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!
Happy Sunday, folks! One of the real joys of writing about The Clash is catching up with the great characters who played key roles in their success back in the day. Yesterday I had a delightful conversation with Howie Klein, former head of 415 Records out of SF circa ’79, when The Clash first made it to the west coast, and eventual head of Reprise Records. (He’s a political blogger now @ http://downwithtyranny.blogspot.com/.) It’s possible, I suppose, if I had written about KISS, for example, people in KISS-de-camp might now be just as generous with their time, but I’d like to think The Clash’s politics (and aesthetics)–and Strummer’s delight in talking with all sorts of folks deep into the night–has something to do with my comrades’ generosity of time and spirit.
Speaking of KISS: Gene Simmons is making a splash these days with his “rock is dead” pronouncement in Esquire. Simmons is good businessman, probably always has been, and he’s after something big here, which I hope is not lost in the “poptimistic” backlash: back in the day, musicians with label support could hone their craft in no small part because they didn’t need day jobs. They had oodles of free time. They wrote songs, and neither tweets nor blogs–which are both cool, don’t get me wrong, but the structures of time and days, then and now, are remarkably different. This moment is still unfolding, so it’s perhaps too early to proclaim death and all–but things have certainly shifted, and it might not be premature to mourn the loss of yearning in fandom.
I wish I had seen this brilliant piece by Simon Reynolds a few years back, as I would have cited it in the afterword of Stealing, where I make a similar argument about analog fandom. Reynolds’ requiem for the British music weeklies during the punk and new wave years is equal parts eloquent and forceful, and absolutely right on regarding anticipation and pleasure back in the day. As that so-called hero of new wave (!) Tom Petty noted, “the waiting is the hardest part”–and yet the consummation of literary and musical desire was ever so sweet. A long-form journalism piece worthy of an extended period of your attention.