a new critical perspective on the genre's history
This is an open access title. It is available to read and download as a free PDF version on Oxford Academic and is made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 International licence)
<<Metal music is heavy, but what does that mean? Heaviness is not just a timbre or quality of sound-it's an experience of impact that listeners help create. This book combines methodologies from musicology, music theory, cognitive science, and performance studies to define heaviness as a cross-sensory experience and aesthetic practice. Heaviness is shaped by what we do when we listen, how we think about metal music, and how we relate to the people who make and listen to it.
Despite metal's historical narrative of “leaving the blues behind,” many aspects of the genre perpetuate legacies of blues' musical style and highly racialized reception-including headbanging, and metal's ideologies and aesthetics of oppositional authenticity, loudness, heaviness, and extremity.
Musicians and listeners navigate their own way through this landscape of legacies, re-enacting the genre's ideologies and musical structures through their own headbanging and moshing. Metal musicians perpetuate the genre's norms and practices, which in turn provide a framework for the creation and distinction of new metal styles and experiences. Heaviness in Metal concludes that longstanding restrictions about who and what count as metal have begun to loosen, expanding the scope of what heaviness can mean, and to whom.
Stephen S. Hudson is an emerging expert on metal music, focusing on fans' and musicians' embodied experiences of rhythm, timbre, and song form. His research draws on methods from music theory, phenomenology, performance studies, and cognitive science. He is an Assistant Professor of Music at Occidental College in Los Angeles, California.>>
[SOURCE: https://www.amazon.com/Heaviness-Metal-Music-Stephen-Hudson/dp/0197774954]