Legendary L.A. punks X will play their first four albums, each in their entirety, at four separate shows in July at L.A.'s The Roxy.

First up is Los Angeles, the band's landmark 1980 debut. The band will play the album start-to-finish July 10, the Los Angeles Times reports. After that, the band will play Wild Gift July 11, Under the Big Black Sun July 12 and More Fun in the New World July 13.

Tickets to each show will be available starting at 10 a.m. on May 30. Tickets for the Los Angeles show can be found here, and/or pick up tickets for the Wild Gift, Under the Big Black Sun and More Fun in the New World shows.

Tickets are $35 a piece. The shows are expected to be about an hour long, and they start at 8 p.m.

A new documentary currently in production seeks to explore the fertile punk and hardcore scene of Washington, D.C. in the late 1970s and ’80s.

Filmmakers Paul Bishow and James Schneider are seeking funding for their documentary Punk the Capital, Straight from Washington D.C. via Kickstarter. The film is more than 10 years in the making and will explore how the hardcore movement began and why it has such staying power, focusing on the period from 1976 to 1985.

Ian MacKaye

The filmmakers say they conducted more than 100 interviews with key figures in the hardcore movement, collecting more than 200 hours of archival footage along with flyers, pictures, zines and more paraphernalia from the time. The film includes interviews with and footage of such hardcore luminaries as Alec and Ian MacKaye (the latter from Minor Threat, Fugazi, The Evens, The Teen Idles and Embrace), Henry Rollins (Black Flag), Jeff Nelson (Minor Threat), Jello Biafra (Dead Kennedys), Tesco Vee (The Meatmen, Touch & Go), Cynthia Connolly (photographer, Dischord), Joe Keithley (D.O.A.), Sharon Cheslow (Chalk Circle) and more.

Johnny Thunders

Amoeba is sponsoring the Los Angeles debut of the documentary Looking For Johnny, about the tumultuous life of punk rocker Johnny Thunders, Saturday, May 24, at the Downtown Independent Theatre. Tickets are on sale now for $15 at Amoeba Hollywood (+$2 service fee) or online here. There are screenings at 8:45 p.m. and 10 p.m.

Thunders (born John Anthony Genzale, Jr.) got his start as a member of the influential New York Dolls, glam-rockers in the early ’70s who wore women’s clothing, played gleefully sloppy rock ‘n’ roll and influenced a generation of punk rock from The Sex Pistols to The Ramones to post-punk bands like The Smiths. The guitarist later formed the short-lived yet crucial punk band The Heartbreakers and after their demise embarked on a solo career, starting with 1978’s So Alone through 1988’s covers album Copy Cats. Thunders was last working with a band called The Oddballs in 1991 when he died under mysterious circumstances in New Orleans—though he officially died of drug-related causes, some have long suspected foul play.

Los Angeles has sure changed.

Some have been welcomed changes and others are hard to get used to. I’m constantly reminded this when I deejay in spots in Echo Park, Hollywood or Highland Park. Those parts of town were once considered the scourges of the city. It was riddled with gangs, drugs, homelessness, crime, earthquake damage and rows of buildings for lease. Ten years later, it’s now it’s a playground for the dull and ordinary. The argument of hipsters no longer applies here, because there is nothing hip about the people that play here. At best, they are in college; at worst they are former frat boys who have come to roost now that the area is safe.

When I used to tour for a living, the best thing about coming home to Los Angeles was getting away from the countless generic college towns that most of the venues  were located. Much like the Wilson Pickett song “Funky Broadway” , where every town has a "Broadway and a Broadway women", the college town had the same restaurants, coffee houses, record stores, frat bar, alternative bar and everyone looks the same. Ethnicity as a whole was slim to none, as people of color were always relegated to the “other” parts of town. Being Chicano, I always felt I was in the wrong part of town when as well.. Places with diversity, such as Chicago and New York, were always welcomed stops on the road because I felt I could take a breather from the generic college town. I was never one to wonder why Los Angeles couldn’t be like Austin, Olympia or Chapel Hill. I liked Los Angeles the way it was. It was spread out, not connected by trains so you can play tourist in someone’s barrio. It was damaged and a place for the strong to thrive and the weak to avoid. It short, it was great.

The Terry Malts aren’t your typical Bay Area garage band. In fact, they’re not really a garage band or a punk band—or even a typical Slumberland Records band—at all. The band’s three members—comprising singer/bassist Phil Benson, guitarist/vocalist Corey Cunningham and drummer/vocalist Nathan Sweatt,  started off in jangle-rock revivalists Magic Bullets before branching off into Terry Malts, a fast-paced, fuzz-rockin’ trio that fuses Ramones-style hooks and brevity with the deep-voiced panache of Morrissey and reverbed insouciance shared with several of their labelmates. Their second album, the Neil Young-reffing Nobody Realizes This is Nowhere (on CD or LP) is another quick and dirty delight, as was their first album, last year’s Killing Time. I caught up with the band just as they were set to release Nobody, which is in stores today. (See photos from their Amoeba performance here.)