At the close of the 1960’s, many of the strongest influencers in the period’s idealism felt like you do the morning after a really wild party – all hung over, a taste in your mouth that’s a lot like an over-filled ashtray, and too much like you’d been rolled over by a tank. You can hear it in the things people were saying at the time. Things like:
· "The Sixties ended at Kent State." The writer Tom Wolfe said that
· "The American Dream became the nightmare." Another writer, Hunter S. Thompson said that.
· "The Sixties had the audacity to hope, and that was its greatness. But it didn't deliver." Actor, social activist and mafia don, Marlon Brando said that.
· “I woke up this morning/ Found my head was full of stars./ I said, it's over/ But my heart, it wouldn't break." That was the great Canadian singer-songwriter, Leonard Cohen.
· And one of the four lads who’d kicked off the youth revolution to begin with, John Lennon, said "All I want is the truth / Just gimme some truth
When the dreams and promises you’ve placed your hopes in end up being a mirage, its only human to feel angry. In the mid 1970’s, a lot of teens and young adults found themselves in this camp. The nation’s shift toward a decidedly more cynical era could be heard in anti-war statements such as "War is not healthy for children and other living things" On the equal rights agenda, the demand for black civil rights encouraged a louder beating of the drum as seen in the rise of feminism. At the same time, both movements continued receiving backlash from the country’s conservatives, especially The "Silent Majority" campaign, responding to the ‘liberal excesses’ of the counterculture.
Meanwhile, Hunter S. Thompson’s satire, "Fear and Loathing in Las Vegas") perfectly captured the disillusionment and cynicism of the 1970s. While on screen, "One Flew Over the Cuckoo's Nest" with Jack Nicolson, was a classic film about mental health and institutional oppression. which resonated with the pervasive anti-establishment sentiment
But I gotta tell you, I’m not sure which situation was worse. The one where Nurse Ratchett was sicker than any of the inmates, or the one where Southern California’s streets are chock full of really sick people who need a hospital. Regardless, they’ve all been shuttered for years.
Socially, the country was torn over the war in Vietnam. After nearly ten years of demanding an end to it, sick of seeing their friends come home with fewer limbs than they left with, or worse, in coffins draped under red, white and blue doilies,
Evacuation of Sai gon
Americans had to watch the last of their countrymen being picked up from Saigon rooftops, and helicoptered to safety;. a devastating end to a painful period. So many kids lives ended in that war….. for what?
….. Of course, on the heels of the 20 year disaster that was the war in the middle east, we’re back in the same place asking ourselves, after all that, what we actually achieved and whether it was at all worth it? Sure. It started with 9/11, and we had to do something about that. But did we need to invade the wrong country first? Did it need to stretch out after they got Bin Laden? Were we successful in bringing democracy to Afghanistan? It looks a hell of a lot more like someone might need to bringing it back to us if things go poorly this November….. Anyway, that’s a different topic and I digress.
Give Me Shelter
The resurgence of the far right could be heard in the flood of media who rose to support those views. On PBS, William F. Buckley Jr.’s show, "Firing Line" provided a platform for conservative intellectual arguments and debates, challenging the comment that liberal voices dominated mainstream media.
The nation’s Bible thumpers were represented by the televangelists like Pat Robertson, whose show continued to grow in popularity during the 1970s. Robertson mixed religious teachings with conservative political commentary to activate a religious army of evangelicals. To get the true measure of things, realize that this segment would likely be referred to as MAGA these days. Pat’s audience was the seed of MAGA. Personally, I think the Church should stay, literally the hell, out of politics. We don’t need to turn America into the Christian Theocracy.
You couldn’t tune it out anywhere; even radio had lost ground to the conservative voice because this was the era that birthed Rush Limbaugh. I say that, even though his show didn’t officially start until 1988. Rush’s first success came in the 1970s and it laid the groundwork for everything that unfortunately has come after. American conservatives received a full-on indoctrination in conservative thinking from Rush and his blend of incendiary intolerance and populist appeal.
