#glam-punk

[slrmagazine]

BAD MARY TO RELEASE DEBUT LIVE ALBUM – LIVE ON LONG ISLAND ON JULY 15. First Single "Marz Attaqx" Drops on April 15. #badmary @BadMaryBand

BAD MARY TO RELEASE DEBUT LIVE ALBUM – LIVE ON LONG ISLAND ON JULY 15

[phillygirlabouttown]

Femme Fatale: Tish & Snooky of The Sic F*cks (Features Archive)

So excited to read a brand new interview with punk artists Tish & Snooky of Manic Panic by writer Sarah Lashkow, over on Atlas Obscura’s website: http://www.atlasobscura.com/articles/manic-panic-isnt-just-a-hair-dye-brand-it-was-the-first-punk-store-in-america

Meanwhile, you can also check out this article from our Features Archive on Tish and Snooky (below). Text by Royce Epstein - article updated and added 11.8.16 Text originally appeared August 3, 2008.

Tish and Snooky Bellomo, the legendary ladies of St. Mark's Place, are better known for their brand of brightly colored hair dye, Manic Panic, than for their musical contributions. But for a short time in New York City in the late 70s, the sisters were part of local band Sic F*cks, who played their trashy style of glam punk at CBGBs and ruled the East Village. The Sic F*cks were one the earliest of the CBGB punk bands, formed by Russell Wolinsky with infamous scenesters Tish and Snooky after their brief stint as backup singers in Blondie. 

The sisters also opened their Manic Panic boutique in 1977, which became another hangout for the burgeoning New York punk scene. The shop featured their signature hair dye, along with their DIY fashions, including the "Son of Sam" t-shirts worn by Stiv Bators of the Dead Boys. The girls were known especially for their outrageous street wear and stage costumes, all which were self-made and sold at the shop. Between the shop and the band, Tish and Snooky became the it-girls of the Lower East Side, hanging out with the boys of The Ramones, Television, and The Dictators, among others. And over time as their band faded away into memory, only occasionally coming out to play special events, the Bellomo sisters spend their time managing the Manic Panic brand, which has grown over the years into a multi-million dollar international company, spreading the punk rock aesthetic around the world.

Tish and Snooky at Hilly Kristal's 50th Birthday Party With the closing of CBGBs in October 2006 and the passing of its visionary owner Hilly Kristal, on August 5th, 2008 MVD Audio released "CBGB OMFUG Masters: Live October 13, 2006 The Bowery Collection", which featured The Sic F*cks playing their classic punk songs live at the club in the last days before it closed.  With songs titled "Insects Rule My World" and "(When We Say Go) Rip Up the Seats", these were no nice girl-meets-boy songs, but rather rag-tag songs that were abrasive and abrupt.  The band also plays a raucous cover of the Ramones' "Blitzkrieg Bop". The live set was just thirty minutes, but provides a good glimpse into the history of this long-lost band.  Reunited for the CBGB closing celebrations, the band also occasionally comes out of retirement to play events, such as Joey Ramone Birthday Bashes.  Joining Tish and Snooky on vocals is Russell Wolinksy, Dick String on guitar, Joey Schaedler also on guitar, Stink on bass, and Harry Vedercci on drums.  This release is a welcome addition to the very thin catalogue of the band's work, especially since they haven't released anything since the early 80s.  A must for fans, no doubt.  A portion of the sales of the CD will go to the Hilly Kristal Foundation for Musicians and Artists.

Tish and Snooky - website / myspace The Sic F*cks - myspace Manic Panic - website / myspace

[thesonsofthesmiths2011]

Crocodiles - "Telepathic Lover"

Crocodiles – “Telepathic Lover”

  San Diego glam-punk duo Crocodiles are introducing their first single from their upcoming new album, “Dreamless” due in 21 October via Zoo Music. Listen in “Telepathic Lover” below: [soundcloud url="https://api.soundcloud.com/tracks/271239884" params="visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="166"…

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[nicolasjurnjack]

Maggie Rizer for Harper’s Bazaar 1999 Fashion Editorial

Photo: Patrick Demarchelier, Stylist: Tonne Goodman, Hair Stylist: Nicolas Jurnjack, Makeup: Brigitte Reiss-Anderson

[psychkicks-blog]

A CONVERSATION WITH PUNKS ON MARS

This article first appeared in Psych Magazine, published 12/09/2011.

I’ve never met Ryan Howe, aka Punks on Mars. We’ve chatted enough via email, but I’ve never actually laid eyes on him. I don’t know if you’ve ever got to know someone without ever meeting them or even seeing a photograph of them, but it’s impossible to stop yourself from creating a mental image based on the triggers your correspondent sets off. From our first few emails, I imagined Ryan as your typical lean, hard-nosed underground artist, even though his brand of futuristic, glam tinged 80s punk is unique. From there onwards, things began to change. Ryan has a way with words that allows him to say things like “posi-chill Reich” and “glam-punk mimesis” without sounding like a crank. As he outlined his ambitions for Punks on Mars (which are an Orwellian nightmare of mind-control, brain washing and subliminal messaging) another, more sinister image began to form in my mind’s eye: I began to imagine Ryan as less of a person than a control unit, a brain, preserved in a glass vat and connected to a synthesiser and a laptop via a mo- tor and a speed-drip. Listen to Punks on Mars’ self-titled debut and you’ll begin to understand. Read the interview below and it’ll make even more sense; Punks on Mars is an anomaly: an ami pro, floppy disk parody of a celebrity obsessed, vitamin-tab fuelled, interplanetary future.

