Hello everyone

Just wanted to update you on the progress of Nothin' But A Good Time. The manuscript has been through its first edit and is currently having the final tweaks made to it by my excellent editor at Unbound. With turnaround times and printing etc we're currently on course for an August release, but if anything changes with the current situation I'll let you know as soon as I hear. So, there's two bits of housekeeping...

Firstly, I can share the first look at the book's cover with you. Hope you like it - I think it fufills my main concern that it should stand out on the shelf, so hats off to the designers on that front.

 

Secondly, a very important request: when one of you first pledged on the book, you asked if it would be possible for your acknoweldgement to be made out in the name of a late partner who loved glam metal. I want to make sure that I get this included, but as the message came in a while ago with the original pledge, I don't have a record of it that I can access. If that was you, I'd appreciate it if you could message me directly on info@justinquirk.com and I'll make sure you get the right name included in the finished copy of the book.

Thanks again for your support of the project, and hope that everyone is keeping well in the current situation.

 

JQ \m/


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NBAGT: first look at the cover...

Hi everyone

Just wanted to send a sincere thank you to all of you for backing the project over the last year - as you'll have seen via Unbound, we're now at our crowdfunding target. Work's already ongoing on the final manuscript and progressing nicely.

Some of you have mentioned at various points in the past year that you've got either archive material which would be useful for my research, or have got specific memories of the time, places and people under discussion. If there's anything suitable you could contribute - even relatively small details or memories - please drop me a line on info@justinquirk.com and we can chat.

(incidentally, talking of archive, a few weeks ago I travelled up to Birmingham to visit the Black Sabbath exhibition as part of the Home of Metal project. It's a fantastic show and well worth a trip).

Thanks again for your support of Nothing But A Good Time - we really couldn't have got here without you.

Justin

MISSION ACCOMPLISHED!

Hello!

 

Firstly, sincere apologies for the glam metal radio silence. There's been an extremely long haul of crowdfunding over the last few months, but I'm pleased to announce that we are now on the absolutely final leg of the home straight and inside the last £300 of funding on Nothing But A Good Time. That's 20 people pledging on the Patron Paperback and we're good. So, I'm asking if you could do a final post/tweet/share/hassle-of-any-likely-glam-metal-fans you know to get this over the line so I can crack on with the writing. Word of mouth moves the needle more than anything else.

While this has been ongoing, I've been spending the time on research and archive work for the book - last week saw a particularly fine crop of old Kerrang! back issues arriving, which have been an absolute gold mine for detail. The main insight from immersing myself in these old magazines is both how rich and varied the metal landscape was back then, but also how remote most of it was if you lived outside of big cities. The classified ads in particular have been a real insight into this world - people posting just to find someone else to write to about metal, or swap tapes with, or even just tell them an address for a band's fan club, and presumably waiting weeks for a reply. Really is difficult to imagine compared to how immediately accessible everything is now.

So, hopefully the next update I send out will be to announce that crowdfunding soundcheck has closed and the publishing gig is about to start. In the meantime, the collaborative glam metal playlist is continuing to grow - please add anything you think we've missed in <a href="https://open.spotify.com/playlist/6u19LtpxPBOZ29rKPuycqh?si=7MZBYlL4SDaul8b9NJZQHQ">here</a>. 

Thanks again for supporting the project - it's greatly appreciated. 

\m/


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The (Very) Final Countdown

Hello

Just wanted to update you on progress for NOTHING BUT A GOOD TIME. We're closing on 75% at the time of writing after a busy week of new pledges. I'm also pleased to announce that copies of my other publication, BATTLEJACKET NUMBER ONE have just come back from the printers. This is a full colour, 60 page photographic study of heavy metal's greatest battlejackets, photographed by me at metal gigs in and around London over the last year and limited to just 100 copies. At first, the only way to get hold of this is by pledging  for NBAGT on the 'BATTLEJACKET' option. So, if you know anyone who'd be interested in a study of denim, patches, badges and surprisingly intricate needlework, please pass this onto them. If you've already pledged on this option, it will be delivered at the same time as the finished main book, but here's a couple of shots to give you a sneak preview of what's coming...