Running through everything, there was a feeling that the social changes that the ‘60s had promised were as far away as ever. It wasn’t long after TV cameras beamed those images Saigon rooftops until Nixon’s presidency came crashing down with the shameful Watergate scandal, and Mr. “I am not a crook” was proven to be exactly what he said he wasn’t.
Gerald Ford: Long National Nightmare
President Ford only added to the country’s misery when he pardoned Nixon, showing the country that there actually are two different sets of laws in place; one for them, and one for the rest of us. That same dialog seems to be receiving a second look these days as Mr. 91 indictments and counting waits for his day in court – something that’s coming later this month. For Christmas, I’d like someone to give him a brand new orange wardrobe and a room with a view of the prison yard.
Economically speaking, record inflation and unemployment – especially in the working class – widened the gap between the haves and have-nots. The energy crisis stranded Americans in long gas lines, paying unheard of prices for gas. Thorny civil rights issues were still forcing us to grapple over diversity issues like school desegregation, affirmative action, and voting rights. Toxic waste in New Jersey’s Love Canal, oil spills in Santa Barbara, the highly publicized burning of Ohio’s Cuyahoga river, and other events all raised public alarm over the environment.
Closer to home, the divorce rate was skyrocketing. During the ‘70s, American couples split up at more than twice the rate they had during the 60’s. Even in families where mom and dad stayed together, the personal needs of each parent became more important, with parents spending more time to claim more of what they individually thought was important. In the meantime, family harmony took it in the shorts. America’s kids were caught in the cross-hairs. America was experiencing an epidemic of frustration, anxiety and anger. I think this classic clip from the movie, “Network”, performed by the late actor, Peter Finch, perfectly captures the spirit of the age.
Clip from “Network”
If things behind the front doors of American homes were not real pretty, they sure didn’t look any better once you stepped off the front porch either. Thinking about this, it can’t be a surprise that punk rose out of big cities where bad times followed ‘white flight’ after the folks that could afford it ran like hell to the suburbs. After that, all that was left behind in the cities was crime and desperation.
Some of the biggest movies of the ‘ 70’s were studies of urban decay and a growing sense that America’s kinder, more innocent days were lost forever. A nasty, gritty world was played out on the big screen in period films like Taxi Driver, with Robert DeNiro, where violence captured the alienation and anger of 1970’s city life.
Clip here
And the Godfather reflected the changing moral landscape of America in the 20th century.
Clip here
As much as Punk reflected a new reality in the nation, musically, it continued America’s musical evolution and another unpredictable fork in the road. There was a clear line of descent. You can hear a connection between punk’s insistent vocals and the strength of Bessie Smith or the blitzkrieg guitar thrash of Billy Zoom or Steve Jones and blues great, Howlin’ Wolf.
With nothing to do, and a sense that the walls were closing in, teens living in places like New York, Detroit and Los Angeles, swam in an ocean of boredom and alienation that needed venting. Punk’s rawness and DIY attitude made it easy for anyone who had the need to hit back, or at least spit into the audience, to become an anti-hero.
Punk’s rebelliousness had a common spirit with early rock and roll and artists like Chuck Berry, and Elvis Presley. You can see it splayed right out in the open if you compare the album covers from the Clash’s album, London Calling, and Elvis Presley’s first record. And While Elvis remained a country-boy at heart, punk’s dedication to defying social norms to be your authenic self had early role models like Little Richard.
Punk rock intentionally took a sharp right turn off of the trend line music had been steadily moving in since at least the late 1940’s. And thank God, too! Because rock had lost its urgency and rebellion that had inspired the 60’s to be what they’d been – without that inspiration, there never would have been a Bob Dylan, or a Mick Jagger, nor James Brown or Pete Townshend. Neither would you have had Janis Joplin, Tina Turner, or Grace Slick for that matter! But by the 1970’s the electricity that had super-charged the 60’s, had dissipated. Instead, teens were served up the likes of the Osmonds,(One Bad Apple) and the Captain and Tennile (Muskrat Love).
