DOCSLIB.ORG

First Ramones Exhibition Takes Punk to Queens Roots

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
First Ramones Exhibition Takes Punk to Queens Roots L i f e s t y l e FRIDAY, APRIL 15, 2016 The Ramones image is on display during a press preview. Johnny Ramones and Marky Ramones jackets and jeans are The Ramones items are on display during a press preview at on display during a press preview. the Queens Museum. First Ramones exhibition takes punk to Queens roots efore The Ramones became international worker. “You have that whole crowd going back Democrat. The Ramones all took the surname, ini- icons, the band’s first press release in 1975 and saying that The Ramones are really cool-look- tially a reference to a pseudonym under which Paul Bintroduced the punk rockers to the world as ing,” she told AFP. “It wasn’t a fashion statement; McCartney would check into hotels, but they were working-class men from Queens. Youngsters from that’s just how they looked,” she said. “The ripped not related. the New York borough’s neighborhood of Forest jeans started because their jeans would wear out Hills “either become musicians, degenerates or and they would rip.” Global fan base dentists. The Ramones are a little of each,” it The Ramones’ influence was felt not just in informed. The Ramones of course went on to Historic London concert Britain. The exhibition shows pictures from CBGB- become musicians. But a first-ever museum exhibi- One section of the exhibition explores a historic the legendary club on Manhattan’s then-seedy tion on the band also shows other sides of the concert-The Ramones’ international debut at The Bowery where the band made its name-as well as musicians surrounded by the debauchery of the Roundhouse in London on July 4, 1976. The posters from shows around the world. Linda rock world, but who managed to keep a surprising Ramones-playing, incidentally, on the bicentennial Ramone recalled that The Ramones for some time amount of the straight-laced work ethic they of the US Declaration of Independence-were the enjoyed a wider audience in Europe and said that, learned in Queens. opening act but had a massive impact, with bands more than 20 years after their final album, the The tongue-in-cheek press release starts off the such as The Clash and Sex Pistols later citing the band’s following may be strongest in Latin exhibition, which opened Sunday at the Queens show as an inspiration as they witnessed the do-it- America. Museum and heads in September to the Grammy yourself vigor of punk. Yet the punk scene that Japan was also a major fan base. One highlight Museum in Los Angeles. The Ramones, whose orig- would soon shake Britain came with a political of the exhibition is a specially designed piece by inal members are all dead, pioneered punk rock edge, with the Sex Pistols sneering at the royal fam- punk-inspired Japanese pop artist Yoshitomo Nara with its rough, distorted and intensely direct energy ily and The Clash taking the mantle of global libera- of Ramona, the wide-eyed girl who appears in that came in spite of-or because of-the absence of tion movements. much of his work, with the motto “Hey! Ho! Let’s formal musical training. The exhibition brings “They were up in rage against the queen. The Go!” Marc Miller, who curated the exhibition, said together memorabilia ranging from the Mosrite president of the United States didn’t know who The that The Ramones were “a collection of contradic- guitars that Johnny and Dee Dee Ramone would Ramones were,” Linda Ramone said. “I don’t think tions.” play low-slung to action photos of the band who they were really worried that The Ramones were “On one hand, they are great complainers; on kept the self-discipline to play 2,263 concerts over going to take over,” she said. While US punk later the other hand, they have these chants of uplifting 22 years. turned political, The Ramones were best known for phrases,” he said. “On one hand, they are a bunch Also on display are the rockers’ clothes. The lines such as “I Wanna Be Sedated”-a response to of out-of-control punks; on the other hand, it was Ramones’ uniform of leather