parodies by nacrowe
up until 6th grade my family lived in the ORANGE COUNTY city of BREA. at the time being 11 the extent to which i knew of bands from SOUTHERN CALIFORNIA outside of THE BEACH BOYS were prominent bands that were being played on the local radio station 106.7 FM KROQ out of LOS ANGELES like BAD RELIGION and THE OFFSPRING. so i was utterly clueless about the underground music scene in and around my hometown during the period of my life when i actually lived in SOUTHERN CALIFORNIA.
it was when i entered high school a few years later (on the other side of the country in MASSACHUSETTS) that i was fascinated to learn about notable HARDCORE bands that were not just from nearby ORANGE COUNTY cities like FULLERTON (SOCIAL DISTORTION, ADOLESCENTS, D.I.), GARDEN GROVE (THE OFFSPRING), PLACENTIA (AGENT ORANGE) and SANTA ANA (THE MIDDLE CLASS), but also neighboring LOS ANGELES COUNTY neighborhoods like LONG BEACH (T.S.O.L.), HERMOSA BEACH (CIRCLE JERKS, BLACK FLAG), VENICE BEACH (SUICIDAL TENDENCIES), MANHATTAN BEACH (DESCENDENTS, PENNYWISE) and HUNTINGTON BEACH (THE VANDALS) that i visited often as a child. it was like learning about an alternate cultural history of a place i thought i knew but learned i knew very little about.
so i was pretty excited and thought long and hard about the bands i included on the LOS ANGELES PUNK ROCK show i did back in early 2021. contrary to the name i also included bands outside of the greater LOS ANGELES metropolitan area and included SAN DIEGO (BATTALION OF SAINTS) and POWAY (BLINK-182) as well.
what i found interesting when reading and learning about the original scene in LOS ANGELES in the late 1970s was how INCLUSIVE and EXPERIMENTAL it was. with bands like THE GUN CLUB, THE WEIRDOS, X, THE FLESH EATERS, THE BAGS and THE GERMS you had such a wide array of bands finding their distinct voice through a litany of ROCKABILLY, COUNTRY and POST PUNK influences (well not THE GERMS, they were just abrasive sonic nihilists). very much seemed reminiscent of the nascent PUNK ROCK scene at CBGBs where you had PATTI SMITH, TALKING HEADS, TELEVISION, THE DEAD BOYS, BLONDIE and THE RAMONES all sharing the same small stage and supporting one another. the following NO WAVE and especially the NYHC scene seemed to occupy the seemingly polar opposite positions relative to unbridled EXPERIMENTALISM and PUNK ROCK FUNDAMENTALISM. that same dynamic played out in LOS ANGELES with the advent of HARDCORE and all the bands from the suburbs (like ORANGE COUNTY) coming in and taking over and bringing the angry jocks contingent with them.
this dynamic i have covered in several documentaries and several books listed below. definitely check them out as well as DEER GOD RADIO episode dedicated to the history LOS ANGELES PUNK ROCK embedded below. definitely a highlight of my radio show.
DO WHAT YOU WANT: THE STORY OF BAD RELIGION BAD RELIGION & JIM RULAND
VIOLENCE GIRL: A CHICANA PUNK STORY ALICE BAG
UNDER THE BIG BLACK SUN: A PERSONAL HISTORY OF L.A. PUNK JOHN DOE
KIDS OF THE BLACK HOLE: PUNK ROCK IN POSTSUBURBAN CALIFORNIA DEWAR MACLEOD
MY DAMAGE: THE STORY OF A PUNK ROCK SURVIVOR KEITH MORRIS & JIM RULAND
THE HEPATITIS BATHTUB AND OTHER STORIES NOFX
GET IN THE VAN: ON THE ROAD WITH BLACK FLAG HENRY ROLLINS
CORPORATE ROCK SUCKS: THE RISE & FALL OF SST RECORDS JIM RULAND
CLOCKWORK ORANGE COUNTY JONATHAN W.C. MILLS
A FAT WRECK SHAUN MICHAEL COLON
FILMAGE: THE STORY OF DESCENDENTS/ALL DEEDLE LACOUR & MATT RIGGLE
MY LIFE AS A JERK DAVID MARKEY
PUNK ROCK EATS ITS OWN: A FILM ABOUT FACE TO FACE MATHEW BARRY & MAUREEN EGAN
REALITY 86'D DAVID MARKEY
WE JAM ECONO: THE STORY OF THE MINUTEMEN TIM IRWIN
photo by nacrowe
much like the previously reviewed UNDER THE BIG BLACK SUN: A PERSONAL HISTORY OF L.A. PUNK (linked HERE) KIDS OF THE BLACK HOLE: PUNK ROCK IN POSTSUBURBAN CALIFORNIA (UNIVERSITY OF OKLAHOMA PRESS, 2011) by DEWAR MACLEOD deals with the LOS ANGELES PUNK ROCK scene that began primarily around HOLLYWOOD in the late 70s and then quickly proliferated to the surrounding suburbs and statewide thereafter in quick succession.