Have a Cigar
Even in its crunchier moments, 70’s rock acquired the term ‘Corporate Rock’ – when bands like Journey, Foreigner, and Boston were more like money-making brands or even record label ATM machines playing music for the musically-challenged, instead of offering the latest generation of record buyers the authentically passionate real-deal that guys like Dylan or the Beatles had once given them. For every authentic rocker like Bruce Springsteen, there was a poser like Barry Manilow (we used to call him Barely Man-enough) or Dan Fogelberg, which is fine if you’re drooling into the sink in the dentist’s chair, but lousy if you need something that matches the messed up way you’re feeling inside. And even the more provocative music from the likes of KISS or Alice Cooper was literally just play acting.
To be honest though, for those who’d been paying any attention, the seeds of the cynicism and frustration that was in full bloom when punk finally exploded were already in their germ states in the ‘60s. For instance, I’m thinking about The Beatle’s White Album and Lennon’s song, Happiness is a Warm Gun. And although the Beatles could never have been a punk band, other late 60’s and early 70’s bands DID at least point in punk’s direction. A couple examples will help here:
Before Punk, came “Proto-punk”. Of course, as Chrissie Hynde puts it, these things never develop that way.
First up, “The Sonics” were a band from Tacoma, WA and were one of the pioneers of garage rock. This is their song, "The Witch" – a true garage rock classic.
The MC5 (MC for Motor City) was a band from, obviously, Detroit. They came, literally kicking and screaming, from Detroit’s proto-punk scene. They added political activism to The Sonics garage band fury. Let’s check out their song "Kick Out the Jams". It’s a powerful manifesto for social change. Like the punks that followed, MC5 used raw language and imagery to make their points. Sonically, their aggressive, unrefined sound also made a statement. They were intentionally loud, rough and angsty.
The Stooges: The band’s front man, Iggy Pop might be THE original punker and his band, the Stooges paved the way for punk rock with their aggressive sound and confrontational stage presence. I mean, in their time – the late 1960’s and very early 70’s, people were not quite ready for what the Stooges regularly served up. Diving into the audience, inciting mosh pits, slashing himself with broken glass, you could say Iggy wasable to hold an audience’s attention. Then, combine the visual, with songs like this one, "I Wanna Be Your Dog". about rebellion, sex, and frustration - made a lot of people squirm. Exactly the thing the Stooges were going for. Here's Iggy, from a 1977 interview on Canada’s CBC.
Probably one of the earliest recognizable punk influences was Lou Reed and his band the Velvet Underground. Founded by Reed (vocal, guitar, keyboards), and John Cale (bass, keyboards, and viola), in New York City in 1965. By the end of the year, they added Sterling Morrison (guitar), and Maureen Tucker (drums). Their song, “Heroin” was written from the point of view of an addict. We’re listening to "Venus in Furs," about sadomasochism. Everything about this band was intended to provoke a response.
As well as being forerunners of punk, the VU also pioneered a path into the avante garde that later punks followed. It obviously opened doors for their collaboration with Andy Warhol and each of the four had their own place in New York’s art scene.
Lou Reed, the band’s poet, had studied literature at Syracuse and had been influenced by poet Delmore Schwartz – you can see it in Lou’s fascination with urban alienation and existentialism.
John Cale had trained as a classical musician, but was also immersed in the minimalist and avant-garde music scene. Cale also played in La Monte Young's Theatre of Eternal Music, known for its pioneering drone and extended-duration compositions.
Guitarist and sometimes bass player (whenever Cale was on viola), Sterling Morrison was into the visual arts, especially experimental film and had attended Syracuse University with Lou.
Moe Tucker, the VU’s drummer also had a classical music background, like Cale. His avant-garde approach to percussion showed the strong influenced of John Cage and other minimalist composers. If you’re interested in learning more about minimalism, check out my episode fifteen from season one, the Celestial Pulse of Minimalism. There’s a link in today’s show notes. https://americansong.buzzsprout.com/1622638/9672982-the-celestial-pulse-of-minimalism
VU White Light White Heat
The famous pop artist, Andy Warhol (you’ve probably seen his paintings, Campbell’s Soup cans, or Marilyn Diptych) was the Undergroud’s ;major patron and he probably had the greatest influence on their development. The VU did a number of mixed media shows called The Exploding Plastic Inevitable that "combined the band, a pseudo-sing/ German fashion model named Nico, some of Andy's films, dancing, an elaborate light show, and even the audience themselves via live interviewing during their performances. Everything about the shows was intended to shock audiences. Bizarre lighting. Jarring music, blatantly sexual questions asked of the audience while their reactions were taped, and more. Entirely disarming at first, these things became expected elements of future punk rock concerts.