jackets and ripped boredom on the road-and “Hey! Ho! Let’s Go!” from really an art enterprise.” Linda Ramone said that jeans-along with T-shirts bearing the band’s logo “Blitzkrieg Bop.” Linda Ramone said the band felt while the rockers had to leave Queens to make designed by Arturo Vega-has emerged as an inter- they would alienate listeners by discussing politics. their name, they would be pleased by the exhibi- national punk fashion symbol. Linda Ramone, the Johnny, who Linda said was a careful saver, sur- tion. “They’re not here, but they’re looking down widow of guitarist Johnny who now works to pre- prised many fans when he later came out as a and they’re saying it’s pretty cool to have some- Linda Ramone, the widow of guitarist serve the band’s legacy, said that his attire had a Republican. Singer Joey Ramone, who had an often thing open in Queens,” she said. — AFP Johnny Ramone, poses for a picture during more basic reason-he was initially a construction tense relationship with Johnny, was a liberal an interview in New York City. — AFP photos Review Sturgill Simpson defies categorization with ‘Sailor’ turgill Simpson defies categorization, and exceeds The record’s final tune, “Call to Arms,” is just what it sounds expectations, with “A Sailor’s Guide to Earth,” an explo- like. Simpson decries what he’s hearing on TV and radio, and Sration of life’s journey inspired by the birth of his first with the horns and guitars growling behind him, urgently child. Simpson funks up his country twang with a rousing horn declares, “The bull——’s got to go!” Rock, country, Americana. section while keeping a rocking and rollicking edge under- Whatever. “A Sailor’s Guide to Earth” is a thrill. This compact 39 neath his probing lyrics. Heck, he even throws in bagpipes, a minutes of pure joy has got the kind of energy that just makes cello and violin and yet another killer cover - this time of you instinctively lean forward just to try and keep up.—AP Nirvana’s “In Bloom.” Simpson, like all great interpreters, makes the Kurt Cobain song sound like his own, and it oddly fits in perfectly with the mood and theme of “A Sailor’s Guide.”.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept
    ® The GRAMMY Museum and Delta Air Lines Present Hey! Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept. 16 Linda Ramone, Billy Idol, Seymour Stein, Shepard Fairey, And Monte A. Melnick To Appear At The Museum Opening Night For Special Evening Program LOS ANGELES (Aug. 24, 2016) — Following its debut at the Queens Museum in New York, on Sept. 16, 2016, the GRAMMY Museum® at L.A. LIVE and Delta Air Lines will present the second of the two-part traveling exhibit, Hey! Ho! Let's Go: Ramones and the Birth of Punk. On the evening of the launch, Linda Ramone; British pop/punk icon Billy Idol; Seymour Stein, Vice President of Warner Bros. Records and a co-founder of Sire Records, the label that signed the Ramones to their first record deal; artist Shepard Fairey; and Monte A. Melnick, longtime tour manager for the Ramones, will participate in an intimate program in the Clive Davis Theater at 7:30 p.m. titled "Hey! Ho! Let’s Go: Celebrating 40 Years Of The Ramones." Tickets can be purchased at AXS.com beginning Thursday, Aug. 25 at 10:30 a.m. Co-curated by the GRAMMY Museum and the Queens Museum, in collaboration with Ramones Productions Inc., the exhibit commemorates the 40th anniversary of the release of the Ramones' 1976 self-titled debut album and contextualizes the band in the larger pantheon of music history and pop culture. On display through February 2017, the exhibit is organized under a sequence of themes — places, events, songs, and artists —and includes items by figures such as: Arturo Vega (who, along with the Ramones,
    [Show full text]
  • Ramones 2002.Pdf
    PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri­ fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re­ earth: The airwaves were ruled by crotchety old di­ corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con­ The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen­ Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world.
