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Nick KentBritish rock critic and musician
Date of Birth: 24.12.1951
Country:  Great Britain |
Content:
- Nick Kent: A Punk Icon and Outspoken Critic
- Underground Journalism and Punk Controversy
- "Importing" Punk to the UK
- Drug Addiction and Continued Writing
- Parisian Exile and Eccentricity
- Legacy as a Rock Critic
Nick Kent: A Punk Icon and Outspoken Critic
Early Life and Music CareerBritish rock critic and musician Nick Kent was born in the UK in 1951. His musical roots trace back to his time as a guitarist in the infamous punk band London SS and in the early lineup of the Sex Pistols.
Underground Journalism and Punk Controversy
Kent's writing career began in underground music publications in the early 1970s. He soon became a regular contributor to New Musical Express and later The Face. However, his close association with the punk scene took a violent turn in 1976. At the notorious 100 Club, Kent was severely beaten by Sid Vicious of the Sex Pistols and Jah Wobble, future bassist for Public Image Ltd.
Kent's account of this incident in his autobiography, "The Dark Stuff," was disputed by Wobble and cannot be verified due to the absence of any witnesses. The event is vividly depicted in Julien Temple's 2000 documentary, "The Filth and the Fury."
"Importing" Punk to the UK
Kent played a significant role in introducing punk rock to the UK from the US. He is credited with exposing the young Sex Pistols to their American punk counterparts.
Drug Addiction and Continued Writing
In the 1980s, Kent struggled with drug addiction, a common issue within the rock and punk culture. He underwent treatment but remained active as a writer, contributing to The Face, Spin, and Details.
Parisian Exile and Eccentricity
In 1988, Kent relocated to Paris, where he worked in television and published articles. Known for his outspoken and often eccentric behavior, Kent famously labeled Lou Reed as an "asshole" and criticized Iggy Pop, a longtime friend.
Legacy as a Rock Critic
Nick Kent currently resides in Paris and continues to write for both French and British publications, including The Guardian. He remains an influential music critic, widely regarded as one of the most important chroniclers of British rock music in the 1970s.