 

Thanks again, Justin


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Battlejackets!

Been a busy couple of weeks on glam metal crowdfunding. I was interviewed by Emma Finnamore for her long piece in i-D on Nothing But A Good Time - you can read the finished piece <a href="https://i-d.vice.com/en_uk/article/wj7nwb/documenting-the-heady-rise-and-dramatic-fall-of-80s-glam-metal">here</a>, which explains some more thoughts around the project and why I'm working on it. I was also a guest on the 100th edition of the <a href="https://www.podomatic.com/podcasts/whitelinefever/episodes/2018-03-24T11_06_37-07_00">White Line Fever</a> podcast, talking about the book (Adrian Vandenberg from Whitesnake was on the same issue so I was in good company). I was also on Soho Radio's excellent Bigmouth show talking about glam metal among other things including David Byrne and Netflix's Annihalation. You can listen to it <a href="https://audioboom.com/posts/6726906-podcast-95-annihilation-david-byrne-mfsb-tracking-down-steve-ditko">here</a>.

All of these have bought more pledges in which is a huge help to getting to our final target, but as ever it's word of mouth which really helps generate interest. So if you're able to post online, tagging in myself (@justindquirk) and Unbound (@Unbounders) that would be gratefully appreciated.

Thanks again, Justin \m/

 

ps this week's archive find - Twisted Sister's tour ad from 1986, with an appearance at top from one-single wonders Voyeur. If you've got a copy of their only single it a) sounds a bit like Grim Reaper/early Maiden cross to my ears and b) goes for around £30 now on Discogs... https://www.youtube.com/watch?v=GyJ-xYo0Sco


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The Long Read on Glam Metal

Hello

Apologies for the radio silence around Nothing But A Good Time - I was ill for a couple of weeks, so the crowdfunding went on the back burner temporarily. We're now on the final push for the book as we enter the last third of fundraising. Again, thanks for your ongoing support of the project: we should have more press coverage of it coming up in the next week or so, but if you missed them previously there's the long read on <a href="http://thequietus.com/articles/24033-glam-hair-metal-in-defence-it-s-ace-really">The Quietus</a>, plus an interview with me on the <a href="https://everyrecordtellsastory.com/2018/02/17/unbound-nothin-but-a-good-time-justin-quirk-glam-metal-book/">ERTAS</a> site. Most of this week's research has been soundtracked by Lita Ford's 1988 album 'LITA', while I took delivery of a load of mid-late 80s CIRCUS magazines for research. Plenty of vintage advertising gold like the attached from Poison ('unanimously disapproved of by parents everywhere'), and I'll be uploading more of this stuff to my Instagram (@no_ufos).

As usual, it's word of mouth which really gets things moving, so if you've got time to retweet or post about the book anywhere, it's a huge help.


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More metal

Hello

 

It's been another busy week at the coalface of metal. More pledges have come in, my research was aided by a contact who was at Poison's appearance at Soho's legendary Shades record store in May 1987 (and there's some footage shot in the store on the same day <a href="https://www.youtube.com/watch?v=OX8c888Lw-8">here</a>) and I was interviewed by the excellent <a href="https://everyrecordtellsastory.com/2018/02/17/unbound-nothin-but-a-good-time-justin-quirk-glam-metal-book/">Every Record Tells A Story</a> site about the project. I also wrote a piece for <a href="https://t.co/VMUN90e1ot">The Quietus</a>' 'Black Sky Thinking' slot about the case for rehabilitating glam metal.

Thanks again to everyone who's not only pledged, but has got the word out there about the book. We're going into the last third of the fundraising now and keeping up the momentum is *essential*. So, if you've posted about it already, please do so again, mail it to anyone you know who would be interested and if you can write or talk about it anywhere in the media that would be an enormous help. Similarly if you know people who were around the scene at the time and would be happy to talk to me for the book, send them my way as I'd love to include their recollections and experiences.