    [Show full text]
  • Rhino Reissues the Ramones' First Four Albums
    2011-07-11 09:13 CEST Rhino Reissues The Ramones’ First Four Albums NOW I WANNA SNIFF SOME WAX Rhino Reissues The Ramones’ First Four Albums Both Versions Available July 19 Hey, ho, let’s go. Rhino celebrates the Ramones’ indelible musical legacy with reissues of the pioneering group’s first four albums on 180-gram vinyl. Ramones, Leave Home, Rocket To Russia and Road To Ruin look amazing and come in accurate reproductions of the original packaging. More importantly, the records sound magnificent and were made using lacquers cut from the original analog masters by Chris Bellman at Bernie Grundman Mastering. For these releases, Rhino will – for the first time ever on vinyl – reissue the first pressing of Leave Home, which includes “Carbona Not Glue,” a track that was replaced with “Sheena Is A Punk Rocker” on all subsequent pressings. Joey, Johnny, Dee Dee and Tommy Ramone. The original line-up – along with Marky Ramone who joined in 1978 – helped blaze a trail more than 30 years ago with this classic four-album run. It’s hard to overstate how influential the group’s signature sound – minimalist rock played at maximum volume – was at the time, and still is today. These four landmark albums – Ramones (1976), Leave Home (1977), Rocket To Russia (1977) and Road to Ruin (1978) – contain such unforgettable songs as: “Blitzkrieg Bop,” “Sheena Is Punk Rocker,” “Beat On The Brat,” “Now I Wanna Sniff Some Glue,” “Pinhead,” “Rockaway Beach” and “I Wanna Be Sedated.” RAMONES Side One Side Two 1. “Blitzkrieg Bop” 1. “Loudmouth” 2. “Beat On The Brat” 2.
    [Show full text]
  • Dee Dee Ramone Sees No Need to Change Course by KARLA TIPTON an Interview with the Valley Acterized Many Punk Bands
    Friday, July 1,1988. Antdope Valley Press Dee Dee Ramone sees no need to change course BY KARLA TIPTON an interview with the Valley acterized many punk bands. ~ssisfantShowcase Editor Press. "Our goal isn't really to "Our songs aren't political and he Ramones haven't get that slick, commercial sound. more fun," said Dee Dee.. gmwn up at all. What's What it is is to preserve the 'They're mare animated-type more, they don't show Ramones sound." songs We've staved away frum any signs of it - even Now in the midst of a nation- the heavy message or shack for afterT 15 years. wrde tour, thas raucous punk.roh the sake bf v~olei&. On their latest Sire LP power pop band will be bnngmg "Oui influences are more like Ramonesmania. a cornoilation of that sound to the L,s Anrelts the Beatles and the Beach Bovs the band's most rhemorable area when they perform a< the along with all the glitter pub songs, the Ramones' steadfast- Holly~+oodPalladium (July a), &om the early '70s. So we have a ness to their musical vision of the Celebrity Theater in Ana- little bit of pop in us." wngue.~n.eheek deadpan lyrrcs heim (July 15) and the John An- That pop influence even turns and raptd-fire thnr chord aongs son Ford Theatre in Hollywood up in the band's monikei Com- hecomeb lmmedlstelv aooarenr (July 16). Dosed of Johnnv. Markv. Joev TG~"band's Defined, the Ramones' sound and Dee Dee aho one, the mem.
