takpun-preview

8/7/2019 takpun-preview

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NEV1NOWHERE

neumAnn u-47 miCroPHone, CA. 1961

There was this great record, Louie Louie, by a bandfrom th Paci c Northw st call d Th Kingsm n. I bo ghtth ir alb m and it was a gr at in nc on m b ca sth w r a r al prof ssional band, know?

Wa n Kram r, MC5

T n Spirit was s ch a clichd riff. It was so clos to aBoston riff or Lo i Lo i . Wh n I cam p with th g itarpart, Krist look d at m and said, That is so ridic lo s.I mad th band pla it for an ho r-and-a-half.

K rt Cobain, Nir ana ( R ng St ne, January 27, 1994)

I was in s nth grad Downs and Barbara Walt rsSh . Th Who did sort oI Can S For Mil s and thand Daltr . Th d j st rto r this was th p ak of thW ll, what was o r fa oritho ght for a min t and sW w r in this plac callcall d th Sonics.

Larr R id, c

I h ard that on a lot, know, wh n I was six, sold. Of co rs , r kid l arns that patt rn and trwhat h s sa ing what th h ll is that g sa ing?s x all -dri n or what?

MIKe McC

OK! Lets give it to em right now! screamed Jack Ely of the Kingsmen instart of the guitar solo for Louie Louie. With its simple song structure, tforbidden teenage appeal, this single song inspired legions of kids in garapick up guitars and ROCK. Louie Louie has become a touchstone in theand with over 1500 recorded cover versions to date, its in uence on tefuture DIY punk underground cant be underestimated.

Elys vocals were so rough and unintelligible that some more puritanicathe lyrics as being obscene and complained. This rumor led several radio sand the FBI even launched an investigation. All of this only fueled the p

which rocketed up the charts in late 1963, imprinting this grunge ur-megenerations of youth, by way of the Sonics, Stooges, MC5, New York DolBlack Flag, and others, all of whom ampli ed and rebroadcast its powerfulown recorded versions.


3/11

NEV3NOWHERE

AliCe CooPer, Ze wHiZ KidZ, And tHe doi ly brotHers , At tHe PArAmount nor tHwest ,

seAtt le , ju ly 9 10, 1971

Seattle performance art troupe Ze Whiz Kidz are one of the great hiddeninstilling a heavy Seattle connection to the transition between glam afounded in 1969 by David Xavier Harrigan (aka Tomata du Plenty pictuwas formerly a member of the San Francisco-based psychedelic, gay drag eThe group featured an extensive, revolving lineup, with amboyant nameGorilla Rose, Louise Lovely, Palm Springs, Cha Cha Samoa, and Rhina S

Ze Whiz Kidz staged nearly a hundred gender-bending music and thea1969 to the mid-1970s, and occasionally opened for glam and glitter kingthe New York Dolls. Tomata moved to New York in 1972 with Gorilla R

theater at CBGBs and other cl ubs in the East Village, alongside band perfand the Ramones. At the dawn of the punk age, Tomata du Plenty returned (along with Melba Toast and Rio de Janiero) the Tupperwares, which woulLos Angeles as the seminal synth-punk band the Screamers, while WhizSatz) formed the Lewd, making a splash on the Seattle and San Francisco p

W had a lot of imprompt shows. W dn sda w dwrit a show. Th rsda w d call p opl . W d r h arsit. And Frida w d p t it on. And b Sat rda , it wo ld bth nd of th show. W had kind of a training gro nd inth S bmarin Room, in th bas m nt of th Smith Tow r.Originall it was a gangst r cl b. Th sold s b-maching ns and a lot of drag ns w r th r . It had a Class Hlic ns , which was li or, b t th got b st d. So th own rwas sitting down th r for abo t two w ks with nothing todo. And so I disco r d this cl b. At th tim I was onl 17,b t I look d a lot old r, b ing tall. I told him I was 21. And Itold him that w had a th at r gro p, and if h l t m takit o r, w wo ld bring shows in and h wo ldnt ha to bh r . And h was r al agr abl to that.

Satz, Z Whiz Kidz, Th L wd

DIy in th Northw st acor N w york. Th arli st c t-and-past p nk rock poall in th Northw st. ThGorilla Ros for th Whiz Kisc n that d lop d in thall that st ff, th ir graphics mgraphics. It was a pict r wiIt cho d an old show card loc t o t, X rox d, collag passociat d with Jami R idthat was th look of th Whith arl p nk sc n in Sgraphics go s wa back in th

Who ls wo ld o p t on th bill with Alic CWhiz Kidz? Alic said at th nd of th show b inas h is h said to s, yo scar m !

