EVERYBODY LOVES OUR TOWN（ISBN=） 英文原版

　　Twenty years after the release of Nirvana’s landmark album
Nevermind comes Everybody Loves Our Town: An Oral History of
Grunge, the definitive word on the grunge era, straight from the
mouths of those at the center of it all.
　　In 1986, fledgling Seattle label C/Z Records released Deep Six, a
compilation featuring a half-dozen local bands: Soundgarden, Green
River, Melvins, Malfunkshun, the U-Men and Skin Yard. Though it
sold miserably, the record made music history by documenting a
burgeoning regional sound, the raw fusion of heavy metal and punk
rock that we now know as grunge. But it wasn’t until five years
later, with the seemingly overnight success of Nirvana’s “Smells
Like Teen Spirit,” that grunge became a household word and Seattle
ground zero for the nineties alternative-rock explosion.
　　Everybody Loves Our Town captures the grunge era in the words of
the musicians, producers, managers, record executives, video
directors, photographers, journalists, publicists, club owners,
roadies, scenesters and hangers-on who lived through it. The book
tells the whole story: from the founding of the Deep Six bands to
the worldwide success of grunge’s big four (Nirvana, Pearl Jam,
Soundgarden and Alice in Chains); from the rise of Seattle’s
cash-poor, hype-rich indie label Sub Pop to the major-label feeding
frenzy that overtook the Pacific Northwest; from the simple joys of
making noise at basement parties and tiny rock clubs to the tragic,
lonely deaths of superstars Kurt Cobain and Layne Staley.
　　Drawn from more than 250 new interviews—with members of Nirvana,
Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole,
Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the
Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the
U-Men, Candlebox and many more—and featuring previously untold
stories and never-before-published photographs, Everybody Loves Our
Town is at once a moving, funny, lurid, and hugely insightful
portrait of an extraordinary musical era.
　　

A tribute to the Pacific Northwest’s grunge genre draws on the
observations of individuals at the forefront of the movement from
Soundgarden and the Melvins to Nirvana and Pearl Jam, citing the
influences of such factors as the rise of Seattle’s Sub Pop record
label and the death of Kurt Cobain.

　　MARK YARM is a former senior editor
at Blender magazine. He lives in Brooklyn with his
wife, Bonnie, and is in no way related to Mudhoney frontman Mark
Arm.

　　“Yarm’s affectionate, gossipy, detailed look at the highs and
lows of the contemporary Seattle music scene is one of the most
essential rock
　　books of recent years.”
　　—Kirkus Review, *Starred Review*
　　“Hardcore fans of grunge will treasure this.”
　　—Publishers Weekly
　　“Yarm, a former editor of Blender, interviewed more than 250
musicians, scenesters, and record business types
　　to deliver a personal, comprehensive history of grunge
music…Highly recommended.”
　　—Library Journal
　　”Mark Yarm has assembled the gospels of Grunge music. Here is a
warts-and-elbows refresher course for those of us who still find
our memories of the era a little hazy.”
　　─Chuck Palahniuk, author of Fight Club
　　”A very noble record of the grunge scene—and an excellent
addition to the growing library of oral history music books.”
　　—Legs McNeil, coauthor of Please Kill Me: The Uncensored Oral
History of Punk and the forthcoming Resident Punk
　　”Great oral histories are rare.  Hewing a narrative from all
those chaotic and often conflicting memories with testimony alone
and no guide-prose or stage direction is difficult.  Making
that somehow intimate and epic is nearly impossible.  
When a writer pulls it off, as Mark has with Everybody Loves Our
Town, it’s really a gift: the subject or scene finally gets its
definitive record and the reader gains what feels like a room full
of brand new friends.  One of the best rock reads in a very
long time.”
　　─Marc Spitz (co-author We Got The Neutron Bomb: The Untold Story
of LA Punk, music blogger VanityFair.com).
　　”In Everybody Loves Our Town, Mark Yarm collects and dispenses
remarkable insights about a genre no one even wants to claim as
their own. As a child of grunge – who spent a humiliating chunk of
the 1990s in an Alice in Chains t-shirt – I loved this book; it
clarified so many things about a sound and a time I thought I
already knew.”
　　─Amanda Petrusich, author of It Still Moves: Lost Songs, Lost
Highways, and the Search for the Next American Music
　　”A deeply funny story, as well as a deeply sad story–the
glorious Nineties moment when a bunch of punk rock bands from
Seattle accidentally blew up into the world’s biggest noise. Mark
Yarm gives the definitive chronicle of how it all happened, and how
it ended too soon. But the book also makes you appreciate how weird
it is that this moment happened at all.”
　　─Rob Sheffield, author of Love Is A Mix Tape and Talking To Girls
About Duran Duran
　　”A definitive, irreplaceable chronicle of one of rock-n-roll’s
greatest eras. It should sit tall on any rock lover’s
bookshelf.”