Jet Boy
Yet another proto-punk band from the early ‘70s, The New York Dolls were another New York band. Although their influence never went much beyond New York at the time, today, fans look back and appreciate how the Dolls helped pave the way for punk. Their music was a blend of both the trends in "boy-girl" themed pop music and pessimistic social commentary. This is their song from 1973 called “Jet Boy”. Blending glam and proto-punk, Jet Boy is about adolescent rebellion and sexual awakening. It’s a song that pushes boundaries with its suggestive lyrics and energetic rock sound. Known for "manic screaming” - another trend that punk followed – they also got a lot of attention for the clothes they wore. The mildest way you can describe it is androgynous. The band was managed by Malcolm McLaren, who of course managed the Sex Pistols for about fifteen minutes towards the end of their crash and burn career. It was McLaren that pushed the Dolls even further to the fringes. Like the concert they performed with Communist-themed clothes and props. The great rock and roll photographer, Bob Gruen – who is famous for his photos of legends like John & Yoko, The Rolling Stones, Led Zeppelin, David Bowie, Tina Turner, Blondie, the Ramones, Patti Smith, the Sex Pistols, Kiss, and loads more - explained why The New York Dolls never became a bigger band. He said, "If you wanted to work in the music business, you didn't go round admitting that you saw the New York Dolls. That was like admitting that you had friends who were homosexual. It was not popular in the mainstream". Um…. Judgemental are we?
Nothing quite like a New York Dolls show had ever been attempted before in rock. The band members broke new ground in sexual ambiguity. The guys wore dresses, high heels, fishnet stockings, ripped jeans, leather jackets, and outlandish makeup, pushing boundaries and attracting attention with their visual presentation.
But it wasn’t just about fashion. They carved out their own niche in stage presence, too. Their lead singer, David Johansen frequently climbed up into the stage lights or threw himself into the crowd. The band had dance moves, dramatic gestures, and loads of audience interaction – sometimes involving the audience up onto the stage.
Moving beyond simple entertainment, New York Dolls' live shows challenged societal norms about masculinity, sexuality, and performance. They injected raw energy and theatricality into the rock and roll scene. In many ways, the New York Dolls gave birth to glam rock.
Sufragette City
Bowie was a regular at the Dolls shows in the city between 1971 and 1973, where he immersed himself in their raw energy and theatricality. He called the Dolls "one of the greatest rock and roll bands in the world" and said they were "an inspiration." You can hear that influence in his music when you listen back to "Ziggy Stardust" and "Aladdin Sane" albums that coincided with the Dolls' peak.
This was also the period when Bowie turned away from his early, ‘folk-inspired’ music towards a heavier sound, with axe-man Mick Ronson on lead guitar, like on this song, Suffragette City, from The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
In his character, Ziggy Stardust, Bowie created a rockstar from Mars, sent as a Messianic messenger to Earth, and carrying a message of hope and salvation to a dying Earth. Unfortunately, this anti-hero took a tragic turn and succumbed to fame and self-destruction.
Rock and Roll Suicide
Drawing from his New York Dolls experiences, Bowie injected Ziggy with their androgyny. : Ziggy's look challenged gender norms with makeup, flamboyant costumes, and ambiguous sexuality. Ziggy wore his hair in a dramatic, bright red mullet with long flowing strands andn spikes. To give Ziggy his otherworldly persona, Bowie applied heavy white foundation, bright eyeshadow, dramatic eyeliner, and painted lightning bolts down his cheeks. And an alien rocker is going to have clothes to die for, isn’t he! Ziggy's clothes were a kaleidoscope of color and extravagance. He wore bold jumpsuits, glittering bodysuits, dramatic capes, and flamboyant jackets everything made from satin and velvet and studded with sequins in
