photo & text by nacrowe
this was an interesting one.
THE HEPATITIS BATHTUB AND OTHER STORIES (DA CAPO, 2016) by NOFX with JEFF ALULIS seems at heart to be a distant PUNK ROCK cousin of the similarly structured and similarly debauched legendary MOTLEY CRUE memoir THE DIRT (reviewed HERE). both spend the majority of their ink going on a bout drug addiction and various inventive forms of self abuse that saw a wake of emotional turmoil and human destruction in their wake.
call me a prude but tales of degradation, violence and selfish behavior in the extreme bores me. to me it just screams as a cry for attention and deep need for outside validation. in other words its very un-PUNK ROCK.
NOFX are the children of the LOS ANGELES HARDCORE scene in the 1980s when more aggressive bands from the SOUTH BAY and ORANGE COUNTY got involved and upped the violence quotient considerably. before that moment it was more of an inclusive art scene with eclectic musical approaches and a crowd that reflected such. NOFX is emblematic of a shift to a more streamlined, aggressive, less socially conscious brand of PUNK ROCK that decidedly had more to do with WHITE MALE AGGRESSION than the prior ethos of individuality, self-responsibility and empowering your community.
for me what made this book interesting were the times that NOFX shifted away from the sophomoric frat house routine they are renowned for and put their collective backbone into some type of cause. NOFX singer / main songwriter / bassist FAT MIKE put his name and independent record label FAT WRECK CHORDS as the muscle behind the PUNKVOTER website in order to get his fans out voting, specifically with the aim of getting GEORGE W. BUSH out of office. obviously it didn't work but that is the point, it marks FAT MIKE and the band as having an interesting in speaking truth to power and encouraging civic engagement and self-empowerment. in other words i'd argue the definition of PUNK ROCK.
another strain throughout FAT MIKE's narrative is his growing confidence to let his passion for fetishism and S&M to be expressed in his music more openly, not guarded behind the knowing wink of a joke. although originally introduced to us in the first few pages as a means of titillation and shock value, what transpires over the course of the story is how such for him is a means of identity with a correlating community supporting such endeavors. in a way, its as normal as a country club or a knitting circle, it is just another means at deriving a community and in a strange sense this book offers an insider's look at the appeal and benefits of such a non-mainstream community.
lastly i want to mention that for me the most compelling of the several individual narratives that made up each chapter (again, in similar fashion to THE DIRT), was that of NOFX drummer ERIK "SMELLY" SANDIN and his relationship with drugs. i feel that out of all the members, his story was the most depraved. the damage he did to himself and his surrounding community was insanely hardcore and fueled entirely by an intense sense of self-loathing rooted in a troubled childhood. the narcotics and the "friends" he picked up thereafter were just symptomatic of that need to belong. it sounds so simple, but his journey was one of discovery one's own self-worth, even through the haze of drug addiction. and he was a legendary degenerate junkie for that matter. COURTNEY LOVE referred to him as the worst junkie she'd ever seen due in part to his lack of ability to control his symptoms, puking and passing out with no regard for his surroundings. the idea that he can come out of that arguably present himself as one of the more responsible members of the band is a testament to his efforts.
i do want to also commend guitarist ERIC MELVIN for sharing his experience of being social abused as a child. its beyond courageous and should be celebrated as such. hopefully it will result in other victims feeling like there is a light at the end of a very dark tunnel.
that being said, as a fan of NOFX, my only gripe with this book is about how little of this book dealt with the actual music. as a band that has highly referential lyrics to specific people and places, there were only a few nuggets thrown out there to clarify such. maybe that was a conscious decision but in my mind it was an unfortunate one. most of the material in this book is beyond cliche, especially with regard to ROCK AND ROLL memoirs in general.
if debauched behavior by ROCK AND ROLL bands is what you are voyeuristically seeking to learn about then THE DIRT is the way to go. if you are interested in learning about the 1980s HARDCORE scene or the 90s POP PUNK explosion there are several other books more insightful than this one.
i wasn't disappointed, just underwhelmed with this book. i think if the tone was a little more somber at points, as well as axing that ridiculous cover, the utter depravity and bleakness of its content would be a bit easier to swallow. instead i am left with being sure how they feel about their band history, which is confusing as a fan.
seek this book out only if you are a committed fan of the group. otherwise there are arguably better books on the subject of LOS ANGELES HARDCORE scene and its transitions to the 90s and beyond.
HENRY ROLLINS GET IN THE VAN (review linked HERE), KEITH MORRIS' MY DAMAGE (review linked HERE) BAD RELIGION's DO WHAT YOU WANT (review linked HERE) and JON DOE's UNDER THE BIG BLACK SUN (review linked HERE) all immediately come to mind. LEXICON DEVIL, AMERICAN HARDCORE, WE GOT THE NEUTRON BOMB and WE'RE NOT HERE TO ENTERTAIN are good options as well.
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