From the Velvets to the Voidoids Quotes

“An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll.
(...)
A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.”
― Clinton Heylin, From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World

“If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together.
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― Clinton Heylin, From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World