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Olive Branches to Jeff Carter, & Robert Wheeler

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9 minutes ago, Paul Brancato said:

No Wave - completely new to me 


No wave was a short-lived avant-garde music and art scene that emerged in the late 1970s in downtown New York City.[3][4] Reacting against punk rock's recycling of rock and roll clichés, no wave musicians instead experimented with noise, dissonance and atonality in addition to a variety of non-rock genres, while often reflecting an abrasive, confrontational, and nihilistic worldview. </q>




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Biden Watch
Washington Lobbyists Know Biden Well—as Their Former Boss


WASHINGTONPresident-elect Joe Biden’s ambitious Democratic agenda—including raising corporate taxes—faces formidable opposition from a power center he knows well: former aides who are now lobbyists or advisers to companies and industries at odds with his goals.

Scores of Mr. Biden’s former aides now on K Street represent hundreds of companies, trade groups and foreign companies. One person in the mix for a top White House role is Mr. Biden’s campaign chairman Steve Ricchetti, who co-owned a lobbying firm for more than a decade with his brother Jeffrey Ricchetti.

Mr. Biden, unlike the four most recent presidents, has deep ties to the Washington establishment from his 44 years in the Senate and as vice president. He named at least 40 current and former registered lobbyists to his transition team.




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10 hours ago, David Andrews said:

Two-Tone time:


Did somebody say 2 Tone?

I always liked this version in this video. The weird hats worn by the Germans audience, how it looks like each band member is doing a different song. The song made a come back in the 90s with a version by Harvey Danger. Then relatively recently I heard an acoustic version by Pete Townsend. It was in some movie I was watching.

Pete Townsend Acoustic Version


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16 hours ago, Paul Brancato said:

No Wave - completely new to me 

New Wave, No Wave, Punk et al. 

I'm a Gen X'er but before I got to high school I mostly listened to the Classic Rock of the 60's and early 70's. Led Zep, the Doors, the Who, etc. The NYC area (my radio "zone") had at least 3 Classic Rock stations in the 1980's; WNEW (102.7) the original "album oriented" station, K-Rock (92.3) where Howard Stern went after he was fired by WNBC, and WPLJ (95.5.)

The other "Rock" stations played the Popular songs of the day, which was comprised a lot of New Wave songs that made the Bill Board top 10. A lot of the New Wave bands were the one Hit Wonder types. Flock-of-Seagulls sticks out, Dexy's Midnight Runners (Come-on Eileen), The Monroes. More permanent Popular bands (many hits) were bands like The Police, and U2.

The Top 10 stations used to nauseate me pretty quickly. If you are stuck listening to "Come-on-Eileen" every hour for hours on end, you start to hate the song. For me, those Top 10 Stations ruined a lot of New Wave music. New Wave was synonymous with endless loops of the same 10 songs, even if there was a lot of good New Wave music that was not getting played. (Not Classic Rock and Not on a Top 10 Station.)

The interesting thing about Punk, and I'm going to call the early 90's Grunge Rock scene a resurgence of Punk, was the rejection of '60s and '70s Classic Rock. Punk in the 1980's could only be heard "left-of-the-dial" (College Radio), and that was only if the DJ also liked Punk, and you held your radio out of the window at the right angle to catch the transmission from a 50 watt College Station.

In my area, a small local independent commercial station called WHTG (106.3), which was good for about a 25 mile radius in Central NJ, made a name for itself by playing non-Top 10 new wave, and "Alt-Rock", like early REM, The Replacements, The Violent Femmes.

I would argue that the later mid to 80s popularity of bands like REM, and then the huge shift to Nirvana and the other Grunge Bands by the 90s was an outright rejection of the 60s and 70s Classic Rock. It was not that nobody liked Classic Rock anymore (it is impossible to hate Led Zep); the rejection reflected a more nuanced Generation X mind-set. The mind-set (right or wrong) was a realization that the Baby Boomer generation was holding Gen-X hostage with their music nostalgia.

Baby Boomers were at the top of the food chain at that time; politically, economically and culturally. Gen-X could at least push back against "Boomer" culture by rejecting Boomer music (Beatles, Stones, etc.) by supporting Alt-Rock; from the never commercialized hard core of Clff's day, to contemporary (late 80s early 90s) punk bands like Minor Threat (Fugazi) and Husker Du; and less "Punky" bands like the Replacements and the Red Hot Chili Peppers. If Punk was a little too harsh, then you had No Wave, like Sonic Youth, or more "pop" sounding bands like the Pixies.

Douglas Coupland, in his book, Generation X, kind of articulated a necessity for Gen-X to reject Classic Rock and create a Gen-X focused culture shift.

To over generalize, the free-love, give-peace-a-chance, hippy-dippy musical themes in Boomer Classic Rock were pushed aside for Gen-x themes that were relevant to that time and place. The harder punk music was more confrontational. The Grunge bands, led by Nirvana, was a much harder sound than Classic Rock. I would say a useful comparison between Classic and Grunge is the way drugs were written about. To over generalize again, whereas Classic Rock sort of romanticized drugs like LSD and Marijuana, Grunge focused on the more destructive aspects. The music was less about getting high and having a groovy day, and more about OD'ing and ending up dead. 