How would you introduce Punks on Mars?

If I couldn’t play them a song I would say it’s cartoon hyper-glam, or parody punk. ‘Elvis and the Chipmunks.’ I have a 7” out on Zoo Music called Hey! Tiffany that represents the most crystallized version of that.

In terms of genre it kind of shifts. For a while I was re- cording neo-surfer cyber music (as Luke Perry) with arpeggiators and programmed drum machines and I’m definitely still into that but it’s kind of more about full band glampunk mimesis with junkie rat techno mo- ments on the most recent releases I’ve done. But I think it’s punk facelifted, even though I’m not really part of a punk community at all. It’s punk to me because it’s expressly not ‘chill’; it does not emerge from a tropi- cal vibe context; it’s not moody or like background trip- py music or anything like that. That shit’s totally like dominating a portion of the (underground) market right now which is cool and there are probably a lot of good bands that get sucked into that but it’s like a posi-chill Reich where everything’s sick and we’re all down with everybody and nobody cares to distinguish their art. Seriously the world of music and music criticism is like totally California Uber Alles-style right now. Total soft- Zen fascism. The music is so complacent and it doesn’t have anything to do with being commercial or sounding that way; commercial music is totally sick. It’s super content with this hazy chill escapism that’s just like blah-ed out to the max.

The sound itself though is definitely evolving to HD lev- els: totally HI-FI FOR THE MASSES. It’s still punk when it’s more HD…I feel like lo-fi has brainwashed me to an extent and now I want to react to that with some more hi-fi action. The reality is that you can deep fry anything with tape and people will probably be stoked but it’s like people aren’t hearing the actual music that’s there, just the process. It’s like, “sick, yeah, this was like on a VHS in my parent’s basement huhuuhu, GARFIELD SIMPSONS huhuhuh.”

The brainwashing potential of digital recording is way heavier a medium to work with anyway, which is some- thing I’m interested in. It can appeal to people that haven’t been informed by blogs that lo-fidelity is cool.

It seems like you’re channelling the Hitchhikers Guide To The Galaxy radio shows and Jeff Wayne’s War of the Worlds type sci-fi with a glam rock bent. Is this accurate?

Punks on Mars, compared to my other projects, is kind of like a repository for adolescent dreams that I really had and continue to have (like Elvis in the mirror style) or ones that are fabricated for art’s sake or ripped from an alterna- tive bubblegum teen drama universe. I’m definitely about repping certain influences (e.g. Gary Glitter), like certain glam and Anglophilia. Like Anglophilia 4 times removed. Whenever I play a show I’m serenading the queen. Defi- nitely into the Bay City Rollers as a kind of hyper-saccha- rine pop brainwashing outfit that transmit pro-abstinence messages in their music. I’ve also found inspiration in Weird Al’s music recently too. I’m totally down with the way he appropriates tracks or will just parody Devo to make his own track (i.e. dare to be stupid).

Mars is just the frontier of parodic forms… The colonies on Mars parody earth culture. The forthcoming Punks on Mars self-title is definitely tinged with a radio-drama kind of format (complete with jingles) though I’m not familiar with The Hitch-Hikers Guide. The radio is definitely rel- evant as a romantic idea (and we still have it even though it’s XM digital) as a platform for mass dreaming.

Your online presence is quite discreet. There’s no Punks on Mars Myspace, Bandcamp or website. What’s the reasoning behind this?

That’s kind of a result of just being scattered but it’s also about liberating the identity of the music so that it’s perceived in an alien way. But now I’m realizing that net presence is just an outgrowth of releasing mu- sic… It’s actually sick because you have total access to propagate your image and just spam the blogworld.

The Ratgum Records blog is the site for my personal record label and is going to be geared towards pseudo promotion and infomercials for records a la Target Vid- eo but ratted out to the max. It’s going to be a way to further manifest the performative part of the music. I’m so tired of this idea that like its cool to pretend your re- cord was like dug out of a 100 year old garbage can and is some like rare artefact. I mean, I like that idea but I also like all aspects of the pop world and how stars’ identities are micromanaged way beyond the moviesthey appear in and the records they make…headshots, press releases, commercial appearances, charity ben- efits, billboards, fan clubs, the works.

The first Ratgum release is going to be the Punks on Mars self-titled 12” which I did the art for and stuff… There will also be videos and commercials to go with the release. That record is definitely more in the kind of public access on Mars realm but it’s also kind of my definitive pop-art statement to-date. Eventually I want to produce other artists and bands and kind of develop a cottage production company where all the content is filtered through my head. Eventually all of my mu- sic (and affiliated products) will be presented under the Ratgum label (even if another label is putting it out) as way to allow my art to be fragmented but also traceable back to me…

[jobefish]

The Gluons - I Enter Your Void

Not sure what I think about this early 80s post punk band from Bedford, MA.  The slow pace and almost glam-punk sound is growing on me though.