　　─Neal Pollack, author of Never Mind The Pollacks
　　“In an attempt to trace the real roots of grunge, journalist Mark
Yarm compiled an exhaustive oral history from the people who lived
it.  In his book Everybody Loves Our Town, there are
interviews with everyone from the early adopters to those that were
late to the party, but nevertheless helped extend [grunge’s] shadow
of influence by turning it into a look for the world to
emulate.”
　　—The Fader
　　“This massively readable tome gathers recollections from every
grunge band you’ve ever heard of (Pearl Jam, Nirvana, Soundgarden,
Melvins) and some you haven’t (we hardly knew ye, Skin Yard)…The
genre’s first truly comprehensive insider history…It’s gossipy…and
fascinating, with so much backstabbing and death it’s like
Shakespeare, if Shakespeare had written about heroin addicts with
bad hair.”
　　—Revolver (4 out of 4 stars)
　　“An impressive display of reportorial industriousness… It’s the
feel-bad rock book of the fall.”—Bloomberg Businessweek
　　“Oral history is an art in itself. It’s why Everybody Loves Our
Town will endure as a classic of monumental scale.”—Paste
Magazine.
　　“For hardcore fans or people just curious about what the fuss was
all about, Mark Yarm’s excellent new book –Everybody Loves Our
Town: An Oral History of Grunge” is well worth the read. Yarm has
done an admirable job of assembling an engaging, funny and
ultimately sad narrative by letting the people who helped create
the Jet City sound talk about what happened in their own
words.—Seattle Post-Intelligencer
　　“Yarm’s account captures the essential tension that made the era
so compelling.”—Greg Kot, Chicago Tribune
　　”We finished all five hundred and forty-two pages of this book in
two days, abandoning all responsibility (this, friends, is why we
do not have children; had there been any children about us, we
would have locked these unfortunate creatures in the bathroom, so
as to not be
　　distracted) and staying up until two in the morning, reading
whole chunks of it out loud to poor long-suffering Support
Team.”–TheRejectionist.com
　　Mark Yarm’s superb book, Everybody Loves Our Town: A History of
Grunge details the dramatic rise of the grunge movement and all of
its players, including Cobain, Love and Vedder, told through the
voices of the people that lived through it.–Hollywood
Reporter
　　“I came away from this book with a big smile on my face. Lots of
it is like a gray day in western Washington; you’ve been kicked out
of yet another band, and your girlfriend is spending far too much
time with the drummer from the Melvins or the Screaming Trees. In
the end, though, “Everybody Loves Our Town” made me want to be
young, stupid and lucky again. Mainly, it made me want to be
young.”–The Washington Post
　　“Everybody Loves Our Town should inspire new conversations about
the unique culture and people that made grunge so unusual and
unforgettable to so many fans. The book is timely, as 2011 marks
the 20-year anniversary of  Nirvana’s “Nevermind” and Pearl
Jam’s multi-platinum debut album, “Ten.” Everybody Loves Our Town
is as good an excuse as any to put on an Alice in Chains CD and
curl up with a good book about some great old friends with whom we
haven’t spent much time in a while.”–The Washington Independent
Review of Books
　　“Everybody Loves Our Town is authoritatively researched and
compiled, often very funny and always just a little bit
sad.”—Buffalo News
　　”Like a very extended and entertaining all-night bulls— session
among everyone who mattered during the late-’80s/early-’90s music
scene.”–Seattle Weekly
　　”The scope is encyclopaedic and the closeness to the subject
unparalleled.”–Record Collector
　　”A wild ride that is in turns uplifting and tragic.” –Your
Flesh
　　Named one of the top music books of 2011 by UK Telegraph
　　”Riveting, gossipy, and impossible to put down until the last
quote has been read.” –New York magazine’s Vulture blog
　　“This exhaustive oral history features unknowns, cult figures,
supporting players and stars; each gets the time he or she deserves
as Yarm pieces together the arc of a scene that built itself from
scratch, blossomed beyond most people’s dreams, and then crashed.
Yes, there are plenty of Kurt Cobain stories. But there’s much
more, too — indelible characters, weird scenes, creative chaos,
laughs and tragedy and lots of cheap beer.”—NPR.org
　　”Gen-X music geeks: Here’s your holy grail.” –Tulsa World
　　”The best book on music I’ve read this year.” –Omaha
World-Herald
　　

　　Chapter 1
　　LARRY REID (U-Men manager; co-owner of Roscoe Louie/Graven Image
galleries; Tracey Rowland’s husband) This was Labor Day weekend of
1985. Here’s how I remember it. The U-Men’s roadie, Mike Tucker,
thinks it was my idea; I think it was Charlie Ryan’s idea. And it’s
not that I don’t want to take credit for it, because it was
brilliant. But I’m sure it was Charlie’s idea because Charlie had a
fetish for Zippo lighters.