    [Show full text]
  • Az Archetipikus Csövigyerek-Banda: Ramones
    Koko Kommandó Az archetipikus csövigyerek-banda: Ramones Többé-kevésbé mindenkinek megvan az egy vagy több életre szóló esete. Az én LEG-eim között a legeslegesebb a RAMONES. Amikor 1976 végén az Újvidéki Rádióba megérkeztek az első punk lemezek (Sex Pistols, Patti Smith Group, The Clash, Dr. Feelgood, The Stranglers, Ramones), mindjárt lecsaptam rájuk - megéreztem, tudtam, hogy ez az, ami nekem kell, ez az én zeném. A Judy Is A Punk szédületes tempója egyből kiakasztott. Igen, „szerelem első pillantásra" volt, vagy operettmagyarul: szerelem első vérig. A Ramones számaival való találkozás alapélmény volt. Reménytelen, boldog szerelem, hiszen csak metafizikai viszonzásról beszélhettünk. Ez a zene soha nem hagyott cserben, soha nem volt hozzám hűtlen, soha nem okozott fájdalmat. A legnehezebb pillanatokon segített, lendített át. Szilárd pont az életemben. A nők jöttek-mentek, s mára az otthonomból és a munkahelyemről is elüldöztek. Azon az 1991-es novemberi napon, amikor még katonai engedély nélkül távozhattam a szerb birodalomból, a Ramones-kazetták ott lapultak a poggyászomban. Egy ilyen elfogult vallomás után illene valamit mondani a zenekarról, s nem utolsósorban a zenéről, amit játszanak _ hisz errefelé nem sok szó esett róluk. A legjelentősebb magyar rock- kritikusok ugyan számon tartják őket, de a tömérdek lapban s a rádiókban szinte semmit sem találni róluk. Egyszóval: siralmas állapot. Mintha depressziós lenne ez az ország zeneileg. We're A Happy Family A Ramones 1974-ben alakult. Kezdetben három queens-i fiú, John Cummings, Douglas Colman és Jeffry Hyman alkotta. Johnny és Dee Dee gitáron játszott, míg Joey dobolt. Thomas Erdélyi menedzserként szorgoskodott, de aztán átvette a dobokat Joey-tól, aki előrement énekesnek.
    [Show full text]
  • American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
    American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
    [Show full text]
  • Robfreeman Recordingramones
    Rob Freeman (center) recording Ramones at Plaza Sound Studios 1976 THIRTY YEARS AGO Ramones collided with a piece of 2” magnetic tape like a downhill semi with no brakes slamming into a brick wall. While many memories of recording the Ramones’ first album remain vivid, others, undoubtedly, have dulled or even faded away. This might be due in part to the passing of years, but, moreover, I attribute it to the fact that the entire experience flew through my life at the breakneck speed of one of the band’s rapid-fire songs following a heady “One, two, three, four!” Most album recording projects of the day averaged four to six weeks to complete; Ramones, with its purported budget of only $6000, zoomed by in just over a week— start to finish, mixed and remixed. Much has been documented about the Ramones since their first album rocked the New York punk scene. A Google search of the Internet yields untold numbers of web pages filled with a myriad of Ramones facts and an equal number of fictions. (No, Ramones was not recorded on the Radio City Music Hall stage as is so widely reported…read on.) But my perspective on recording Ramones is unique, and I hope to provide some insight of a different nature. I paint my recollections in broad strokes with the following… It was snowy and cold as usual in early February 1976. The trek up to Plaza Sound Studios followed its usual path: an escape into the warm refuge of Radio City Music Hall through the stage door entrance, a slow creep up the private elevator to the sixth floor, a trudge up another flight
    [Show full text]
  • [SAEL]⋙ Too Tough to Love: My Life with Johnny Ramone by Cynthia
    Too Tough to Love: My Life with Johnny Ramone Cynthia "Roxy" Whitney, Emily XYZ Click here if your download doesn"t start automatically Too Tough to Love: My Life with Johnny Ramone Cynthia "Roxy" Whitney, Emily XYZ Too Tough to Love: My Life with Johnny Ramone Cynthia "Roxy" Whitney, Emily XYZ TOO TOUGH TO LOVE is Cynthia "Roxy" Whitney's first-person account of her 20-year affair with punk guitar legend and Ramones co-founder Johnny Ramone - a story that has never been told until now. While most fans have heard of the notorious love triangle of Johnny, singer Joey Ramone, and Joey's girlfriend Linda Daniele (later Mrs. Johnny Ramone), very few know that the "triangle" had a fourth side - Roxy. In her inimitable voice, she gives a no-holds-barred account of her life as a teenaged stripper in 1970s New York, the early days of punk and the Ramones, and the betrayal that nearly shattered the band. Roxy was written out of the Ramones official history, but her relationship with Johnny continued in secret for many years, - even after his marriage to Linda. As told to spoken-word poet Emily XYZ, Roxy's story is full of vivid, funny, hair-raising and poignant details, and paints a far more complex and human portrait of Johnny than any other Ramones history or memoir so far. Download Too Tough to Love: My Life with Johnny Ramone ...pdf Read Online Too Tough to Love: My Life with Johnny Ramone ...pdf Download and Read Free Online Too Tough to Love: My Life with Johnny Ramone Cynthia "Roxy" Whitney, Emily XYZ From reader reviews: Dennis Thorpe: Do you have favorite book? If you have, what is your favorite's book? Publication is very important thing for us to learn everything in the world.