SATZ, Ze WH


4/11

NEV5NOWHERE

New York CitysPunkwas the rst magazine to devote itself totally to punkglam rock scene began to wane, and a new cadre of bands with original sonSuicide, Patti Smith Group, the Ramones, the Heartbreakers, Talking Heabegan playing at former glam ground zero Maxs Kansas City, and CBGB

Created by cartoonist and editor John Holmstrom, along with Ged DEdward Legs McNeil,Punkemerged in January 1976 and made an instato cover a broad spectrum of rock and other topics, but the interest in punk mof the New York scene dictated that Punk limit its scope to the local pThe zine featured early work by legendary music journalist Lester Bangs

American Psychodirector Mary Harron, underground cartoonist Peter Baggthe rebellious name and being denied shelf space at newsstands, the magaup to 10,000 copies within a few months of its premiere issue and copies wthe world. Until it functionally stopped publication in 1979, Punk was aYork punk scene.

Punk Zine #2, mArCH 1976

Patti and I lik d th CBGBs sc n b ca s it was smalland loos . Th r w r ma b or six bands that h ngo t th r I saw th Ramon s th r for th rst tim andan arl rsion of Blondi call d th Stil ttos. Th own rHill Kristal was kind of b m s d b th s bands I dontthink its what h had in mind wh n h nam d th cl bCo ntr Bl grass and Bl s.

L nn Ka , Patti Smith Gro p

I f ll in lo with th Ramon s at rst glanc . Thats howI m t th Stoog s, I f ll in lo at rst glanc . I m an, if ittak s mor than or t n s conds to g r o t if o liksomething or not, theres something wrong with you and yousho ldnt b in th tast -making nd of this world. For mits s conds of h aring whats l ft of m h aring. ThRamon s had it so p rf ctl th dr ss d alik , th hadthe same haircut, they had the same name, they had greatsongs, th had gr at l rics, th w r p rf ct. Th w rth p rf ct band.

Dann Fi lds, A&R r p for th Ramon s

What r all inspir d mabo t what was happ ning iThe V age V ceabo t CBGth sc n , and it so nd d all kinds of diff r nt bands m sic. And thats what a lotp nk rock. Wh n it start d iIt was an n ironm nt whof m sic that was o tcast ftim had a n to pla . yoth Ramon s, who p opl nowada s, to Blondi , who T ff Darts w r mor lik aAnd T l ision with th lon


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NEV9NOWHERE

Vivienne Westwood designed this out t for the London boutique Seditiowith her boyfriend Malcolm McLaren, manager and impresario of the Sex Ptutelage and Westwoods clothes, the Sex Pistols became masters of meinstant symbols of punk music and fashion, setting the standard for what pis, to the mainstream.

Westwood and McLaren opened their London shop Paradise Garageselling vintage clothes and records, but over the next few years changed thname and the clothing they sold to re ect their current interests in fashion garde culture. In 1974 they named it SEX and Westwood began creating hpants and jackets, incorporating elements from S&M fashion, biker cuScottish design, with outrageous results. Two years later the shop was redemode and renamed Seditionaries. Despite the change, Westwood and McLthe bondage pants and the now famous SEX T-shirts. Their goal: confrorevitalize it.

bondAge jACKet And ZiPPered PunK t rousers , CA. 1976, des igned by ViVienne westwood

I was pr par d to b a cookfor th r st of m lif . And th nI saw some TV show, when theS x Pistols had b n o t ma bthree months, and were caus -ing all this commotion, and th nthey said that Johnny Rottensag was blank blank. And I waslik , Im th sam ag ! And Ima cook and h s ha ing f n! NO!So I g r d I sho ld gi it onmor chanc . L ts go s whatw can do as m sicians.

