One performance on Saturday Night Live that resulted in a seemingly unknown band getting banned actually was the best example of being punk rock and roll had ever seen.
Punk is defined by fighting oppression projected onto people, you're a “punk” if you boldly state disdain for fascist regimes or fight the powers around you.
The 1960s and their politics, wars, inequality, and blame is what led to the popularization of the rock and roll outlaw. That’s what led to Jim Morrison's on-stage arrests, John Lennon’s “bed peace” stint, and, most notably, protest music. Protest music was nothing new by the 1960s, nor the reactions to it. To be banned was to make it, simply. Your point had come across and the exact people you wanted to fear you, did. It was a win, even if it looked like a loss.
Following in the footsteps of all the greats, Elvis Costello and the Attractions’ Radio, Radio was banned rather quickly due to its cynical views of the BBC censorship, namely that of the Sex Pistols God Save the Queen.
The Pistols song was quite a shock upon its 1976 release, then again everything punk was. While it could be argued the Pistols took it furthest with their aggressive marketing and distaste of the monarchy, it was just another brick in rock’s long history with rebellion. Rock and Roll was bred from rebellion, so many of its biggest acts were created with that in it, a simple piece of what made it so important, as opposed to it's meaning. Many elder statesmen of rock were unimpressed or embarrassed by the acts who labeled themselves as "punks". Notable instances of this is that of Elton John, who claims he laughed at his tv when Johnny Rotten of the Sex Pistols insulted him [and Rod Stewart, which John also got a kick out of], Keith Richards scoffed at their headline making antics, claiming himself as the original punk, and Freddie Mercury, who was unsuccessfully taunted by Sid Vicious [also of the Sex Pistols], retorted to calling him ¨Simon Ferocious¨. They became so hated that even up and coming contemporaries hated them, Tom Petty even claiming “you call me a punk, and I’ll fucking cut you”. While Petty responded in a punk way, the punk movement was
making rock music look like a stage act, and the musicians who make this music like jokes who do things for shock, which very often wasn't the case. In the way Petty cannot be
labeled as punk, neither can Richards, as his antics and demeanor were not created for shock value, it was just who he [formerly] is
So, among those who made music, punk musicians were merely an annoyance, a tarnish of their legacy, or downright rude for the sake of being so… accept one.
One punk's name barely left their contemporaries' lips in a negative way: Elvis Costello. Costello is a punk, let's establish that right now. Now it's easier to look at him as a man of a thousand sounds and genres, or a great alternative band leader, or a pop sensation, but he was punk before anything else. In 1977, he released his debut album, My Aim Is True, which capitalized on the punk movement that was then just beginning. He didn't have spiked hair, he wasn't adorned with safety pins and buttons, and he sure didn't wear any leather jackets or ripped clothing; no, instead Costello was found on the cover of one of the biggest punk albums looking like a knock-off Buddy Holly. He wore large glasses, cuffed jeans, and a neat blazer and tie combination, the furthest outfit anyone could have found from the stereotypical punk. What makes Costello punk then? His attitude. He held the attitude that all the old rock and roll stars of greatness had, he wasn't rebellious to sell records, he just needed rebellion. He would say outrageous things, yes, and get himself punched a few times, of course, but he was never in the group of hated punk musicians.
There could be many reasons for this, but the biggest to me seems that he wasn't disrespectful of his predecessors like many of the other acts. Even down to his name [Elvis not being his real name, merely a steal from Presley, as this Elvis was born Declan MacManus] he respected those who came before. He never claimed to be bigger than the stars he shared a bill with, he was never insulting them for his own publicity, a major reason why he remains respected and viewed as a colleague to many musicians, it's not everyday someone can say their name is part of a Paul McCartney songwriting credit [Costello wrote two hits with McCartney: one for himself being Veronica and the other for McCartney being My Brave Face, two of the huge late 80s pop hits].
Costello's stage name, as stated, was a riff on Elvis Presley, who is often referred to as ¨The King of Rock 'n' Roll¨. Regardless of how you feel about the legitimacy of his title, he was respected and upheld as one of the founders of 50s rock 'n' roll, along with others such as Chuck Berry, Little Richard, and Bo Diddley and is still held up as a constant source of inspiration for rock´s biggest stars. The year Costello debuted was the year Presley died [Presley died on the 16th of August 1977 of a heart attack brought upon by his addiction to prescription pills in his Tennessee mansion, Graceland; Costello's debut album came out less than a month before on the 22nd of July], and the punk in his took advantage. A suggestion envelope came with some original copies of his debut album, transcribed with ¨What do you like about the British Elvis?¨ as well as the cover repeating the words ¨Elvis is King¨. While Costello was respected, he was still a direct punk of movement, shown here by his reaction to the death of someone most considered an idol. Costello pulled the cap over their eyes in a way no one held him down for, a rebel getting away with antics.
Back to Radio, Radio though. The song seems innocent and unsuspecting enough till you look through the lyrics. Costello has never been one to mince words, so naturally his commentary on musical censorship is no different:
“Radio is the sound salvation
Radio is cleaning up the nation
They say you better listen to the voice of reason
But they don’t give you any choice
‘Cause they think that it’s treason
So you better do as you are told
You better listen to the radio” “I wanna bite the hand that feeds me
I wanna bite that hand so badly
I wanna make them wish they’d never seen me.”“And the radio is in the hands of such a lot of fools
Tryin’ to anesthetize the way that you feel”A ban was placed on the song in the UK due to its lyrics, ironic if you think about it.
While a damper was put on the song in the UK, it was a hit in the US. Costello's star was rising. He was gaining new opportunities left and right, ultimately culminating in a 1978 Saturday Night Live performance. The band was asked to fill in for the Sex Pistols who couldn’t attend the show, and the Ramones wouldn’t go on in refusal to be a second pick. Costello and the Attractions seemingly didn’t mind, even if them being on the show was because they were the only punk act that would say yes on later notice. They agreed to play Costello’s solo hit Watching the Detectives from his debut, and his debut single Less than Zero. Only one of those songs was played, however.
It was about two lines into Less than Zero when Costello halted the band, screaming to stop. He turned to the audience, exasperated, stating:
“I’m sorry, ladies and gentleman. There’s no reason to do this song here.”
The band would then launch into Radio, Radio to the displeasure of showrunners and NBC, but not the audience. Costello was rebelling, he was being the punk he was categorized as. There was no goal to that specific song being played on that specific show, other than the fact Costello was told what to play by a company and felt his song of rebellion combined withan act of it would soothe his anger at the prospect of being told "no." Costello would be penalized with a ban from
that would last nearly a decade. Costello and the Attractions were censored for protesting censorship, in another ironic move from the media companies that had been panned in the song.
Costello would later go on to say the choice was inspired by a 1969 Jimi Hendrix performance on The LuLu show. Hendrix was billed to play his hit Hey, Joe but decided mid-performance that he didn’t want to, and promptly began a unplanned rendition of Cream’s Sunshine On Your Love. Costello said he was pulled from the air seconds after, and that “It was like watching your television go out of control.” Once more, we find proof in the rock ‘n’ roll being bred in rebellion, and Costello following their steps when his contemporaries were scolded for going “too far”.
Protesting censorship, gaining radio and television bans, and rebelling against the corporations were all under Elvis Costellos less than a year after his debut. He embodied the rebellious nature punk is based in, all without gaining a bad reputation with his elders.
All Hail Elvis, The King of Punk.
Elvis Costello and the Attractions during the infamous SNL performance:
Comments