Tag: Punk

Punk Rock Purity

In one issue, Yohannan criticized Bikini Kill for agreeing to play a concert with the Go-Go’s, because the concert was sponsored by Budweiser. Others wondered about musical boundaries: if MRR was a punk zine, did that mean it only covered bands that sounded, more or less, like the Ramones? In October 1992, Yohannan announced that the zine would no longer review records that were “more on the metal side of life, or the hard rock side of life, or the folk side of life,” even if they came from established independent labels. One of the columnists, Kent McClard, objected to the magazine’s eagerness to draw boundaries, suggesting that “politics and honesty” should be more important than musical categorization. McClard left soon after to found a new zine, HeartattaCk, which was devoted to the proposition that “hardcore is a state of mind, not a musical style,” and which therefore promised to write about “all records and CDs that are sent in for review regardless of musical style,” as long as they did not have universal product codes. (“The U.P.C. code is big business,” McClard explained.)

Major Labels: A History of Popular Music in Seven Genres
Kelefa Sanneh

Ramones Play CBGB

The Ramones’ legendary first performance at CBGB, whose name ironically stood for Country BlueGrass Blues, pioneered New York City’s underground punk movement. The co-founder of Punk magazine, Legs McNeil, witnessed the group’s first show. “They were all wearing these black leather jackets. And they counted off this song…and it was just this wall of noise,” McNeil later said. “These guys were not hippies. This something completely new.”

Devin Gannon,

Oral History: How The Go-Go’s Perfected Pop-Punk : NPR

BC: Jane and I lived in a punk rock apartment building in Hollywood called the Canterbury. It was like the Chelsea hotel in New York, that kind of thing. I loved all the different clubs in L.A.: you’d go to the Whisky, drive down to the Starwood, see a band there, go downtown to Chinatown to Madame Wong’s, see someone there, go to an afterparty in Hollywood, play music there — it was a really lively, creative time in Los Angeles.

AB: I was at their first show at the Masque. They played with my drummer, Terry Graham. Everybody was really impressed. Even though they were just starting to play, you could tell they had songwriting ability: They had a song about living at the Canterbury, and fighting off the roaches, and they had “Robert Hilburn,” [an unflattering portrait of the L.A. Times pop critic]. People remembered their clever lyrics, that they had cool melodies. They had something special even at that first show.

How The Go-Go’s Perfected Pop-Punk
Hilary Hughes