DAve ALvIN, THe BLASTeRS

I got into th S x Pistid a of th m, know? Thsom thing p, b ca s b fplac nt. It was j st a b nch abo t all o co ld do m si

T

yo g t th s idiots likth orch strat d this wholma b , b t probabl not B t it do snt matt r what and-o ts of McLar ns shit in th s b rbs. W b lip opl lik ATv and Mark PH r s anoth r chord. Formth things that w r b ing sa


7/11

NEV11NOWHERE

The Tupperwares formed in 1975 as a collision between post-glam, gay perpunk. Vocalists Tomata du Plenty, Melba Toast and Rio de Janeiro were bavarious musicians from the scene. This shirt was handmade by Rio de Janeiand later signed by du Plenty and de Janeiro and given to fan Stephen Vigi

Tiring of the tiny Seattle scene, Tomata and Melba (soon to be renamedto Los Angeles in 1976 and hooked up with musicians David Brown andtheir name from the Tupperwares to the more aggressive Screamers. Mosthe unique -- and in uential musical tack of eschewing guitars entirely in They produced frenetic, driving synth beats and chordal snarls coupled withvocals, which drew as much from Krautrock bands such as Kraftwerk and They quickly became one of the most popular bands in the early LA scevenues such as the Whisky A Go Go and the Roxy. The combination of inGear and irresistible frontman Tomata du Plenty was unstoppable until ththe scene in 1980 and fully collapsed in 1981, without ever releasing a rec

tuPPerwAres t -sHir t , CA. 1976, worn by r io de jAneiro of tHe tuPPerwAres

GIFT OF MICHAeL CAMPBeLL

Th T pp rwar s w r to th p nk sc n what th Har-l m Glob trott rs ar to th NBA.

Rio D Jan iro, Th T pp rwar s

Tomata cam back frop nk band call d th T pl ath r jack ts and had Briath w r all doing Igg Pth mid-70s, p opl w r flist ning to Jo rn and Kanam s lik Ch nn andh r s this g coming backof a p nk rock d d .

Within a month of comat the Starwood, and I ran intod Pl nt and Tomm Gcrowd in that th had sglass s at night, and dark cf ath r d hairc ts, soft sn ak rs, polo shirts, and and Ch ap Trick.

PHOTOGRAPH By STePHeN vIGIL


8/11

NEV13NOWHERE

This box kept the daily earnings for the LA club, the Masque. The basemspace, opened in July 1977 by an eccentric Scottish expat promoter, Brescene a dedicated, stable venue, allowing it to grow. Soon, the Germs, DPlugz, and others played and rehearsed here. It was a safe haven, fosterexplode in popularity by the end of the decade.

Still, the Los Angeles Police showed up frequently, claiming that theand rank with layers of graf ti, was a threat, shutting it down several timalso closed the club in January 1978. Mullen was forced to relocate the cit closed for good in May. Though it lasted less than two years, the Masquwith an early and vital piece of punk rock infrastructure.

CAsHbox from tHe mAsque, ju ly 1977 mAy 1979

I found this basement it waslik 10,000 s ar f t, off Hol-l wood Bo l ard in a b ildingb ilt b C cil B. D Mill in 1926.It was a gorg o s b ilding, andth bas m nt was all bomb dand totall trash d o t. Nobodhad b n in it for at l ast ft n

ars. No l ctricit , and I w ntdown th r sparking match s it was this lab rinth, lik in Jas nand the Arg na ts so Id beabl to nd m wa back in casI got lost. BReNDAN MuLLeN, THe MASque

Th Mas was in thth P ss Cat Th at r on Hr all rott n ar a of Hollhook rs and dr g addicts anst nk down th r , ca s pl mbing wo ld g t m ssth plac . It was th sm ll b r and j st, know, sm lth Mas .

All th G rms, Pat and to th Mas and I was swas a g tt d sh ll of what oand th r was thr inch s

id was. I s t m dr ms ping on th m lik Mo T ckb impr ss d with how p nof sat th r , not looking sid and talk d amongst thDarb cam back and said, W


9/11

NEV15NOWHERE

blondie , tAlKing HeAds, And tHe PAtt i smitH grouP, At tHe Vi l lAge gAte , nyC,

july 1 ju ly 10, 1977

With this lineup of shows by the biggest bands in the city, the Village Gatefor its jazz and R&B shows, fully embraced the New York punk scene. BGroup, Talking Heads, and Blondie had been de ning themselves for severa very distinctive sound, but grew out of the same insular scene of freakthe major record labels began signing the New York bands, they felt that might prove to be transitory, and began using the more marketable and wave, which was already used in the UK. As time went on, new wavemore experimental acts and groups that incorporated synthesizers, while thgarage-inspired bands retained the punk label.

Regardless of the marketing spin, Blondie and Talking Heads became and Patti Smith and the Ramones became eternally cool rebels the stars scene (much like the Sex Pistols or Clash in the UK scene) have become fpopular consciousness as the creators of punk.

