I think my first trip to Yesterday & Today Records was to buy a copy of the Sex Pistols’ Never Mind the Bollocks. Skip Groff’s Rockville, MD, store was already establishing a reputation as the place to get punk and new wave records in the D.C. area. It was the kind of place where you could request the first Devo single and be asked whether you wanted the U.S. edition on Booji Boy or the U.K. edition on Stiff Records.
Skip soon began releasing records on his own Limp Records (a response to the U.K.’s Stiff Records):
He released or co-released records by the Slickee Boys, Razz, Nurses, D.Ceats, Black Market Baby and even Minor Threat, many featuring current or past employees.
Skip also released the influential 1978 compilation :30 Over D.C. — Here Comes the New Wave:
Skip was a stereotypical grumpy record store owner, not Bleecker Bob rude, but grumpy nonetheless. Which may explain why the former DJ spent so much time in the store’s backroom once he began hiring help to stock the bins, sweep the floors and deal with customers. That help included a lot of then and future D.C. musicians: Howard Wuelfing, Ted Niceley, Ian MacKaye, Bert Quieroz, Danny Ingram, Darren Mock and others. The store became a regular haunt of mine. I spent many hours having long, rambling conversation about music while leaning against those record bins.
D.C.’s music community suffered a great loss today.
“Our Lips Are Sealed” was co-written by Jane Wiedlin and Terry Hall.
The song became a major hit pretty much everywhere but the U.K. when it was released as the debut single of Wiedlin’s group, The Go-Go’s, in 1981:
The song became a major hit in the U.K. (and Ireland), but nowhere else, when it was released as a single by Terry Hall’s group, Fun Boy Three, in 1983:
Which version is the “real” version?
Designer Oleg Cassini taught Lee Radziwill and her sister Jackie Kennedy to dance the Twist:
Apparently the two sisters also visited New York’s Peppermint Lounge, where ’60s glitterati danced the twist.
I guess it shows just how iconic that song is that there is no need for a single one of Sir Mix-A-Lot’s words for viewers to get the reference . . . and recognize that hip pop-and-lock.