JQ

ps: Speaking of Shades, one of this week's research finds was an old advert for the store in a 1986 copy of Kerrang! including perhaps one of the ones examples of lo-fi cartography in which the whole of central London appears to be made up of just six streets. Genuinely amazing that anybody ever found their way to the shop. Anyway, for more stuff like this, follow me on Instagram, @no_ufos.


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Every Record Tells A Story

Hello - hope everyone had a good weekend. Just wanted to update you on progress for NOTHING BUT A GOOD TIME. Last week was another busy one, with lots of pledges coming in after our feature in Classic Rock magazine. Another feature should be going live on <a href="http://thequietus.com/">The Quietus</a> this week, so keep an eye out for that.

As usual, I'd like to thank you for your support of the book, but can't emphasise enough that it's word of mouth which really gets the pledges coming in. If you can post the main link (https://unbound.com/books/good-time/) on Facebook and Twitter, or even just mail it directly to a few people who you think would enjoy it, that moves the needle for us.

And as an ongoing thank you, there's an ever-growing playlist over at <a href="https://open.spotify.com/user/cracker0_0/playlist/6u19LtpxPBOZ29rKPuycqh?si=CbU5uqIxR06gRQefJ2P0DQ">Spotify</a> where we're soundtracking the project. Please feel free to add any classics  you think we've missed. And finally, as I research the book, I've been uploading various interesting old adverts, photos and other bits of ephemera to my Instagram account - you can follow me there @no_ufos. This week's seen additions from WASP, Iron Maiden, Def Leppard and some new battlejacket shots. See you over there.

Justin \m/


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New week, more metal...

Happy Friday

Just wanted to update you on the progress of NOTHING BUT A GOOD TIME. Last week was a big week for 80s metal, thanks to the flurry of interest around Def Leppard announcing tickets for their Hysteria revival tours, and finally releasing their back catalogue onto streaming services. This also seemed to drive a lot of people towards our crowdfunder, and today we nudged over the 50% mark, less than three weeks into the project. Firstly, an enormous thank you to all of you for pledging so far - obviously, without your support this isn't going to happen. Secondly, if you didn't see it, there was a great feature over at Classic Rock explaining a bit more about myself and the book, which you can read <a href="http://teamrock.com/feature/2018-01-24/why-the-true-story-of-glam-metal-needs-to-be-told">here</a>. And thirdly, the one thing that we've really seen from the campaign so far is that nothing generates new pledges like old-fashioned word-of-mouth. So, if you've got time today and can post a link to the trailer (https://unbound.com/books/good-time/) and a few words about why you're supporting the project, that would really help (I'm on Twitter @justindquirk if you're going to tag me in and the publishers are @unbounders). The faster we hit 100%, the faster I can stop rattling the tin for tips and sit down at the desk and get writing, and the faster you get your book.

Again, thanks for your support, and have a great weekend.

 

Justin

 

ps - If you want to see some highlights from my ongoing metal research (old promo t-shirts, rare Kerrang! covers, long-lost adverts etc) you can follow me over on Instagram @No_ufos. There'll also probably be quite a lot of photos of cats and stuff from when I'm out running, but I'll do my best to keep it metal focussed. \m/

pps - special thank you to Jim Lacey, whose pledge got us over 50% this week. He's in a fantastic one-man punk band called Young Francis who make great music, and are (is?) a blast live. Check them out here: https://youngfrancis.bandcamp.com/

"Woooaaah-oooh. We're halfway there..."