    [Show full text]
  • Die Ramones Als Helden Der Pop-Kultur
    Nutzungshinweis: Es ist erlaubt, dieses Dokument zu drucken und aus diesem Dokument zu zitieren. Wenn Sie aus diesem Dokument zitieren, machen Sie bitte vollständige Angaben zur Quelle (Name des Autors, Titel des Beitrags und Internet-Adresse). Jede weitere Verwendung dieses Dokuments bedarf der vorherigen schriftlichen Genehmigung des Autors. Quelle: http://www.mythos-magazin.de CHRISTIAN BÖHM Die Ramones als Helden der Pop-Kultur Inhalt 1. Einleitung 2. Punk und Pop 2.1 Punk und Punk Rock: Begriffsklärung und Geschichte 2.1.1 Musik und Themen 2.1.2 Kleidung 2.1.3 Selbstverständnis und Motivation 2.1.4 Regionale Besonderheiten 2.1.5 Punk heute 2.2 Exkurs: Pop-Musik und Pop-Kultur 2.3 Rekurs: Punk als Pop 3. Mythen, Helden und das Star-System 3.1 Der traditionelle Mythos- und Helden-Begriff 3.2 Der moderne Helden- bzw. Star-Begriff innerhalb des Star-Systems 4. Die Ramones 4.1 Einführung in das ‚ Wesen ’ Ramones 4.1.1 Kurze Biographie der Ramones 4.1.2 Musikalische Charakteristika 4.2 Analysen und Interpretationen 4.2.1 Analyse von Presseartikeln und Literatur 4.2.1.1 Zur Ästhetik der Ramones 4.2.1.1.1 Die Ramones als ‚ Familie ’ 4.2.1.1.2 Das Band-Logo 4.2.1.1.3 Minimalismus 4.2.1.2 Amerikanischer vs. britischer Punk: Vergleich von Ramones und Sex Pistols 4.2.1.3 Die Ramones als Helden 4.2.1.4 Eine typisch amerikanische Band? 4.2.2 Analyse von Ramones-Songtexten 4.2.2.1 Blitzkrieg Bop 4.2.2.2 Sheena Is A Punk Rocker 4.2.2.3 Häufig vorkommende Motive und Thematiken in Texten der Ramones 4.2.2.3.1 Individualismus 4.2.2.3.2 Motive aus dem Psychiatrie- Comic- und Horror-Kontext 4.2.2.3.3 Das Deutsche als Klischee 4.2.2.3.4 Spaß / Humor 4.3 Der Film Rock’n’Roll High School 4.3.1 Kurze Inhaltsangabe des Films 4.3.2 Analyse und Interpretation des Films 4.3.2.1 Die Protagonistin: Riff Randell [...] Is A Punk Rocker 4.3.2.2 Die Antagonistin: Ms.
    [Show full text]
  • Origins of Rock the Seventies
    from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated encyclopedia of rock FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists , Designer: Mike Spender and Jake The sunshine 1960s were followed by the comparatively grey 1970s. organised by decade: Sixties, Picture Research: Gemma Walters Yet a number of stars of that drab decade started their Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker life in the 1960s. 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, Karen Fitzpatrick, Rosanna Singler and Catherine Taylor In Britain, the chameleon-like David Bowie suffered several musical genres, such as David Bowie ........................................4–5 years of obscurity, Status Quo were psychedelic popsters yet to soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 discover 12-bar blues, while Humble Pie was formed by The Eagles ..........................................6–7
    [Show full text]