Javascript must be enabled to continue!
Harry Dean the Punk Icon
View through CrossRef
Repo Man and Paris, Texas firmly established Harry Dean Stanton as what one writer called "the patron saint of the edgy set." In his sixties now, he hung out with the so-called "Brat Pack"--Sean Penn, Madonna, Johnny Depp. He was partying with Robert De Niro at the Chateau Marmond the night comedian John Belushi died of a drug overdose there. Dan Tana's in West Hollywood was his favorite hangout, however, and he held court there with pals like actors Ed Begley Jr. and Dabney Coleman. The lead roles he'd expected after Paris, Texas never came, but important supporting roles did. He rejoined Sam Shepard in Fool for Love in 1985, and he widened his following with his performances in Pretty in Pink in 1986 and Martin Scorsese's The Last Temptation in 1988. More important, however, was his work with director David Lynch, including four Lynch projects in the 1990s and several more after the turn of the century. The weirdness of the Lynchian world even seemed to touch his personal life with an armed robbery at his home in 1996 and the embezzlement of his personal finances by his financial manager a few years later.
Title: Harry Dean the Punk Icon
Description:
Repo Man and Paris, Texas firmly established Harry Dean Stanton as what one writer called "the patron saint of the edgy set.
" In his sixties now, he hung out with the so-called "Brat Pack"--Sean Penn, Madonna, Johnny Depp.
He was partying with Robert De Niro at the Chateau Marmond the night comedian John Belushi died of a drug overdose there.
Dan Tana's in West Hollywood was his favorite hangout, however, and he held court there with pals like actors Ed Begley Jr.
and Dabney Coleman.
The lead roles he'd expected after Paris, Texas never came, but important supporting roles did.
He rejoined Sam Shepard in Fool for Love in 1985, and he widened his following with his performances in Pretty in Pink in 1986 and Martin Scorsese's The Last Temptation in 1988.
More important, however, was his work with director David Lynch, including four Lynch projects in the 1990s and several more after the turn of the century.
The weirdness of the Lynchian world even seemed to touch his personal life with an armed robbery at his home in 1996 and the embezzlement of his personal finances by his financial manager a few years later.
Related Results
Harry Potter, Inc.
Harry Potter, Inc.
Engagement in any capacity with mainstream media since mid-2001 has meant immersion in the cross-platform, multimedia phenomenon of Harry Potter: Muggle outcast; boy wizard; corpor...
Musical protagonism: Beyond participation in punk and post-punk
Musical protagonism: Beyond participation in punk and post-punk
Abstract
This article applies the notion of participation in artworks to the phenomenon of punk and post-punk. Participation has been championed as a means of descri...
Punk is punk but by no means punk: Definition, genre evasion and the quest for an authentic voice in contemporary Russia
Punk is punk but by no means punk: Definition, genre evasion and the quest for an authentic voice in contemporary Russia
At a recent London seminar on punk in post-socialist Eastern Europe, Penny Rimbaud made an unexpected twist to definitions, stating simply that punk ‘isn’t’. He posits punk as the ...
Rebelling in different ways: Older punk women, employment and ‘being/doing’ punk
Rebelling in different ways: Older punk women, employment and ‘being/doing’ punk
How do older women negotiate employment and the workplace alongside being and ‘doing’ punk? This article takes this question as its focus, exploring three key areas that a sample o...
Thinking punk
Thinking punk
Abstract
In the double issue special edition of Punk & Post Punk, 4.2/4.3, Russ Bestley wrote a provocative article entitled ‘(I want some) demystification: Deco...
Putting the ‘punk’ back into pop-punk: Analysing presentations of deviance in pop-punk music
Putting the ‘punk’ back into pop-punk: Analysing presentations of deviance in pop-punk music
Writing on pop-punk, the melodic branch of punk that rose to fame in the mid-to-late-1990s, usually centres on the pop aspect of the genre: its popularity, polished sound and comme...
Making sense of punk in Cuba/making sense of Cuba through punk
Making sense of punk in Cuba/making sense of Cuba through punk
Abstract
Rock music in its broadest definition, though still potentially problematic, has grown exponentially in contemporary Cuba, particularly since the economic a...
Punk – but not as we know it: Punk in post-socialist space
Punk – but not as we know it: Punk in post-socialist space
In this introductory article, the rationale for considering punk in a particular spatial and temporal setting (post-socialist societies) is outlined. It is argued that such an ente...