Hello. Just closing out the second week of fundraising on NOTHING BUT A GOOD TIME, and pleased to report that we've hit the 40% mark. An enormous thank you to all of you who have pledged, tweeted, publicised and generally banged the tigerskin-painted drumkit for this, as it means we're well ahead of schedule. However, we need to keep the momentum going, so once again, if you're able to post about the book, forward it to anyone who might be interested, or think of any other outlets for it, that's a huge help. Social media's various timelines and hierarchies mean things often get lost in the deluge, so re-posting always helps. The main link to use is:

https://unbound.com/books/good-time/

As a thank you, we've started to build a Spotify playlist which can soundtrack your Friday. It's very much a work-in-progress, so please feel free to go to it <a href="https://open.spotify.com/user/cracker0_0/playlist/6u19LtpxPBOZ29rKPuycqh?si=CbU5uqIxR06gRQefJ2P0DQ">here</a> and add in any classics that you think we've missed.

A very metal Friday...

Week One...

From 1983 until 1991, Glam Metal was the sound of American culture. Big hair, massive amplifiers, drugs, alcohol, piles of money and life-threatening pyrotechnics. This was the world stalked by Bon Jovi, Kiss, W.A.S.P., Skid Row, Dokken, Motley Crue, Cinderella, Ratt and many more. Armed with hairspray, spandex and strangely shaped guitars, they marked the last great era of supersize bands.

