Michael Lavine, Grunge (ISBN editions) 
Before becoming a photographer of great fame required to Hollywood stars, rappers and rock giants, Michael Lavine has had its own art education and sentimental el'Olympia the Seattle underground of the early eighties, during the years when he began to develop quite naturally a beautiful punk ferment that led eventually to the explosion of alternative rock that the media identified with label ("bad", at least according to Thurston Moore of Sonic Youth) to grunge. It was the anniversary of the birth of Sub Pop Records by Bruce Pavitt and Jonathan Poneman, the first steps of young talent who then gave birth to bands like Nirvana and Mudhoney, Calvin Johnson of K Records and the definition of aesthetics- fi, of a movement of musicians, clubs, fanzines and labels that gave shape some of the best experiences and most enduring of American independent rock. Michael Lavine came to Seattle in 1982, from Denver, right after graduation. In Olympia, an hour's drive, shared the apartment with two young punks, one of them made him feel X Wild Gift of opening up a sea of \u200b\u200bpossibilities and musical knowledge. He began to throw with greater conviction in photography and in a few years was able to document, with his shots, almost all the underground music scene back then. "Grunge" (ISBN editions, 29 €) is the book about those years of music through the best photos Lavine - not just the grunge in the strict sense, say, but the alternative rock that crossed all the Eighty U.S., from New York to Olympia Sonic Youth Beat Happening, Dinosaur Jr Amherst from Washington to the Pussy Galore - until of course at Seattle's Nirvana, Mudhoney, Screaming Trees, Soundgarden, namely which was later defined by Megan Jasper in The New York Times, "grunge". There is all the imagery and aesthetics of the time: young street punks that Lavine approached very naturally, there are the looks and the faces of boys who showed a willingness, even naive, certainly authentic and angry, to challenge conventions time through American social marginality. Their poses bold and violent attitude, but also, after all, sweet. The whole truth of a subculture caught before it became a phenomenon codified and exploited by the media and industry (flannel shirts thrown into the glamorous world of Marc Jacobs). Musicians who "made his own and showing off how they were called to the school: loser, losers" - Thurston Moore writes in the preface of the book. Moore paints a profile of the work of Lavine of those years and especially advanced features and reflections on the fate of a subculture that, following the explosion of Nirvana's Nevermind and the "failure to recognize the true meaning of their cultural heritage created a commercial phenomenon of underground fake. " "The band of this generation," says Moore, "had learned from punk that the awards are a small thing in rock'n'roll. What really mattered was to be able to sustain the gaze of an audience, a camera, the world as a mirror that challenges you to be broken. " (
Unione Sarda )
Before becoming a photographer of great fame required to Hollywood stars, rappers and rock giants, Michael Lavine has had its own art education and sentimental el'Olympia the Seattle underground of the early eighties, during the years when he began to develop quite naturally a beautiful punk ferment that led eventually to the explosion of alternative rock that the media identified with label ("bad", at least according to Thurston Moore of Sonic Youth) to grunge. It was the anniversary of the birth of Sub Pop Records by Bruce Pavitt and Jonathan Poneman, the first steps of young talent who then gave birth to bands like Nirvana and Mudhoney, Calvin Johnson of K Records and the definition of aesthetics- fi, of a movement of musicians, clubs, fanzines and labels that gave shape some of the best experiences and most enduring of American independent rock. Michael Lavine came to Seattle in 1982, from Denver, right after graduation. In Olympia, an hour's drive, shared the apartment with two young punks, one of them made him feel X Wild Gift of opening up a sea of \u200b\u200bpossibilities and musical knowledge. He began to throw with greater conviction in photography and in a few years was able to document, with his shots, almost all the underground music scene back then. "Grunge" (ISBN editions, 29 €) is the book about those years of music through the best photos Lavine - not just the grunge in the strict sense, say, but the alternative rock that crossed all the Eighty U.S., from New York to Olympia Sonic Youth Beat Happening, Dinosaur Jr Amherst from Washington to the Pussy Galore - until of course at Seattle's Nirvana, Mudhoney, Screaming Trees, Soundgarden, namely which was later defined by Megan Jasper in The New York Times, "grunge". There is all the imagery and aesthetics of the time: young street punks that Lavine approached very naturally, there are the looks and the faces of boys who showed a willingness, even naive, certainly authentic and angry, to challenge conventions time through American social marginality. Their poses bold and violent attitude, but also, after all, sweet. The whole truth of a subculture caught before it became a phenomenon codified and exploited by the media and industry (flannel shirts thrown into the glamorous world of Marc Jacobs). Musicians who "made his own and showing off how they were called to the school: loser, losers" - Thurston Moore writes in the preface of the book. Moore paints a profile of the work of Lavine of those years and especially advanced features and reflections on the fate of a subculture that, following the explosion of Nirvana's Nevermind and the "failure to recognize the true meaning of their cultural heritage created a commercial phenomenon of underground fake. " "The band of this generation," says Moore, "had learned from punk that the awards are a small thing in rock'n'roll. What really mattered was to be able to sustain the gaze of an audience, a camera, the world as a mirror that challenges you to be broken. " ( Unione Sarda ) 
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