Happy Sunday, folks. For the fifth and final Sunday of March, I’m taking a last look at chapter 3 of Stealing All Transmissions, and thinking about how inclusive the designation of “punk” was on the front end. I figure the criteria for deeming something punk included:
- anti-virtuosic musical gestures
- any mention of social class
- weird hair or clothing
- a sound people didn’t know how else to categorize.
Here are a few of my favorites:
- Bruce Springsteen is deemed “baroque-punk” by the New York Times (March 1978) because he sings about the working class (2).
- Blue Oyster Cult is written up in the debut issue of Sniffin’ Glue (4) and, due to the connection between’ BOC’s Allen Lanier and Patti Smith, The Patti Smith Group and The Ramones (!) appear on the same bill in February 1977.
Bands designated “punk” also ended up on some pretty amazing concert bills, including:
- AC/DC doing an impromptu set after a performance by The Marbles (a pop-punk combo, and even that’s a stretch) at CBGB.
- Springsteen on acoustic guitar, opening for the New York Dolls at Max’s, back in August 1972.
- Big Star (okay, punk forebears) as the warm-up act for comedian (?) Ed Begley, Jr., at Max’s, March 1974.
(And, apparently a combo called Sirius Trixon and the Motor City Bad Boys hit Max’s in 1977, with The Dead Boys and The Cramps as opening acts, and Trixon’s facebook page is under construction and has been for awhile. It’d be good to get some of their tunes online, if anyone can help.)
- Sleepy LaBeef, opening up for The Cramps, at Max’s in December ’78.
- At LA’s Starwood, in April 1977, The Quick opening for The Damned, who were well out in from of every other UK act in terms of leading the next wave of the British invasion.
Okay. I’ve now been home for a night, and I think it’s time I make some time for listening to some punk ’77 to help usher in the warmth and joy of spring. Cheers!
Also: Did you see this?