It's 1978, and Hollywood Boulevard is burning with punk rock energy and with it the advent of career criminal Big Jason Gulliver, an amoral monster in silver hair, torn t-shirt and army fatigues. Big Jason plans to knock over Rocket USA, the most popular punk club in town, using his friends who all work on the inside of the club. Standing in his way are three psychopaths who run Rocket USA: Jack Sterling, owner of the club, a has-been television star with severe OCD; Chuck Steakhouse, punk surfer thug with a capacity for rape and torture; and Miggy Sanchez, a thug every inch the equal of Big Jason in amorality. Every Bitch For Himself captures all the energy of the 1978 Hollywood punk scene with episodes of violent rock & roll, perverse cult rituals, and nightmarish parties. Just as punk rock bands twisted old songs to fit its explosive style, Every Bitch For Himself corrupts old film noir scenes culled from The Killing, The Asphalt Jungle, Born To Kill and The Killers, to name a few, to create a new punk rock crime novel. Andy Seven’s previous novel Every Good Boy Dies First captured the fervent pace of the Nineties music scene, drawing on experiences from his music career to craft a chilling novel. Once again Andy draws on his memories of the 1977 Hollywood punk scene to create Every Bitch For Himself. How and why did punk happen? Popular music split into two factions following the demise of glam rock in the late Seventies: disco and punk. There was disco for the club kids who wanted to keep all the glamour, dance ability and sexual decadence of glam alive, and on the other side there was punk, which continued all the outrage and drama of glam. Like two unruly siblings both styles of music hated each other. In addition to playing in numerous punk bands on the 77 Hollywood scene Andy Seven can also be seen discussing the history of 1977 Hollywood Punk in books like We’ve Got The Neutron Bomb by Brendan Mullen and Marc Spitz, Improvisation, Identity and Tradition by Charles Michael Sharp, and Lexicon Devil by Brendan Mullen and Adam Parfrey. Every Bitch For Himself, after all is said and done, is still a crime novel. It follows the tradition of the standard heist gone wrong story, but how it goes wrong and the disaster that follows it is an exercise in severe karmic payback that needs to be read to be believed. Who gets away with crime and who doesn’t is the real kick of the story. Are there double crosses or are there consequences to everyone’s actions? You’ll have to read it to find out. Every Bitch For Himself combines two violent art forms, punk rock and film noir to create an exciting new hybrid of crime writing. Check out the new novel and experience it for yourself.
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Most Helpful Customer Reviews
This book fills a gap in the genre market. A punk rock crime novel- what's not to like? The story itself is quite straightforward and simple, but it races along at speed with a cast of fascinating characters like Robotman, The Fireball Kid and Kate Craptastic, and contains some hilarious lines. This short novel is constructed well, and I like the way that it's heavily dependent on characters' speech. It's clear that the author was a part of the punk scene himself- and although there are plenty of books about the punk era, I'm not aware of any that weave it into fiction like this. This won't be for everyone, but I don't think you necessarily have to be into punk music to enjoy this book- though if you are a fan of punk, it's certainly fun to have references to bands like The Adverts and Sham 69. Definitely worth checking out.