Post by petrolino on Sept 6, 2019 21:52:45 GMT
* How the industry, energy, dynamism and inventiveness of the 1960s girl group sound inspired a generation of punk anarchy via 6 of the movement's primary, foundational states
* There's a direct correlation between the sounds engineered by girl group producers in the 1960s and the whirring mechanics inside punk's engine room. When attempting to assess the first stages of punk, I find the connection goes even deeper. Producers like Jack Nitzsche, Phil Spector and Richard Gottehrer became regulars on the punk scene, while younger musicians and producers tried to emulate their sounds.
Curtiss A at M-80 {'The Dean of Scream' at the University of Minnesota}
Michigan {The Influencer}
Signature Performer : Madonna
# Some of the greatest all-female harmony groups originated in Michigan including the Marvelettes, the Velvelettes, the Supremes & Martha and the Vandellas.
The Tremelons
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The Pleasure Seekers
New York {Punk's 1st State}
Signature Performer : Ronnie Spector
# New York became the home of harmony groups in the rock 'n' pop era with the Bobbettes, the Chantels, the Cookies, the Exciters, the Chiffons, the Crystals, the Ronettes & the Shangri Las among their number. New Jersey was also a hotbed of activity, with the Angels & the Shirelles achieving major success. The punk club City Gardens opened in Trenton in 1979, but bands from New Jersey typically made their way to New York to reach a bigger audience. New York clubs like Max's Kansas City, CBGB's, the Mudd Club, Tier 3 and A7 spanned the evolution of punk.
Goldie And The Gingerbreads
The Cake
Ut
Lunachicks
Luscious Jackson
Vivian Girls
Ohio {Punk's 2nd State}
Signature Performer : The McGuire Sisters
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"In the 1970s, Cleveland lost 23.6 percent of its population, a staggering amount, even considering national trends. In that same decade, it became the first major American city since the Great Depression to default on its loans. Playhouse Square had a date with the wrecking ball and was slated to become a parking lot. Mob violence earned Cleveland the nickname, "Bomb City USA." Environmental studies warned that the Cuyahoga River was dead and Lake Erie was dying. The steel factories and manufacturing hubs of the city began their descent.
Yet, the decade was also a great one for music. Like New York City in the 1970s, music bloomed from out of the ruins. The decade spawned a scene that has achieved legend throughout the world - bands such as Rocket from the Tombs, the Dead Boys, Pere Ubu, Devo, the Cramps, Peter Laughner, Electric Eels, Pagans.
"In Cleveland like New York, there was a group of artists on the margins that were dealing with what seemed like a slow-moving apocalypse going on in America," says Charlotte Pressler, who came up in the '70s Cleveland music and arts scene. "You had the cities crumbling, the civil rights movement falling apart, Kent State, Watergate and just basically a kind of deep numbness and despair that settled over people - and you had music and art, which was the response."
A number of Cleveland musicians became quasi-fixtures in the rising New York punk scene centered around clubs such as CBGB. Bands such as Pere Ubu played New York regularly. The Dead Boys and the Cramps ended up moving there outright.
"You could say that there was a special relationship between Cleveland and New York, though I'm not so sure that New York saw it the same way," says Pressler, via phone from Florida, where she is a professor at South Florida State College. "But there was a connection between the two cities, going back to when the Velvet Underground would play Cleveland all the time."
The Velvets, led by Lou Reed, were a mainstay at La Cave, a legendary Euclid Avenue club that played host to the band often, in 1967 and '68.
"Cleveland was traditionally a great rock 'n' roll town," says Pressler, who ended up moving to New York in 1979, before moving back to Cleveland five years later. "That was something people in the area continued to draw on."
In some ways, the population loss and urban decline meant the keys to the city were handed over to the music scene.
"In the 1970s, if you were a rock 'n' roller, you had the city to yourself," says Nora Jones Daycak, the former manager of the Lakefront.
The West Ninth Street punk-rock joint created a lot of noise until it closed in 1984 - back when the Warehouse District was a ghost town. She cut her teeth in the '70s, hanging out in legendary downtown clubs such as the Viking Saloon, the Piccadilly Inn, Pirate's Cove, Traxx, Twiggy's and the Cleveland Agora.
"Downtown was deserted and, on the surface, Cleveland was dead back then," adds Jones Daycak. "But I would go out every night, to a bunch of different clubs to see live music."
