Category Archives: punk

Stooges: Look out honey cuz I’m usin’ technology!

Let this be a warning to you: you will turn your back on the Stooges three times before you realize your mistake!

I was a young punk and I didn’t like anything that wasn’t what I was currently playing on my cassette deck. The stooges just didn’t fit. They clanged out with punk that sounded too rock and roll to my purist ears. And the well-published Stooges story was all about punk as destructive front-man, a trope that I felt should be retired. At the time I valued music that was political, organized, focused and sober – pretty much the opposite of the Stooges.

My second invitation to listen to the stooges came when I taught for a summer at the Michigan Debate camp. The faculty (gathered from around the nation) were all housed in a recently renovated apartment building that was rumored to have been Iggy Pop’s. It was claimed that our apartment was Iggy’s and that I was staying where his old room had been. Payday at the end of a month-long gig was an incredible moment of consumerist joy and I remember weighing an Iggy and the Stooges CD, but putting it back in lieu of the 4xCD Stax/Volt box set (which changed my life).

Reading Gillian McCain & Leg’s McNeil’s book Please Kill me was my third chance to dive into the Stooges catalog. So many terrible stories of Iggy’s destruction and the aspirations of a generation trying to tell new stories with new sounds. Recording an album in Berlin with David Bowie that dabbles in gender play (a song called penetrate on a 70s rock album isn’t that unusual, but that tune is about Iggy being penetrated. )

Having been a music fiend my whole life, and with an origin as a frugal yankee, I look for the cheapest media with the coolest music when I’m buying second hand. I started buying a lot of records 20 years ago because you could get Stevie Wonder’s best songs for pennies at yard sales. In the last 5 years CDs have become useless to most people and they started selling a buck a pop or even less.

I spent a lot of my life desperately saving enough money to buy an $11 CD in a record store. To see an album I’d always wondered about for so cheap . . . sucks teeth. Which is how I found myself in a pandemic with a couple hundred CDs that I’d stacked up in a cupboard. I drew Raw Power from under a stack of abandoned albums because it was the right time and started really listening to the record.

The album is transformative – great guitars, excellent song-writing and some of the most 2020 tunes to be recorded at any moment. I was hunting for the making-of documentary that came out in 2010 when I came across a nice video of Iggy and the Stooges doing Search and Destroy in 2017.

Let’s skip all the body-shaming crap and ageist foolishness. It is great to hear a passionate song sung with passion by passionate people. I love Iggy’s plea for the crowd to save his soul that comes with the wild arm gestures. There is a clear juxtaposition between the naked and the clothed – Iggy of course is shirtless and glowing. But there is also a shirtless security guard who is moving around behind the amps. And there is a guy in the band shirtless playing a pair of claves. But every other member of the band looks like an 8th grade science teacher with tucked in dress shirts. There is the tiny club-sized set that Iggy has compressed into the center space of this festival stage. And the great contrast of how much space both sonically and physically the Stooges take up.

It is never too late to learn or investigate and discover the world. There is music out there that has not been heard and the day is just beginning.

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Filed under art, drugs, gender, juxtaposition, music, punk, rock and roll

Nostalgic Rock N’ Roll: the Hellacopters

I associate the Hellacopters with Pittsburgh. It was the second year that I lived there when a friendly record store clerk and they suggested “Grande Rock,” the third Hellacopters LP after noting my purchasing patterns.

At the time I was heavily into hardcore and punk and had a fairly purist view of DIY ethics (necessary) and corporate record labels (evil). But I will acknowledge a healthy love of classic rock. Part of the reason that I started collecting vinyl LPs was to buy second-hand records and bypass the guilt associated with supporting a multinational death company that might have purchased the soul of some poor talented musician.

It wasn’t uncommon for me to buy an brand new copy of the New Bomb Turks CD and also a thrashed J Geils band LP on Atlantic from the dollar used bin. Which honestly is a pretty good description of the Hellacopters.

Guitars. My memory of the first listen was dominated by the guitars. Slashing, thrashing and almost indulgent levels of guitars. And then that sort of goofy piano playing that becomes so necessary after many listens. Then you sync into just how good respectful 4/4 drumming done well is. And then it’s the guitars, catchy songs and genuine respect for rock n’ roll traditions.

Saw ’em live at least once, maybe twice during these years in Pittsburgh and they were fantastic. About everything you could imagine – with a performance at a pub being particularly memorable for the energy level and amount of beer poured on my head.