Whether relevant today or not, Gen-x split from the Boomers culturally in the late 80's and early 90's. I think the political and economic splits occurred later as Gen X started to make money and simply reach a level of maturity to supplant the retiring Boomer generation. 

The Gen-x mindset is still fixed on rejecting anything of Boomer origins. We're a little more suspicious of constructs that appear to have commercial origins. In my view, the suspicion grew out of corporate radio only playing Classic rock, or the same top 10 "pop" songs, and never playing punk on the radio (excluding college radio); or if punk was too "noisy", the other songs on the New Wave album besides the one song out of 12 that made it on to the Billboard Top 40.       

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      Great stuff, fellas.   I have been a big fan of the English Beat since the early 80s, when I saw Rick Wakeling, Ranking Roger & Co. in concert.  (I've even recorded my own home-studio covers of a few Beat songs, which are surprisingly simple to play.)

     David Andrews' Flying Lizards' cover of James Brown's Sex Machine had me rolling on the floor.  (I had never heard of the Lizards.)

      But let's not forget about the original robotic "New Wave" video of that era, which I first saw on a giant screen at a club in Greenwich Village in (?) '80 or '81, before MTV existed -- Das Model, by Kraftwerk.  I think the club was called Rock City.  (There was a similar club at Kenmore Square in Boston at the time, called the Metro.)


Edited by W. Niederhut
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Strangely, I was having some kind of browser problem last night, and only one of the 2-Tone videos I posted (Specials: A Message to You, Rudy) was a video I intended to post.  Some problem copying addresses from a YouTube "mix" section.  Glad that went well for everybody, anyway.

Here's one that didn't get up in that mess.  The singer from The Selecter reminds me of early Jamaican star Millie (My Boy Lollipop), who died this year.  She may be evoking Millie intentionally.

Millie's big hit essentially started Island Records for mogul Chris Blackwell.

Edited by David Andrews
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On 11/14/2020 at 9:54 AM, W. Niederhut said:

      Since we're all interested in history here, I'm going to post an obscure Rocky Mountain footnote in the history of American punk rock.

      So, when I moved back to Denver in 1983, after living in New England for eight years, I was very disappointed with the local live punk rock and jazz music scene.  (Boston was teeming with punk bands and great jazz musicians from places like the Berklee School of Music.)

     But there was one punk rock band in Denver that was surprisingly good, in my estimation -- the Kamikaze Klones, from Evergreen, Colorado, (of John Hinckley, Jr. fame.)  I went to several of the Klones' performances at a local club called The Mercury Cafe in about 1983-84, (including a show where two of the band members were arrested in the parking lot for possession of cocaine between sets.)

    The Klones wrote songs like, Give Texas Back to the Mexicans-- a punk parody of Paul McCartney's song, Give Ireland Back to the Irish.

     One of the Klones later became a patient of mine, and told me the inside story of their rise and fall in the 80s.  Even at the height of their considerable local popularity-- which included one or two out-of-state tours-- the band never earned enough money to live on, especially since most of the money went up their noses.

      This low budget video, filmed at Denver's old Larimer Street wino district, (of Jack Kerouac/Neal Cassidy fame) doesn't really do justice to the quality of the Klones' live performances back in the day.



My cousin Al Stratton (a/k/a AJ Coon) played bass in the Kamikazi Klones.

Great band.  Tight.

Around ‘77 they sent a demo tape to Devo and challenged them to a battle of the bands.  Devo didn’t directly respond, but Al was convinced these lyrics from “Smart Patrol/Mr.DNA” (“Mr. Kamikazi, Mr. DNA”) referred to the Klones:

Wait a minute, something’s wrong

He’s a man with a plan

His finger’s pointed at Devo

Now we must sacrifice ourselves

So many others may live

Oh baby we got a lot to give

The Klones came to San Francisco in ‘82 and played a Friday night at the On Broadway and Saturday at the Fab Mab.  The punk rockers showed on Friday, but it was young couples night at the Mab and the place was packed.  There was some slamming in the pit on Friday, but Saturday it was couples dancing.  I’d never seen that before at the Mab!  

I’ve been out of touch with Cousin Al since his Mom passed.  W., you probably know him.  If you see him around Evergreen tell him his Cousin Cliff sez hey.


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On 11/16/2020 at 2:00 AM, Cliff Varnell said:


Rite of Spring premiered in 1913 to boos and shock. These excerpts are nice but don’t do it justice. I must have listened to 2 hours of No Wave and Punk by now. Would some of you go to YouTube and find a live recording of the entire piece, lay down somewhere quiet and turn up the volume? No piece in the past 120 years was as influential. And of course you will recognize some bits because you’ve all seen Disney’s Fantasia. 

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7 minutes ago, Paul Brancato said:

Rite of Spring premiered in 1913 to boos and shock. These excerpts are nice but don’t do it justice. I must have listened to 2 hours of No Wave and Punk by now. Would some of you go to YouTube and find a live recording of the entire piece, lay down somewhere quiet and turn up the volume? No piece in the past 120 years was as influential. And of course you will recognize some bits because you’ve all seen Disney’s Fantasia. 


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