大象传媒

All of the values that made New York punk special - the confrontational attitude, the girl group melodies, the poetic aspiration, the doomed romance - were present in the . So it’s hardly surprising that so many of the leading lights of the mid-70s punk scene had been fans of the sleazy glam-rockers. and of , and various all went to hang out every Tuesday night during the Dolls’ residency at the Mercer’s Oscar Wilde Room. Then they went off to form their own bands, thereby rejuvenating rock 'n' roll.

The scale and spectacle of live EDM (electronic dance music) performances, particularly in America, can be directly traced back to this startling performance. Faced with an indifferent response to their third album, Human After All, invested in an astonishing $300,000 lighting rig in the shape of a pyramid, which they managed to keep secret from everyone, including their own manager. On the day, the duo unveiled the flashing structure to incredulous gasps and proceeded to play an ecstatically received greatest hits set, thus raising the live dance music game for a growing army of US ravers - including , who says that most of his EDM peers subsequently claimed to be in the crowd.

It’s hard to overstate the nurturing effect of on the fledgling rhythm and blues scene in West London, especially when his band took up their residence at Britain’s first R&B club, situated opposite Ealing Broadway station. For a venue that could only cram 200 people in, a remarkable number of them turned out to be famous names in the making. Regularly attending the club's Saturday night sessions were Jack Bruce and Ginger Baker (later of ), and . And it’s the place where Alexis introduced his protege Brian Jones to Mick Jagger and Keith Richards, thereby forming the frontline of in one fell swoop.

Less of a gig, more of a collision between the artistic East Coast punk scene and the brutal hardcore punk sound of LA. Ian MacKaye of was there, as were a whole retinue of Washington DC punks, who alternated between moshing and taunting the band with chants. And future singer made his accidental debut (as he explains in this ). Another unexpected consequence of the gig was the formation of the . In Alan Light’s biography The Skills to Pay the Bills, Adam Yauch explained the impact of the show as being fairly immediate: "We were like, 'Let's start a New York hardcore band,' kind of as a joke. And that was called Beastie Boys. We were trying to think of the stupidest name."

Like all the best transformative gigs, this stop-off on ’s first British tour was sparsely attended. Most music fans in Liverpool were celebrating the return of local boy , touring with Wings. But among those who made it to the Empire that night was Andy McCluskey, future leader of synthpop pioneers , sitting in "seat Q36". He told the that this was a decisive moment for the future of pop: "It was the height of long hair, flared denim and lead guitar solos, and they came out looking like four bank clerks with electronic knitting needles and tea trays. It was like an alien spaceship had landed."

Clive '' Campbell put on his first party in the recreation room of his Bronx apartment block for his sister's birthday in 1973, as he explains in an episode of the World Service's . Using a mixer to cut from the breakbeats of one record to another, he created an instrumental mix for his friend Coke La Rock to spit rhymes over, Jamaican-style. This was the start. Without Herc, no and no , both of whom worked hard to try and steal his thunder. And without all three, no hip hop as we know it today.

This was less about the music, as much of the gig was barely audible thanks to the wind blowing down the Mersey estuary. It was more about a mythical coming together of indie kids, ravers and proto-Britpoppers. Future stars Noel and Liam Gallagher (who explains how the band changed his life in this 大象传媒 Radio 4 clip) were there, taking notes. It is also notable for being the location in which first recorded the phrase "sorted for E’s and whizz", that later became a song title, as he explained to : "I went to Spike Island to see ' big moment. There was this dealer going round, just shouting that phrase again and again."

The early-90s riot grrrl scene grew out of the hotbed of fanzine culture in the Pacific Northwest, particularly in Olympia, Washington. So when Allison Wolfe and Molly Neuman claimed in their 'zine Girl Germs that they were in a band called - despite no previous musical experience - and were then offered the chance to support scene leaders , they had to put up or shut up. Electing to go for it, Bratmobile's nervy twee racket formed a counterpoint to the righteous fury of Bikini Kill, and between the two bands, the foundations for the riot grrrl genre were laid.

Back in the 2000s, the natural home for grime MCs looking to make their mark was pirate radio. One particular session in 2003 pulled together three grime crews - (featuring , the scene’s godfather figure), East Connection and - put them in a rooftop box room in East London and pitted their MCs against one another. (then just 16) was there, as was . angrily fronts up to an MC called Crazy Titch. Anyone listening must have believed the world could be theirs for the price of a perfect 16-bar slamdown.

The concept of guerrilla gigging (or 'busking', as it's otherwise known) briefly caught the imagination of indie bands after started playing impromptu concerts in various unlikely locations, buccaneering their way through their own wobbly rise to fame. Shortly afterwards, played in 大象传媒 Radio 1's reception, played on the roof of the Bricklayer's Arms in Shoreditch, and turned up outside Leicester City football club and at the government war rooms, powering their amps with car batteries.