From the position of socially-distancing during Covid-19, you sort of wonder what forms music and rock n’ roll will embody in the future. I find myself nostalgic for the kind of energy and excitement of the crowd in the video above in Stockholm in 2018 when the band kicked into “Gotta get some action now” . . .

But the lived nature of a band like the Hellacopters is that they should be enjoyed. The band worked because they weren’t straightforward 70s rock clones, and they weren’t afraid to lay down a lick that was melodic and Zep-worthy. They just rocked and never really looked for justification or permission.

We can trust that the spirits of rock n’ roll can’t really be destroyed and will always re-emerge in some new presentation depending on the local circumstances.

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Filed under punk, rock and roll

The Melvins and observing wildlife

This morning I went to pick up bagels and two seagulls launched from a power line and flew down the road in front of me – hovering about a hundred feet ahead of me leading the way through the fog for several blocks.

I’m sure that this kind of thing has always happened. But I’ve become cued to observe birds more closely recently. Part of it is the boardgame Wingspan, and I’m spending more time out-of-doors during Covid-19.

Similarly, I’ve spent a lot of time connecting with the Melvin’s catalog recently. Like seeing squirrels, birds and neighborhood cats who come into relief when you are paying attention, the Melvins grow in importance and meaning the more you look for them.

Here are the Melvins in 1993 playing in all their glory at UCLA. Buzz with a savage sound and performance energy. The weirded out passers-by. Dale’s gardening gloves? The drama-stage drum riser that seems to be set up in a car park or something. All captured on VHS glory.

But the winner of the video is Lorax or Lori Black the bass player. Disinterestedly smoking a cigarette, playing that drone string with a herky-jerky chop – fuzzed out bass chords that stop on a dime. Worth a listen.

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Filed under music, nature, punk

Mimi Thi Nguyen: punk and resistance

There are a lot of smart insights in this Bluestockings interview with Mimi Thi Nguyen.  Feministing shared the link and gave me the heads up that there was some discussion of guilt and professional expectations in the essay.  Nguyen seems persuasive to this punk professor when she writes:

The disjuncture then comes when I consider how we are encouraged to carry ourselves in the academy. I feel a lot of pressure to professionalize, and the prescriptions for professionalization often run counter to my way of being in the world. I also struggle with the directive that I am supposed to professionalize my students. I don’t hold with the idea that I should train students to be better workers, because the content of “better” — more obedient, more efficient, whatever — runs counter to what I want to teach. In my feminist theories courses, I say, “Yeah, I just gave you assignments with deadlines! But I also want to say to you, what’s so great about work? Why do we believe work is supposed to be edifying? Should we always have to be productive? Why do we imagine work as something that gives us dignity? What if it’s just wearing us down?” My history in punk totally informs these attempts to practice other ways of being in a classroom, and other ways of being a professor.

via (Un)productivity in the Digital Age — A Conversation with Mimi Thi Nguyen | Bluestockings Magazine.

Like Nguyen I was a reader of Maximum Rock and Roll since my teens.  I was deeply informed by the DIY spirit and raw love of music and counterculture that ran through MRR.  Along with that inspiring freedom were some toxic interview discussions and columns that also were a big part of MRR.  I remember a particularly racist / sexist sex column, perhaps from Mykel Board?  Nguyen as a young punk writes MRR and challenges the columnist for MRR and gets a hateful column in reply.  The scrap with MRR inspires her to create her own zine Race Riot.

The impetus for Race Riot came when a columnist at Maximum Rockandroll wrote about his Asian fetish, suggesting that Asian women’s eyelids look like vulva, and that their vulva might be also horizontal. It is an old imperial joke — there are all kinds of imperial jokes about how racial, colonial women’s bodies are so inhuman that their genitalia might reflect this alien state. I wrote a letter to Maximum, cussing and citing postcolonial feminist theory. He then wrote a lengthy column in response about how though I’m Asian, because I’m an ugly feminist, he wouldn’t want to fuck me anyway. There was a discussion at the magazine about whether or not to publish this column because the magazine had a policy — no racism, no sexism, no homophobia. But the coordinator and founder of the magazine decided that this column qualified as satire, and so it was acceptable.

It was really infuriating for me to be 19 years old, totally invested in punk and politics, to be attacked under the guise of racist cool in the punk magazine. I was like, “Fuck it, I’m quitting punk.” But I figured I should do something, to leave something behind as a practice and as a document, to reach other punks of color who might feel as isolated as I did in the aftermath.

via (Un)productivity in the Digital Age — A Conversation with Mimi Thi Nguyen | Bluestockings Magazine.

