Carly & I talked to Quiet Lunch about our podcast, ‘77 Music Club, New York, and why rock and roll isn’t dying among those under 40. Check out the full interview (and more photos of me with severe resting judgmental badger face!) here.
Two weeks ago, I went to a bar where the much-hyped DJ was actually a guy who just plugged an aux cord into his iPhone, then proceeded to fist-pump his way through a Spotify playlist of select choices like a radio remix of Justin Bieber’s “Sorry” and Migos’ “Bad and Boujee.”
There’s no doubt about it: We are living in an interesting, complex time for music, one where, technically, anyone can call themselves a DJ. In 2017, mention “DJing” and you’re more likely to be met with a reference to DJ Khaled’s Snapchat, an “Oh, that guy from Netflix?” if you mention Grandmaster Flash, and a straight-up “Huh?” if you bring up Afrika Bambaataa.
DJing has always been more a part of the underground music scene than the mainstream one. Now more than ever, though, it feels even more difficult to find an actual DJ — not one titled with the misnomer — who creates music that is both innovative and true to the original form. But, if you know where to look, in the clubs of Bushwick and the Bandcamps and Soundclouds of the internet, the real DJs are still there.
On March 31, 1974, a young band called Television played their first gig at recently-opened Bowery dive CBGB. Not long before, they had helped Hilly Kristal put the CBGB stage together; now, they were performing in the club that they would help to immortalize. Television, comprised of Tom Verlaine, Richard Lloyd, Richard Hell (replaced by Fred Smith in 1975), and Billy Ficca, soon became the de facto house band at CBGB, appearing regularly and becoming a staple of the growing scene that would come to include the Ramones, Blondie, Talking Heads, Dead Boys, and Patti Smith, to name a few.
With their popularity growing, the logical next step would have been to record an album, but Television bided their time. They chose to hone their sound, to develop and grow as a band, so by the time they were signed to Elektra Records in 1976, they were more than ready to begin work on what would become the seminal Marquee Moon. Released in early 1977, the album is regarded as one of the greatest of the punk era, containing songs that continue to be referenced today in covers and samples.
We chose this album as the first to be covered from our show’s namesake year because of its grit, its timeliness and timelessness, and its particular way of getting under your skin and making you feel more electrically charged than you were when you began the album. In this episode, we explore how Television’s and CBGB’s beginnings are inextricably linked, dive into Marquee Moon’s darkness and dreaminess, and outline the continuation of the band’s sound, proving that their legacy still thrives today.
I covered Night Of 1000 Stevies for Inspirer and it was extra as hell but also kind of poignant???