　　MIKE TUCKER (U-Men roadie) The idea, I do believe, was born out
of a conversation between Larry and me. I remember going with Larry
and getting the lighter fluid, which someone poured into Mickey’s
brand malt-liquor bottles.
　　JIM TILLMAN (U-Men/Love Battery bassist) I’m fairly positive it
was John’s idea. Suffice it to say that we all thought it was
brilliant.
　　CHARLIE RYAN (U-Men/Cat Butt/the Crows drummer) It was my idea. I
collected lighters. I was the firebug. I was the pyro. My
idea!
　　LARRY REID The U-Men were the first real punk band ever booked at
the Bumbershoot Festival. I managed to sell them as a
performance-art combo. God bless ’em, the producers trusted me, and
they shouldn’t have-and never did after this!
　　CHARLIE RYAN Larry says, “We’re on Bumbershoot.” And we’re like,
“Oh, my God. Okay. This is going to be the ultimate showcase for
us.” I start thinking about the fact that there’s the moat, this
body of water in front of the stage. I wondered, Could we light it
on fire?
　　LARRY REID Nobody was quite sure it would work, so we filled up
my bathtub, poured some lighter fluid on it, and…
　　CHARLIE RYAN We took a match and threw it in, and it went boom!
Flames.
　　LARRY REID There was a curtain on the window above the bathtub
and it fucking went up, man. If we would’ve thought about it, we
probably would’ve tried it outside using a bucket of water. The
alarm went off, all hell broke loose-they had to empty the
building, but it didn’t catch the apartment on fire. We were all
high-fiving each other, and like, “Yes, this was a good thing. This
is gonna work!”
　　So skip to the gig, a couple weeks later. Bumbershoot was held at
an outdoor venue called the Mural Amphitheatre, which is on the
grounds of this large city-owned property called the Seattle
Center. There were hundreds of people in the audience because it
was free.
　　KURT BLOCH (Fastbacks/Young Fresh Fellows guitarist) I was right
there in the front. They’re setting up and everybody’s like,
“Something crazy’s gonna happen, something crazy’s gonna
happen.”
　　KERRI HARROP (Sub Pop Records sales and retail employee) I can
even remember what I was wearing, the show was that significant.
First of all, Bumbershoot’s this family-friendly event-it’s out on
the open lawn in the shadow of the Space Needle-and you have these
complete weirdos out on this stage.
　　CHARLIE RYAN It’s sunny and nice out, and we’re all in black
leather and top hats and dark shades and being as menacing as we
could be. Our freak show only appeared at night, in dark places,
but here we are, in broad daylight. My mom was there-the end of the
show wasn’t her proudest moment.
　　LARRY REID At the end of the set, the sun was just going down.
Mike Tucker and myself walked out to the edge of the stage, and
we’re each pouring what appeared to be a gallon of vodka into the
pond. And Bigley comes out-they’re doing this song called “They,”
which at that point was the standard last song.
　　JIM TILLMAN The last song was “Green Trumpet,” though I could be
wrong. There were 2,000 or 3,000 people there. A couple of our
friends, this guy Mike, who was sort of a roadie, and this other
guy Tommy Bonehead-his real name was Tom Simpson, but he was called
Bonehead because it didn’t matter how hard you’d hit him, he’d
always fight-are pouring lighter fluid on either side of the
stage.
　　TOM PRICE (U-Men/Cat Butt/Gas Huffer guitarist) We were playing a
song called “10 After 1.” And John ducked behind an amp, because we
didn’t want the authorities to see what was going on.
　　JOHN BIGLEY (U-Men/the Crows singer) I had gotten a broom and cut
off the bristles, so it was just a nub where the bristles joined
the handle, and wrapped it in a T-shirt soaked in lighter fluid. I
ran back behind the drums, lit the broom with my lighter, and
waited until the song “They” kicked into gear.
　　CHARLIE RYAN And John comes out, doing this insane tribal voodoo
dance with a lit broom, menacing the crowd. And then he chucks it
into the water.
　　MIKE TUCKER When John dipped his torch into the moat, it didn’t
immediately ignite. It was like, “Oh, fuck, it didn’t work.” The
second time he dipped it in, suddenly this wall of fire went
up.
　　JOHN BIGLEY I throw the broom in and there was a giant fireball,
20 to 30 feet high, easy. It was gigantic and it made a sound, this
whoosh of oxygen.
　　LARRY REID The pond fuckin’ exploded, man! I mean, it made the
bathroom look like child’s play. It went up, oh, 10, 12, 15
feet.
