Patti Smith and Elvis Costello visit Raul's, after the Bodysnatchers beat the Skunks to vinyl, in Chapter 6, Part 2 of the 'Austin Punk Chronicles.'
's sole issue's cover announced in a full-page headline,"SOMEDAY ALL THE ADULTS WILL DIE!" West's hyperventilating prose analyzed recent releases from Brits the Clash and Tom Robinson Band, Los Angeles' the Dils, and our own Roky Erickson."To Be a Punk in Austin," an editorial/call to arms typical of the spearheading-a-new-generation manifestos opening such zines as Los Angeles'"Prove you are not boring," West challenged."That's right.
The night before that Elvis Costello gig, Sublett recalls the headliner and his manager Jake Riviera walking into Raul's as the Skunks tore into their weekly residency. Blackmon's recollection differs. He remembers Costello and Riviera being present at soundcheck that afternoon, possibly owing to the latter's friendship with Sublett's girlfriend Lois Richwine. In the Skunks drummer's telling, Riviera intimidated whoever was doing sound into not recording the not-so-spontaneous guest slot.
“People often ask me, ‘What is punk rock to you? What is it about?’ And I always tell ’em, ‘It can be distilled down to one word, and that’s freedom.’ That’s what we were trying to do.”Smith, born in Chicago on Dec. 30, 1946, and raised in a New Jersey suburb, relocated to Manhattan in 1967 to lead a bohemian life. From 1971 onward, she read her wildly oscillating free verse over pioneering rock journalist Lenny Kaye's protean guitar work at various poetry events.
Smith made her grand entrance toward the set's end,"dressed black on black, with a black bowler pulled so low you couldn't see her face unless she looked straight at you," as Sublett described in his memoir. Strapping on Richwine's Fender Musicmaster, Smith shrugged off the audience's shouted requests and endearments as Muñoz"started making some general racket in the key of E minor.
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