Sellout: The Major-Label Feeding Frenzy That Swept Punk, Emo, and Hardcore (1994–2007)

Sellout: The Major-Label Feeding Frenzy That Swept Punk, Emo, and Hardcore (1994–2007) by Dan Ozzi

After Nirvana hit is big with Nevermind, record labels were looking for the next big thing to come out of the musical underground. They struck gold with a punk band from Northern California, Green Day. From that, they were after any other punk band that could write catchy tunes. However, the punk scene particularly eschewed major labels and "selling out". Purist punk clubs would prevent big punk bands such as Green Day from playing there. Once a band reached it big, they needed the reach of a major label, yet would alienate their fanbase by doing so. (I must confess my interest in Green Day waned after they hit it big. Though I also recall them complaining about not being able to get enough CDs and other merch from their record label.)

The book explores the different experiences of a number of bands after they "sold out." The major labels promised more money, but still required more work. Green Day had the songs, showmanship and drive to make it big, even if they did struggle with the loss of some of their old base. Jawbreaker had repeatedly said they would not sell out. Signing a major label deal alienated their fans and couldn't stop the disintegration of their band. Jimmy Eat World was from Arizona and didn't have to worry about alienated a "purist punk" fanbase. They sold before they had a huge base. They were able to grow a bit on the label, but were eventually dropped. (It did feel odd that the book stopped before their big hit, "The Middle". However, that does come up later in the discussion of other bands. Jimmy Eat World ended up self producing and then signing with another label.)

Blink-182 was from San Diego, a scene that is more into skate and surf than self-righteous punks. They were unabashedly going after the best deal they could get and were willing to work hard to go on a major label. 

The punk scene could be very snobbish. Some bands would encounter violence as they tried to perform after signing major record deals. Woman-lead bands could run into some of the sexism and sex-symbol desires.  I was a bit confused of the discussion of Against Me! The process of retro-gendering a trans person may align with current identity, but confuses the external identity of past times. (If you are referring to "her" wearing women's clothes, shouldn't that be "cis-dressing" rather than "cross-dressing"?) Some of the stories of bands I hadn't heard of before were quite interesting. (And now I want to listen to the bands.) There were a few near the end that did seem to go on for a bit too long, but that might have been since I didn't recognize the bands or their associates. Rancid does get an especially bad rap here for their self-righteous mistreatment of the Distillers.

The bands mentioned

• Green Day
• Jawbreaker
• Jimmy Eat World
• Blink-182
• At the Drive-In
• The Donnas
• Thursday
• The Distillers
• My Chemical Romance
• Rise Against
• Against Me!

What Is Punk?

What Is Punk? by Eric Morse and Anny Yi

This is a picture book for grandpa's to read to their toddlers. It has a bunch of clay-mation style images of punk rockers from the 1970s. It asks "What is Punk?", and then shows a picture of CBGB and a lot of early bands and artists. It gets about as far as the Ramones and Sex Pistols, with a dozen other acts thrown in. The Green Day-fueled  East Bay pop-punk scene is a couple decades too late for this book. Bad Brains get a mention, but Fugazi started much too late. Other than a lot of name dropping, there is not a whole lot of detail here.

How to Ru(i)n a Record Label: The Story of Lookout Records

My introduction to Lookout Records occurred when a friend played "Going to Pasalacqua" on his car tape deck. I loved the song. This friend played a lot of indie music, but Green Day was the one that stood out. I listened to a dubbed copy of their early music before I finally found a 1,039/Smoothed Out Slappy Hours at the local independent music store. They were my "indie band". I saw them live a couple of times when touring for Kerplunk! (One show had maybe 50 people in attendance. I got a ride with the opening band, so ended up hanging out with the Green Day as the opening act was performing.) Green Day put on a great performance. I did feel they would probably hit it big, but would likely move on from the band that I had fallen in love with.

Lookout was perhaps the only record label that I would seek out. I knew of Operation Ivy. (They were quite big among the high school crowd.) I also had Mr. T Experience on a regular rotation. I was somewhat distraught when told in 2000 that the East Bay scene was not what it used to be.

Larry Livermore traces his view of the history of the East Bay music scene. He had a band called the Lookouts (which included the future Green Day drummer, Tre Cool.) He was living "off grid" in far Northern California, but would come down to play in the Bay Area. The seeds of the movement were set with Tim Yohannan and Maximum Rocknroll. This covered the punk scene and also earned enough to help fund the setup of 924 Gilman in Berkeley. This all-ages, volunteer run venue became the home to the East Bay punk scene. Livermore also created a "Lookout" magazine about the local music.

When it came time to record a record, the name "Lookout" was used since it already had some recognition. Livermore founded the label with David Hayes after impulsively offering to produce a record for Operation Ivy. The label gradually grew. Hayes left and Livermore brought in a few others to help with it. Things were small for some time. It was based out of his "off grid" location. Later he moved into town, with the label being run out of his $100/month rent controlled apartment. It was very DIY,  even as it became more popular. The label tried to have a tight focus on good bands with the right "sound". The business side was mostly run by Livermore, with two others helping out. This was likely the condition of things when Green Day was having supply problems.

After Green Day hit it big on a major label, their back catalog was in high demand. Suddenly Lookout was raking in money. East Bay pop-punk was the next big thing, and all the bands also got a boost. Bands were eager to be associated with Lookout and majors were looking for the next Green Day. Now would have been the ideal time to cash out. However, Livermore desired to hold to the indie spirit. Lookout instead would die a slow painful death.

The problems started with adding employees. They added one employee. Then needed bigger office space. Soon a number of employees and a store followed. There were more expenses. Then there was Screeching Weasel. Ben Weasel wanted money to buy a house. The advance was too much for Lookout. Instead he went to another label. Then he started accusing Lookout of Withholding royalties. Livermore thought Lookout was on the good side, and was going to follow legal advice to seek a declaratory judgement. One of his employees said he would live if he did. Livermore could not handle that and resigned himself, turning the label over to him. Things went downhill from there. Catalog sales slowed. The label spent more trying to find the next big thing. Eventually, they started withholding payments. Record contracts stated any band could leave if royalties were more than 6 months late. With most of the money making bands gone, there is little hope of the label living on. 

The book is a well written history of the punk music scene. It was mostly made up of kids. (There was even talk of people "growing out" of the music as they enter college.) There are various internal struggles and ego battles, along with ideology dogmatism. It feels like a happy pop-punk song, full of energy and optimism, but not devoid of conflict. It is easy to feel present in the music scene, adopting the parts that feel best. Livermore presents himself as a hard worker, yet owns up to his mistakes.