![]() ![]() ![]() Williams (Plasmatics), The B-52s, and Devo. The couple have three children.Īrtists featured in the exhibit include The Clash, Billy Idol, The Cramps, Wendy O. He’ll soon be heading east for a spell (his wife Elizabeth Waterman, also a photographer, will have an exhibit, Money Game, at the Yezerski Gallery from June 23 through July 29, with an opening reception on July 7 from 5 to 8 p.m.). “It started with a book, became a museum show and a bunch of shows after that,” Grecco said. Now that heady decade and a half are collected not only in his camera, but in the lavish new coffee table book” ( LA Weekly). Reviewers have cited Grecco’s aptitude at encapsulating the gore and the glory of the punk era: “In 162 gorgeous color and black-and-white photos, Grecco takes readers back to a vibrant bygone era as his camera captures the performers’ raw energy and outrageousness both onstage and off” ( Newsday) “You can feel the intensity in every shot collected” ( Boston Globe) “…like so many great eyes of his time, the punk rock scene of the late ’70s and ’80s, on both coasts, helped formulate his artistic individualism. The book also includes a foreword by the B-52’s Fred Schneider. “I saw my role as to frame the scene in words much as Michael had done with his photographs, to give a little more context,” Sullivan said. Grecco enlisted Sullivan to write the introduction to the book. Inside, photos are augmented by Grecco’s personal anecdotes. Grecco’s archivist had prodded him to unearth his old negatives, and that led to the book, now in its third printing. his team is currently in talks with other galleries in Europe.ĭays of Punk, presented in partnership with the Lisbon, Portugal-based production firm Terra Esplendida, is based on Grecco’s 2020 book Punk, Post Punk, New Wave: Onstage, Backstage, In Your Face, 1978-1991(Abrams Books). “We have two traveling, fully framed printed museum shows,” Grecco explained, adding that upcoming sites will include Centro Cultural de Cascais in Cascais, Portugal, and Leica Gallery in L.A. Past venues have included the Southeast Museum of Photography in Daytona, CEDAR MOAH in Lancaster, California, La Termica Museum in Malaga, Spain, and The Photo Gallery in Gothenburg, Sweden. Days of Punk originally premiered in 2021 at the international photography fair Photo London, and is currently touring in the US and Europe. This is the first time Grecco, who was a photojournalist for the Associated Press from 1978-83 and then a staff photographer for the Boston Herald - while regularly shooting shows at night for WBCN and Boston Rock - will exhibit this collection in the US Northeast. Lead guitarist Poison Ivy (born Kristy Marlana Wallace) of the punk rock band “The Cramps” backstage before performing at a theater in 1980 in Boston. “Pete gave me ambient loops and punk rock soundbytes, to which I added guitars, then tweaked and collaged like crazy.” “Michael sent galleys to Pete and I to create soundscapes for this show, suggesting an approach resembling David Lynch’s work,” Miller wrote in an email. ![]() That will be downstairs at Bang & Olufsen SoWa, which is furnishing speakers to play soundscapes created for Days of Punk by Roger Miller and Peter Prescott of the major cult band Mission of Burma. On May 20 at 1 p.m., Grecco will appear at an artist talk with Oedipus, former program director and DJ during the halcyon days at WBCN, and local rock critic and former Boston Globe arts staff writer Jim Sullivan. ![]() And now they can see it all once again exhibited in Grecco’s work, most of which was shot in Boston, in Days of Punk.Īn opening reception and book signing will be held on May 19 from 5 to 9 p.m. Those who did survive have never forgotten those nights, and that historic musical insurrection. (Sticky wasn’t the word - two years ago, a Facebook meme stated: “If you survived the bathroom at the Rat, you are immune to COVID.”) “This was my life from 1978 to 1986, in sticky black-walled punk clubs at night, in the bowels of Boston, with bands that would eventually become legends, as they started off on tours around America.” “I was with the band,” Michael Grecco, 64, explained by phone from his L.A. Then again, he could have been behind the curtain, or wherever the featured acts were hanging. If you attended say, the Rat, the Channel, the Paradise, the Underground, the Bradford Ballroom, Spit, Metro, and other cutting-edge nocturnal haunts, you might have seen a man and cam positioning his focus stage-front. The late ’70s-mid ’80s was a golden era for a certain subset of black-clad music enthusiasts who hung out in underground Boston clubs. Jello Biafra, Dead Kennedys, Boston 1981 © Michael Grecco ![]()
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