In the last week of August 2014, a Californian musician uploaded a six-minute long video to Youtube, showing himself taking part in the Ice Bucket Challenge – not so unusual in itself, with 2.4million-and-counting of these charitable enterprises online around that time. However, this Ice Bucket Challenge was different: firstly, the man had bags of ice balanced on his head and in his crotch rather than being poured over him; secondly, rather than passing the challenge on to his friends and family, he called out (‘while my jewels freeze’) three of his high profile colleagues – Eddie Van Halen, David Lee Roth and John Meyer; and finally, he communicated each word of his speech in blinks, painstakingly spelling out one letter at a time via an interpreter, while he sat motionless in a wheelchair.
Once touted as potentially the best metal guitarist on earth, 45-year-old Jason Becker has spent the best part of the last 18 years completely paralysed, since being diagnosed with ALS when he was on the verge of rock megastardom. But in that time he has not only defied medical wisdom by staying healthy and alive, he has also continued to compose and create his own astonishing music, been the subject of an award-winning documentary and helped to invent a communication system which has revolutionised the lives of other patients like him worldwide.
Despite being confined to a chair and unable to physicall perform, his public existence largely limited to a Twitter profile and sporadic musical releases, his influence continues: in 2012, Guitar Player magazine named him as ‘the greatest shredder ever’; in 2014, Seymour Duncan released his signature model pickup with Carvin following up with a signature line of guitars in 2015. And both fundraising gigs and a documentary about Becker’s life have taken place under a title you could only hope to find in the blackly comic world of heavy metal: Jason Becker: Not Dead Yet.
* 
Since 1995, Jason Becker has released four albums. Not exactly a punishing workrate for a regular artist, but Becker’s life, composing and recording techniques are very far from normal. Since ALS paralysed his body, he has continued to create music, moving away from the pyrotechnic, lightning-fast metal of his youth to more textured, complicated pieces, often instrumental, sometimes with layered, treated voices giving the work an ethereal, hypnotic feel. 
Soon after Becker’s paralysis, his friend <a href="http://en.wikipedia.org/w/index.php?title=Mike_Bemesderfer&amp;action=edit&amp;redlink=1">Mike Bemesderfer</a> devised a software programme connected to a visor-mounted sensor. Becker could click a virtual keyboard by moving his chin, altering the velocity of each note and gradually, painstakingly assembling them into entire pieces of music. His album Perspective was the result of this exhausting process, with his epic ten-minute composition, End of The Beginning going on to be performed by the Oakland Symphony Orchestra and the Diablo Ballet in 1999. On its release, Eddie Van Halen appeared on video with the immobilised Becker to describe him as having been ‘just one of the best rock and roll guitarists on the planet.’ The understandable sense among viewers was that in Becker they were watching a man who was living on borrowed time.
*
Jason Becker was born in 1969, the second son of Pat and Gary Becker. A month premature, allergic to milk, prone to rashes and steadfastly refusing to speak to his schoolteachers, his mother described him as a ‘kinda high maintenance’ child. But despite this, the Beckers were an uncommonly close-knit family. Gary – a painter – originally attempted to teach his five-year old son the guitar. ‘He was bored and never came back for lesson two,’ recalled the father in Jesse Vile’s 2012 documentary, Not Dead Yet.
What followed was the kind of lightning-flash of creative growth that arts teachers dream of encountering in their students. Becker barely removed his guitar, and by sixth grade was performing Bob Dylan songs at school shows. He then learned note-perfect renditions of Eric Clapton’s total output, played a Bach fugue for local promoter Jim Oceam at 14 (‘I just realised I was in a room with a genius’) and was soon enough of a showman to have mastered playing the guitar with one hand while executing yo-yo tricks with the other. Home video footage from the time shows a young man still growing into his skinny frame, wispy moustache and frizzy hair, but physically controlling his instrument in the manner of someone with decades more experience and a nascent grasp of stagecraft and showmanship.
In 1986, Shrapnel Records’ boss Mike Varney picked up on a demo tape that Becker had sent him and paired the 16-year-old with Marty Friedman (later of Megadeth) in Cacophony, a kind of speed-guitar supergroup. The pair were at the forefront of the ‘shred’ guitar scene which had seen a new wave of guitarists like Steve Vai, Yngwie Malmsteen and Joe Satriani develop an ultra-fast, supremely technical style of guitar playing which drew as heavily on classical music as on traditional rock. Becker was from this tradition, but had much greater ambitions and prospects as veteran music writer Alan di Perna – who interviewed Becker several times for Guitar World magazine around this period – remembers. ‘He came out of the “shred ghetto”, and a lot of those players just remained in that world. They can produce these virtuosic flurries of notes, but they can’t really cross over into mainstream rock – but Jason nailed it. He was so clearly destined for more than just doing clinics in guitar shops.’
In 1989, still aged just 19, Becker was recruited by former Van Halen frontman David Lee Roth. This was as prestigious a position as existed in rock music – Roth was a huge, cartoonish, over-the-top rock star, who could score hit pop singles while still maintaining credibility in the world of heavy metal. With his supersized, hyper-capitalist, self-aggrandising videos, Roth functioned as a Jeff Koons figure, someone who had lived an exaggerated ideal of the artist’s life for so long that it had eaten away whatever original personality had existed. But more importantly, both his previous sidekicks (Eddie Van Halen and Steve Vai) had been boundary-smashing guitarists who had completely changed the way the instrument was played, both technically and creatively; Becker was picking up their mantle. 
