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Brisbane Punk Rock
Brisbane punk rock had its main impact between 1975 and 1984 as part of the overall punk rock scene in Australia. According to rock music historian, Ian McFarlane, the Queensland capital provided "some of the most anarchistic bands" of that era whilst it was "arguably the most conservative city" in the country.McFarlane'the Fun Things'entry. Archived frothe originalon 30 September 2004. Retrieved 22 August 2015. The development of the local punk movement differed from other cities because of its relative geographic isolation from other similar trends. The Brisbane scene also received a greater scrutiny by local police where early punk bands formed as "an obvious backlash to an oppressed society". This generated antagonistic and individualistic groups or "snot" driven punk bands. The Brisbane punk rock movement can be divided into four phases. First, there was the pioneering chapter, which lasted from 1975 to 1977. These bands were either innovators or part of the first wave of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Protopunk
Proto-punk (or protopunk) is rock music played mostly by garage bands from the 1960s to mid-1970s that foreshadowed the punk rock movement. The phrase is a retrospective label; the musicians involved were generally not originally associated with each other and came from a variety of backgrounds and styles; together, they anticipated many of punk's musical and thematic attributes. Definition According to the Allmusic guide: Most musicians classified as proto-punk are rock performers of the 1960s and early-1970s, with garage rock/art rock bands Them, the Velvet Underground, the Shaggs, los Saicos, MC5 and the Stooges considered to be archetypal proto-punk artists, along with glam rock band the New York Dolls. Origins and etymology One of the earliest written uses of the term "punk rock" was by critic Dave Marsh who used it in 1970 to describe US group Question Mark & The Mysterians, who had scored a major hit with their song " 96 Tears" in 1966. Many US bands were active ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Detroit
Detroit, Michigan, is a major center in the United States for the creation and performance of music, and is best known for three developments: Motown, early punk rock (or proto-punk), and techno. The Metro Detroit area has a rich musical history spanning the past century, beginning with the revival of the world-renowned Detroit Symphony Orchestra in 1918. The major genres represented in Detroit music include classical, blues, jazz, gospel, R&B, rock and roll, pop, punk, soul, electronica and hip-hop. The greater Detroit area has been the birthplace and/or primary venue for numerous platinum-selling artists, whose total album sales, according to one estimate, had surpassed 40 million units by 2000. The success of Detroit-based hip-hop artists quadrupled that figure in the first decade of the 2000s. Historical background The Detroit area's diverse population includes residents of European, Middle Eastern, Latino, Asian and African descent, with each group adding its rich ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jon Savage
Jon Savage (born Jonathan Malcolm Sage; 2 September 1953 in Paddington, London) is an English writer, broadcaster and music journalist, best known for his history of the Sex Pistols and punk music, ''England's Dreaming'', published in 1991. Career Savage read Classics at Magdalene College, Cambridge, graduating in 1975. Becoming a music journalist at the dawn of British punk, he wrote articles on all of the major punk acts, publishing a fanzine called ''London's Outrage'' in 1976. A year later he began working as a journalist for ''Sounds'', which was, at that time, one of the UK's three major music papers, along with the ''New Musical Express'' and ''Melody Maker''. Savage interviewed punk, new wave and electronic music artists for ''Sounds''. At that time, he also wrote for the West Coast fanzines '' Search & Destroy'', '' Bomp!'' and ''Slash''. In 1979 he moved to ''Melody Maker'', and a year later to the newly founded pop culture magazine ''The Face''. Throughout the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jonh Ingham
Jonh Ingham (born 1951) is an English entrepreneur who has worked in music journalism, pop band and nightclub management, advertising, internet application development and management consultancy. In the mid-1970s he worked for the British pop music newspaper ''Sounds'', and was a key journalist in the development of the punk rock pop and fashion music movement in the United Kingdom when he published the first press interview with the Sex Pistols. Early life Ingham was born in Australia to English parents, and grew up in Australia, Canada, and the USA. He received his formal education at South Eugene High School, Eugene, Oregon, and at the California Institute of the Arts in Los Angeles, where he took a course in pop music criticism from Robert Christgau of ''The Village Voice''; Christgau helped him get his first work as a journalist. Ingham's articles appeared in ''Rolling Stone'', ''Creem'', and other contemporary magazines whilst he was still in college. With Greg Shaw he w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sounds (magazine)
''Sounds'' was a UK weekly pop/rock music newspaper, published from 10 October 1970 to 6 April 1991. It was known for giving away posters in the centre of the paper (initially black and white, then colour from late 1971) and later for covering heavy metal (especially the new wave of British heavy metal (NWOBHM)) and punk and Oi! music in its late 1970s–early 1980s heyday. History It was produced by Spotlight Publications (part of Morgan Grampian), which was set up by John Thompson and Jo Saul with Jack Hutton and Peter Wilkinson, who left ''Melody Maker'' to start their own company. ''Sounds'' was their first project, a weekly paper devoted to progressive rock and described by Hutton, to those he was attempting to recruit from his former publication, as "a leftwing ''Melody Maker''". ''Sounds'' was intended to be a weekly rival to titles such as ''Melody Maker'' and ''New Musical Express'' (''NME''). ''Sounds'' was one of the first music papers to cover punk. Mick Middles c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
(I'm) Stranded (song)
"(I'm) Stranded" is the debut single released by Australian punk rock band the Saints. Issued in September 1976, it has been cited as "one of the iconic singles of the era", and pre-dated vinyl debuts by contemporary punk acts such as the Sex Pistols, Buzzcocks, The Damned and The Clash. In 2001, it was voted among the Top 30 Australian Songs of all time by APRA. Written by guitarist Ed Kuepper and vocalist Chris Bailey, the single was originally released on the band's own Fatal Records label, with an initial pressing of 500 copies. In the UK, where the single was at first available only on import, ''Sounds'' magazine called it "single of this and every week. ... The singing's flat and disinterested, the guitars are on full stun. ... It's fabulous." In 2007, ''Australian Musician'' magazine voted this the fourth most significant moment in the history of Australian pop/rock. On the strength of the single, The Saints were signed in November 1976 to a three-album deal by EMI ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sniffin' Glue
''Sniffin' Glue and Other Rock 'N' Roll Habits...'', widely known as simply ''Sniffin' Glue'', was a monthly punk zine started by Mark Perry in July 1976 and released for about a year. The name is derived from a Ramones song " Now I Wanna Sniff Some Glue." Some of the zine's writers, such as Danny Baker, later became well-known journalists. Although initial issues only sold 50 copies, circulation soon increased to 15,000. The innovative appeal of ''Sniffin' Glue'' was its immediacy: The early days of the punk movement largely failed to attract the attention of television or the mainstream press, and ''Sniffin' Glue'' was a key source of photographs of, and information about, contributors to the scene. ''NME'' acclaimed ''Sniffin' Glue'' as "the nastiest, healthiest and funniest piece of press in the history of rock'n'roll habits" and it became a chronicle of the early days of British punk rock as well as pioneering the DIY punk ethic. For the final issue Mark's sidekick '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
