![]() ![]() We ended up switching shifts so we worked everyday together but we were so locked in to the point where one of us would get upset if the other didnt show up to work and ded not without telling each other □. We went on our first date and it was awkward but fun he kicked my ass in bowling. At that point I literally started panicking and hiding behind boxes like a little shy girl and he eventually came up to me and started talking to me and gave me his snapchat outside and we started talking nonstop. We were just on a power trip.⬇️VERY LONG CAPTION⬇️ Our Love Story □, We met at Amazon in September 2021 and we were both working a few shifts together and I had noticed him because he drove a sexyy ass black dodge charger and my delusional ass swore he parked next to me on purpuse (he had no idea who I was at the time□□) Anyways, I met a few girls and ofc as any girl would was telling them how handsome I thought he was and this girl walked past him and got his name from his badge and convinced me to let her other friend who was a guy go and talk to him for me. We were 19 years old and we were punks, but we weren’t on a meth power trip. I think the reason the song lives on is because it seems to sum up that slightly over-the-top enthusiasm that youth have, that 19-year-old punks on a meth power trip have? I say that quoting Lester Bangs. It can work out well, like some bands, REM and I think U2 do that. Hate to deflate the thought, but that’s how it is in the songwriting business.Įverybody got credit on the songs because, you know, we were communists. And those other lines, Miss McKenzie, that just rhymed good with leaping frenzy. When the dressing room got hazy, it got hazy with reefer smoke. He was telling us, “Don’t try and change me, let me be who I am.” He was framing it like the story of what happened on a night when we played. He talked later about how he was writing it to us in the band. So it was like an expression, and Tyner crafted that into a tune. We’d stand by the edge of the stage and holler: “Kick out the jams or get off the stage!” Well, if they were losers, we let them know that. I couldn’t tell you which bands, because we harassed every band we played with. So we used the expression to harass other bands. Tyner heard the expression and it fitted in with this idea of total commitment, total assault on the culture. ![]() We just tried to knock something out pretty quickly. I had a little amp and we would sit there and I’d throw riffs at Rob and chord changes, and he would usually have a couplet or two of lyrics and we’d just try to fit them together. We had this kitchen that used to be a dentist’s office. Most of that generation of songs, Rob and I wrote in the kitchen at our house near the John C Lodge Expressway in Detroit. Wayne Kramer (guitar): We picked “…Jams” as a single because it best summed up what we were doing at that moment. In fact, the phrase “kick out the jams” was originally a heckle, deployed to harass the night’s star attraction if they were turning in a less-than-stellar performance. The 5 – vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis and drummer Dennis Thompson – had gigged there weekly since it opened in 1966, acting as local support for whichever headline act was passing through town. In addition to their White Panther polemics, MC5 established their own religion, Zenta, and it was on the Zenta New Year in 1968 – Halloween weekend to the rest of us – that the band recorded the Kick Out The Jams album at Detroit’s Grande Ballroom, a former big band agora from the ’40s that became the first psychedelic ballroom outside of San Francisco. Under the guiding hand of poet and politico John Sinclair, the MC5 mixed the incendiary White Panther ethos of “Rock and roll, dope and fucking in the streets” with high-energy garage rock and Sun Ra riffs. Along with Detroit sparring partners The Stooges, The Motor City Five were an anomaly in the peace-and-love hippy climate of the late 1960s. ![]()
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