What he hadn’t mentioned to his new bandmates was a nagging muscular pain in his calf. As recording started on Roth’s album, A Little Ain’t Enough, Becker was quietly visiting Keiser Medical Centre for a battery of tests, after which he was diagnosed with Amyotrophic Lateral Sclerosis – known in America as Lou Gehrig’s Disease and the most common form of Motor Neurone Disease – and given just three to five years to live by doctors. ‘It’s a disease that damages the nerve cells that connect the old grey matter to the muscles in the various parts of the body,’ explains Doctor Brian Dickey, Director of Research Development at the Motor Neurone Disease Association. ‘The person can think about making that movement, but the wires that connect the brain to the muscles in the body are dying so there’s no way that the signals can get through.’ It’s hard to conceive of a crueller illness to be visited upon a young man who had been gifted Becker’s abilities.
By the time recording successfully finished, Becker was using the lightest guitar strings possible due to his weakened hands. He was forced to admit his condition to his bandmates, pull out of the worldwide stadium tour to promote the record, and move back home with his parents to Richmond, California. As Gary Becker bluntly states of the diagnosis: ‘It just stabbed me in the heart.’
 *
Becker’s decline was terrifyingly fast. The young man frantically tried alternative therapies and experimental drug treatments (at one point even having his mercury fillings removed), while becoming dependent on sticks, then confined to a wheelchair, his hair thinning, his voice failing and his muscles wasting away. By 1992 he could barely speak; by 1997, he was completely paralysed.
‘It was a very tight family. They were all very supportive, and all very creative people’ says filmmaker Jesse Vile. ‘When this terrible thing happened, they didn’t even think about sticking him in a home somewhere and saying goodbye. They were fully prepared to do whatever they could to keep the family together.’
This meant turning the Becker home into a 24-hour-a-day care center where the guitarist’s family, alongside other friends, girlfriends and helpers, tended to him. While some of this was physical (and Becker’s current good health is a testament to the quality of this care), it was equally an effort to keep him together mentally and spiritually. And for Becker, more than anything, this meant carrying on composing and creating. ‘He had music in his head and I think that’s how he kept going,’ says Gary. The question was how that music would be transported from Becker’s internal world, to that outside.
*
‘It was 1996, Jason did not yet have a tracheostomy, and he always resisted new things, because he thought that would weaken him. But I could not understand him – it was very difficult, he was having a hard time projecting his words.’ Gary Becker is talking to me by phone from the family home in California. We’re on speakerphone and our conversation is soundtracked by the constant mechanised hiss of Jason’s breathing apparatus. The father is explaining to me how he came up with a radical communication tool that is now used worldwide by patients who are unable to speak.
‘I had seen alphabet boards, but they seemed really cumbersome. I just wanted something similar that we could really work with.’ The end result is a lo-tech device that anyone anywhere could replicate, in which the patient’s eyes motion to different parts of the board, while their ‘vocalist’ picks up the letters and anticipates the developing word, in the manner of predictive texting. Essentially the carer becomes the ‘voice’ of the patient. ‘When I first made it, Jason didn’t care so much,’ he laughs in the customary manner of all parents who’ve had to force their errant offspring into doing something that they know is good for them. ‘But when he started working with it, it was very effective.’
Admirably, the Beckers refused to commercially exploit the invention. ‘At the beginning I had people telling me to get a patent and then sell it, and… as soon as lawyers got involved it became so complicated. I didn’t even understand the system myself, so I just said “I’m giving it away.” We’ve heard back from many people where really it saved and improved their lives. It’s available for free to anyone who wants it.’
Despite their hugely abnormal circumstances, the Beckers come across as a resolutely normal family. ‘Actually, that’s the funny thing,’ says Gary. ‘I don’t think we &lt;did&gt; change as a family. We all loved each other and had fun and did art and played and appreciated life. And when ALS happened we just used what we were to make the best of it. It’s just how we do it. Mostly, we’ve just learned that life is precious and it can just be gone in a second. So we try not to concern ourselves with minor complaints and stuff. Not that we’re perfect – we still have family arguments and stuff. But ultimately we understand that life is a pretty precious and brief gift. We try to have gratitude for it.’
Later that evening, I speak to Jason himself, albeit with Gary ventriloquising for us. As an interviewer, it’s a unique experience – the guitarist’s character and intellect are completely undimmed, but you have to let them come into focus as each sentence develops through the exhausting process.
I ask Jason about the sensation of watching Vile’s documentary and seeing his life played out on film, from the earliest home videos of himself as a toddler, through his heavy metal heyday to his current state. ‘It was great!’ he spells out. ‘I felt like it was about time, damnit!’ We talk about his coping strategies for dealing with his enforced inactivity. ‘I meditate every day, so I’m still involved with that. Off and on all through the morning, every morning – that’s my routine. But I usually take the moment one day at a time.’ As for whether it’s his mental strength which has kept him going for so much longer than predicted, he’s pragmatic; ‘I definitely think it’s both (mental and physical). I wouldn’t be able to live without the physical care, even if my mind was fine, and vice versa. I’m OK at the moment. ’
As we wrap up our conversation, I mention relistening to the album he recorded with David Lee Roth, A Little Ain’t Enough at high volume. ‘Good,’ he replies. ‘Because if you play it quietly – it &lt;sucks&gt;.’

Nothing But A Good Time

Nothin' But a Good Time: The Spectacular Rise and Fall of Glam Metal

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Nothing But a Good Time - paperback - unsigned

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