![]() The only real criticism comes from Publisher’s Weekly: “overemphasizes the self-destructive side of the movement. We read it out loud for three days before we handed it in, and you can really catch sentences that don’t quite work so well. But it’s also interesting what else you use that you didn’t think you were going to use. You really need great, genuine stories to make it keep flowing. Because you really need the cream, especially if you’re going to do an oral history like Please Kill Me where every page is thrilling. I think we only used between 2 and 5 percent of all the interviews we did. We’d read over the interviews and then whatever you remember from it is what you use. People end up dying.Īnd here’s McNeil on the editing process: Of course, we know what happens when there’s unrestricted, no rules. And all us drunken-junkie-alcoholic-fucked-up kids were like, wow, this is great, let’s play over here … I think it really was that time period when you really could live out your fantasies. It was the end of white flight, so it was like this giant movie set that people had abandoned. And it was that really special time in New York City, when no one wanted to be there. ![]() I think what Please Kill Me does is that it’s kind of the ultimate fantasy book, because everyone’s doing whatever the fuck they want. Me and my friend Mike Monteiro were hanging out in BookPeople and he pointed at it and said, “You read that?” I said, “No,” and he just handed it to me and said, “You’re getting this.” Please Kill Me: The Uncensored Oral History of Punk ![]()
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