D bbi Harr was lik th Pats Clin to o r Lor ttaL nn. Sh took s nd r h r wing, as did th Talking H ads

Chris Franz and Tina W mo th w r so fri ndl . Ww nt to D bbi Harr and Chris St ins apartm nt and sawall th s gold r cords j st kind of l ing aro nd and wtho ght, Wh dont th p t m on th wall? Of co rsnow w all ha o rs j st sho d nd r st ff.

Kat Pi rson, B-52s

Blondi was th rst n w wa band to g t an -wh r . Th had in ltrat d into r al soci t , and w w rimpr ss d b that. And ob io sl th Go-Gos ol dmor and mor into j st b ing mor of a pop band thana p nk band, and th n th whol n w wa thing hap-p n d and b 81 th world was r ad to tak a sortof l ss thr at ning p nk pop band and mak th m ahit. So w w r th on s that did som thing o t of o rscene and it was great, but I remember at the time thatit was r ostracizing. It s t s apart and p opl saidw w r s llo ts. W w nt from b ing lik this hard corp nk chick to b ing Am ricas sw th art.

Jan Wi dlin, th Go-Gos

A lot of th pin n w wa bH ads and Blonart school. Th

atr majors or ptors. So th r wowing aro nd

of deconstructingsomething that wall of th arts tim . In N w yawf l lot of stif o didnt lio had no inkli

Lee RANA


10/11

NEV17NOWHERE

Taking its name from a song by punk godfather Iggy Pop, the San FrancisDestroymade its debut in June 1977. Created by ex-Blue Cheer keyboardistfrom Beat poet Allen Ginsberg, Search and Destroyquickly became one of informed sources of information about the San Francisco punk scene. In Mthat its mission had been accomplished, after 11 issues it ceased publicatio

The zine (or fanzine) was developed in the 1920s in the early science ctias a way to share information among the converted. Punks embraced it Zines dovetailed perfectly with the eras DIY (do-it-yourself) aesthetito affordable photocopy technology. At the time, there wasnt any infrasrelaying information about the growing punk scene, and the zine becamcommunication. Search and Destroyin San Francisco, Slash, Damage, MaximLos Angeles,Touch and Goin Lansing, Mich., Forced Exposurein Boston, Punthese early examples lead to thousands of subsequent punk zines publishe80s, and beyond. Without them, punk would have died an early death.

seArCH And dest roy Zine, june 1977

Th gr at st nd rgro nd zin I r s n in mlif was o t of San Francisco call d Search and Destr y wh r th d nition of p nk rock was m ch wid r. Brilliantint r i ws with D o, Igg Pop, Da id Thomas of P r ub ,and what made Search and Destroy so good was that theydidnt j st ask th standard indi -zin shop talk stionsof Whats th sc n lik in o r town, how long ha ob n tog th r, what do o think of anarch and n cl ar

war. No. On or two shop talk stions and th n valwho ran th magazin and th oth r int r i w rs wo ldj st d l in with th w ird st stori s th co ld coax o t ofo . yo co ld op n Search and Destr y to an pag and

l arn som thing amazing. J llo Biafra, D ad K nn d s

Th rst fanzin I r saw was call d H t G r a,which was p blish d in N w england in 1976. That wasth rst plac I r saw th S x Pistols or th Ramon smentioned, before R ng St neor th NBC n ws pi c onth S x Pistols throwing p in airports. And th n I start ds ing oth r magazin s that w r mor sp ci call p nkrock ori nt d. B st n Gr p e Ne s , K er Ch dren, S b ay

Ne s th alit of th wdamn good, th r all kindNe Y rk R cker was absoVees T ch and G magazth arl iss s of F rced Eon an thing I was tr ing to that they right off the bat wereAm rica.

G rard Coslo , Hom

Maximumrocknroll was thadvertising was reall cheap, andit was an incredible contributieven existed because of its conou liked the content or not didnt

put an ad in it for thirt dollars arecords, know, nothing could rpeople all over the world who wwere doing. Now theres the inwhich sort of replaces it in a wa ,onl thing like that.

C n


11/11

NEV19NOWHERENEVERMIND18NOWHERE

PuNK #8, 1977; TwiSTED #2, 1977; SlASH #1, May 1977; SEARCH AND DESTRoY , 1977; STElAziNE #3, 1978;FliPSiDE #15, 1980; TouCH AND Go #3, 1980; MAxiMuMRoCKNRoll #1, 1980; JiGSAw #3, 1991; BiKiNi Kill ,

arl 1990s

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