I know a lot of punks who saw the academy as a reasonable place to continue thinking about punk praxis.  Or more particularly, many of us go to an academic job and are reasonably punk in that and other parts of our lives.  Many of the punks I knew are still working with intentional collectives, creating media, hosting shows, playing music, creating alternative spaces and doing-it-themselves.  I’ll give a shout out to my friend Zack Furness and his book Punkademics.  I think you can read the whole book at Minor Compositions.

I’ll note my appreciation and agreement with Nguyen’s analysis of internet communications and the need for pauses for reflection.   She argues:

New technologies have produced expectations that we now have more democratic access to more knowledge, and that we must accommodate ourselves to an accelerated sense of time. But I am wary of this internalization of capital’s rhythms for continuous consumption and open-ended production. I hate feeling obliged to produce a post or tweet on a timetable. It makes me anxious. There is value in being about to respond quickly to an object or event, of course, but I also want to hold out for other forms of temporal consciousness, including untimeliness and contemplation of deep structures, sitting with an object over time to consider how it changes you, how the encounter with it changes the nature of your inquiry.

via (Un)productivity in the Digital Age — A Conversation with Mimi Thi Nguyen | Bluestockings Magazine.

Good interview and strong arguments.

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Filed under academics, capitalism, communication, do-it-yourself, feminism, media, music, punk, race, representation, resistance, sexism, technology

Electoral politics in Iceland: anarchist performance art

I appreciated Constantin Seibt’s article on the anarchists playing with the Icelandic electoral system.  The Best party had a wonderful list of campaign promises:

A glance at the most important campaign promises of the Best Party is more than enough to highlight the audacity of Reykjavik’s voters. They were promised free towels at swimming pools, a polar bear for the zoo, the import of Jews, «so that someone who understands something about economics finally comes to Iceland», a drug-free parliament by 2020, inaction «we’ve worked hard all our lives and want to take a well-paid four-year break now», Disneyland with free weekly passes for the unemployed «where they can have themselves photographed with Goofy», greater understanding for the rural population «every Icelandic farmer should be able to take a sheep to a hotel for free», free bus tickets. And all this with the caveat: «We can promise more than any other party because we will break every campaign promise.»The Best Party emerged from an idea for a sketch show.

via More punk, less hell! – News Ausland: Europa – tagesanzeiger.ch.

You know how it goes, they win the election, form a coalition government, fix the budget, and suggest that humorous performance art may be more effective than traditional governance.

An assessment of four years of anarchist rule yields a rather surprising conclusion: the punks put the city’s financial house in order. They can also look back on some very successful speeches, a few dozen kilometers of bike paths, a zoning plan, a new school organization that no one complains about any more and a relaxed, booming city – tourism is growing by 20% a year and some say that is the new bubble. In speeches, president Grímsson no longer praises Icelanders’ killer instinct, but their creativity. Real estate prices are again on the rise and the Range Rovers are back too. In polls last October, the Best Party hit its high-water mark of 38%. Shortly thereafter, Gnarr announced he would retire and dissolve the Best Party. His reason: «I’m a comedian, not a politician.» He added: «I was a cab driver for four years, a really good one even, and I quit doing that as well.»«My question was always: ‹How do we fuck the system?›» says Örn. «And the answer was, we show that non-politicians can do the job as well. But quitting with a certain election victory within reach, that’s truly fucking the system!»

via More punk, less hell! – News Ausland: Europa – tagesanzeiger.ch.

Thanks to longreads for the suggestion.

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Filed under art, capitalism, communication, do-it-yourself, humor, media, protest, punk, representation, resistance

Happy Birthday Sylvester

The illuminating blog Dangerous Minds noted that today is the birthday of the electric-disco-star Sylvester.   I appreciate that they frame Sylvester’s radical elements within his Disco successes:

. . . .if it wasn’t for disco there is no way that a linebacker-sized, black, openly gay, outrageous, gender-bending performer like him could have reached the top of the world’s charts.

via Dangerous Minds | Excellent documentary on the life of Sylvester.

Happy Birthday Sylvester and all who party with ya!

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Filed under funk & soul, Gay, memorial, music, punk, race, representation

Bad Brains: this band is obviously better than any other band

Totally grooving on the un-embeddable Bad Brains documentary: A Band in D.C.  Click the link.  Watch the video.  Learn and get inspired. 

Thanks to Gwarizm for the link. 

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Filed under do-it-yourself, documentary, funk & soul, music, punk, race, representation