　　JOE NEWTON (Gas Huffer drummer) My recollection was that it was
over in the blink of an eye. It burned fast, it burned hugely high
and bright, but it just lasted a second. I knew they were going to
do it, and it was like, “That’s it?” Other people totally remember
it being this huge wall of fire.
　　DENNIS R. WHITE (Pravda Productions partner; Desperate Times zine
cofounder) In a lot of cases, people remember things being much
bigger than they were. In this case, they don’t. It looked like the
band was engulfed in flames.
　　JOHN BIGLEY And with the supercharged rock-and-roll music, that’s
when the vast majority of the folks started jumping around and
dancing. It was a crazy primal deal.
　　JAMES BURDYSHAW (Cat Butt guitarist; 64 Spiders guitarist/singer)
The U-Men were into bones and skulls and black clothes and
witch-doctor sort of imagery. The whole voodoo tribal thing became
real ’cause the sun went down right when the flames happened. You
felt like there was something dangerous going on but you couldn’t
look away. The crowd was screaming, but it wasn’t out of fear. It
was like, Yes! Yes! It was elation.
　　It was like, Fuck the Man, we’re the most dangerous voodoo
band-and we’re gonna do a human sacrifice next. It felt like that
was gonna happen.
　　LARRY REID It was perfect, except we’d failed to take into
consideration that the stage was built out over the pond. There was
creosote and tar underneath the stage, so there was just black
smoke billowing long after the flames had died down. And the
soundman freaked out, thinking the stage was on fire, and he’s
running up, trying to get his sound equipment off the stage. The
audience is now going apeshit crazy. Cops being cops, they started
wading into the audience and beating people with their billy
clubs!
　　CHARLES PETERSON (photographer) The thing I remember most is that
we all just went fuckin’ bonkers, and started slam-dancing into
each other. And there were these Seattle Center security guards who
thought we were getting into fights and were trying to separate us.
This 60- year-old security guard was just freaking out, and some of
us were like, “Dude, they’re just dancing!” I recall somebody
grabbed a security guard’s hat and danced around. It was
mayhem.
　　JOHN BIGLEY We finished the song, definitely. Someone, it might
have been Larry, grabbed me and threw me towards the drums: “Get
the fuck out! Load the shit!” It was very chaotic-people running
and screaming and kids holding their eyes and arrests and that
whole thing.
　　TRACEY ROWLAND (co-owner of Roscoe Louie/Graven Image galleries;
Larry Reid’s wife) Norman Langill, who was running Bumbershoot, was
yelling and screaming and freaking out and jumping up and down. He
was furious.
　　JIM TILLMAN I’d parked our tour bus-it was a 1960s Chevy city
school bus that said tacoma hillbillies on the side, though I have
absolutely no idea why-in this spot next to the stage.
　　JOHN BIGLEY “Load the shit, load the shit!” We got loaded up and
drove off before the police had gotten their act together to
approach us.
　　CHARLIE RYAN I’ll never forget driving our bus out of the Seattle
Center grounds-all of these nice, normal people looking up at us,
these freaks in a school bus who had just set the moat on
fire.
　　KERRI HARROP I was blown away by the audacity of it. I’m sure if
there was a panoramic shot of the crowd, virtually everyone who
ended up in a band or who was in a band at the time was at that
show. I think that if you were in a band and you saw that, it made
you step up your game.
　　MARK ARM (né Mark McLaughlin; Mudhoney singer/guitarist; Green
River singer; Mr. Epp and the Calculations guitarist/singer; the
Thrown Ups drummer) I don’t know if it was necessarily the best
U-Men show I ever saw, but that was the coolest event at a U-Men
show. They really made something happen.
　　LARRY REID The U-Men were banned from Bumbershoot, and I wasn’t
the most popular guy around there for a while. The year after that,
they started draining the pond. And now they’ve filled it in with
cement.
　　The day after the show, I met the Everly Brothers at the hotel
and brought them to the venue-I was working at Bumbershoot,
operating as an informal chaperone for the bigger acts-and the
first person I ran into was Norm Langill, the producer of the
festival. He just came unglued. He said, “What are you trying to do
to me?!”
　　Phil Everly was really kinda sweet and came to my defense. He
told this great anecdote, which was possibly apocryphal, about a
show they had played with Jerry Lee Lewis. Jerry Lee was squirting
lighter fluid on the 88s and pounding out “Great Balls of Fire.”
And the next thing you know…accidents happen. Apparently Jerry
Lee was dancing on the piano, which was an impromptu addition to
his normal routine, and caught his pants on fire.
　　That story got me off the hook. That calmed everything down,
because Norm held the Everly Brothers in real high regard. Phil
told him, “Leave the kid alone. That’s rock and roll.”
　　. . .
　　TOM PRICE The U-Men started in late ’81. My family had moved to
Seattle in 1965. I sta…