Yet, the decade was also a great one for music. Like New York City in the 1970s, music bloomed from out of the ruins. The decade spawned a scene that has achieved legend throughout the world - bands such as Rocket from the Tombs, the Dead Boys, Pere Ubu, Devo, the Cramps, Peter Laughner, Electric Eels, Pagans.
"In Cleveland like New York, there was a group of artists on the margins that were dealing with what seemed like a slow-moving apocalypse going on in America," says Charlotte Pressler, who came up in the '70s Cleveland music and arts scene. "You had the cities crumbling, the civil rights movement falling apart, Kent State, Watergate and just basically a kind of deep numbness and despair that settled over people - and you had music and art, which was the response."
A number of Cleveland musicians became quasi-fixtures in the rising New York punk scene centered around clubs such as CBGB. Bands such as Pere Ubu played New York regularly. The Dead Boys and the Cramps ended up moving there outright.
"You could say that there was a special relationship between Cleveland and New York, though I'm not so sure that New York saw it the same way," says Pressler, via phone from Florida, where she is a professor at South Florida State College. "But there was a connection between the two cities, going back to when the Velvet Underground would play Cleveland all the time."
The Velvets, led by Lou Reed, were a mainstay at La Cave, a legendary Euclid Avenue club that played host to the band often, in 1967 and '68.
"Cleveland was traditionally a great rock 'n' roll town," says Pressler, who ended up moving to New York in 1979, before moving back to Cleveland five years later. "That was something people in the area continued to draw on."
In some ways, the population loss and urban decline meant the keys to the city were handed over to the music scene.
"In the 1970s, if you were a rock 'n' roller, you had the city to yourself," says Nora Jones Daycak, the former manager of the Lakefront.
The West Ninth Street punk-rock joint created a lot of noise until it closed in 1984 - back when the Warehouse District was a ghost town. She cut her teeth in the '70s, hanging out in legendary downtown clubs such as the Viking Saloon, the Piccadilly Inn, Pirate's Cove, Traxx, Twiggy's and the Cleveland Agora.
"Downtown was deserted and, on the surface, Cleveland was dead back then," adds Jones Daycak. "But I would go out every night, to a bunch of different clubs to see live music."
- John Petkovic, The Plain Dealer
The Bittersweets
Scrawl
Minnesota {Punk's 3rd State}
Signature Performers : The Andrews Sisters
# Within the twin cities region of Minneapolis–Saint Paul in Minnesota, punks gathered at venues like the Longhorn and First Avenue, creating a hub for the northern states. The launch of local label Twin Tone upped the ante, drawing punks from the furthest reaches of both the west coast and east coast (they were keen to see if the stories they'd heard were real). In neighbouring Wisconsin, home to the Chordettes, the punk scene gained a solid footing towards the end of the 1970s.
The Continental Co-Ets
Tetes Noires
Babes In Toyland
Zuzu's Petals
Smut
Kitten Forever
California {Punk's 4th State}
Signature Performer : Etta James
# California's punk explosion occurred with entry into 1977 but there'd been rumblings on the underground for a couple of years by then. In the 1960s, the Blossoms and the Paris Sisters could be found in California. Venues like the Whiskey A Go-Go, the Rainbow Bar & Grill, the Masque, the Cuckoo's Nest, Mabuhay Gardens, the Hong Kong Cafe, the Starwood and Valencia Tool & Die allow researchers to chart a history through the state's musical evolution.
“The clubs aren’t cushy, to say the least. Such venues as Mabuhay Gardens (still the purest), Sound of Music (heavy-duty punk), the (I-Beam, Dreamland, California Hall, the Russian Center, the American Indian Center, Valencia Tool & Die, and Berkeley Square, among others, are raw and industrial.”
- Bill Mandel, 'In Defense Of Punk Rock : It's The Liveliest Art Form Of The '80s'
"I was originally like a punker, know what I mean, like the punks are today, I'd spit in a minute."
- Etta James, The Guardian
The Daisy Chain
Birtha
The GTO's
The Ace Of Cups
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Fanny
The Runaways
The Go-Go's
The Bangles
The Pandoras
L7
Phantom Blue
Red Aunts
The Donnas
Civet
The Like
Warpaint
Dum Dum Girls
Oregon {Punk's 5th State}
Signature Performer : Kat Bjelland
# The Riot Girrrl movement was built from a feminist manifesto and headquartered in Olympia, Washington. Its alternative base is Portland, Oregon (some of the movement's key artists like Kathleen Hanna and Corin Tucker hail from Oregon). These sister states have proven to be truly inseparable when it comes to the creation of punk noise.
Neo Boys
'Crumbling Myths' ~ Neo Boys