whereas UNDER THE BIG BLACK SUN is by design an oral history by participants of the original scene with some HARDCORE musicians sprinkled in, MACLEOD's take on the subject is of a more academic, anthropological variety including economic, media criticism and social historical insights. unlike UNDER THE BIG BLACK SUN, he analyzes both scenes, those being the original LOS ANGELES scene and the fragmented suburban scenes it spawned, with equal critical attention and weight.
in UNDER THE BIG BLACK SUN there is the presentation of HARDCORE as the bastardization of the original scene which was described as diverse and inclusive of various art and minority communities. the almost exclusively WHITE MALE kids that made up the HARDCORE scene in the suburbs where abrasive, boorish and exceedingly violent and their music was a sped-up, dumbed down, sonically conservative variant. that was general criticism of such from that book.
MACLEOD here presents HARDCORE instead as a progression of an art form by kids who grew up within communities that by definition had no center, no core, no essence as they were part of the seemingly infinite suburban sprawl. their communities were defined by shopping centers and shallow consumerism. HARDCORE and its community was both a rejection of that complacency and a brutal, primal return to a cultural of year zero, L.A PUNK that preceded it included. these were not sophisticated art kids that jumped on PUNK as a means of expression as the original scene originated in the wake of the example of the SEX PISTOLS and the BRITISH variant's social and stylistic concerns, which were mimicked. HARDCORE, as MACLEOD argues, was the manifestation of a generation of kids raised in the suburbs with seemingly no locust of control over their surroundings, it was this dislocation, this imbalance that led them collectively to seek out HARDCORE in its extremities as a public sublimating ritual for control. that was what i gathered from this book regarding the violence that grew out of HARDCORE with the transition from BRITISH inspired "pogoing" to "slam dancing" behavior.
with HARDCORE in a SOUTHERN CALIFORNIA context you also have to be aware of the sensationalism behind its portrayal at the time by the media. cops at shows became a regular occurrence after the inexplicable 1979 ELKS LODGE MASSACRE, a show played by first-wave L.A PUNK bands like THE PLUGZ, THE WEIRDOS, THE SKULLS and THE DICKIES among others that was famous infiltrated by plainclothes police and resulted in a mini-riot and the public beatings of PUNK kids. after that event and the media attention that followed, the scene in LOS ANGELES was viewed as volatile and senselessly violent, which only drove those types of people to future shows, creating a self-fulfilling prophecy. thereafter the scene ceded control to the masses.
one other thing that interested me about this book was MACLEOD's sociological read of the early scene which included various participants, cliques and independent zine writers/editors all attempting to define the scene to no avail. when i think of NYC where PUNK originated i think of closed, defined, claustrophobic spaces, both physical and spiritual. PUNK was a burst of energy and a claim to identity rooted in this perceived hostile environment. with LOS ANGELES, you dont have that sense of enclosing space like in NYC. but what you do have is the sense of the painful vacuous, vapid nature of the middle AMERICAN mindset, which i would argue is just as reductive and spiritually exhaustive.
interesting book that presents lots of interesting reads on a scene that no-doubt has had ripple effects on modern AMERICAN culture beyond the HARDCORE scene of the 1980s. definitely worth seeking out.
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO that examines over 40 years of LOS ANGELES PUNK ROCK!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.
and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
paradies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores more than 40 years of LOS ANGELES PUNK ROCK!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.
and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo manipulation by nacrowe
PUNK: ATTITUDE (3DD PRODUCTIONS, 2005) by legendary DJ / MUSICIAN / DIRECTOR and original PUNK ROCK scenester DON LETTS is probably the most comprehensive documentary about the beginnings and evolution of PUNK ROCK, both stateside and in ENGLAND. it includes an exhaustive yet entirely impressive cast of participants, many now deceased, whose insights provide an appreciation for the wide array of interests and backgrounds that led to the formation of the genre. this includes, but not limited to, musicians such as JOHN CALE (THE VELVET UNDERGROUND), JELLO BIAFRA (THE DEAD KENNEDYS), MARTIN REV (SUICIDE), CHRISSIE HYNDE (THE PRETENDERS), DAVID JOHANSEN, SYLVAIN SYLVAIN & ARTHUR KANE (THE NEW YORK DOLLS), MICK JONES & PAUL SIMON (THE CLASH), DARYL JENIFER (BAD BRAINS), POLY STYRENE (X-RAY SPEX), HENRY ROLLINS (BLACK FLAG), WAYNE KRAMER (MC5), PAT SMEAR (THE GERMS), SIOUXSIE SIOUX (SIOUXSIE SIOUX & THE BANSHEES), TOMMY RAMONE (THE RAMONES), CAPTAIN SENSIBLE (THE DAMNED), ARI UP (THE SLITS), STEVE JONES & GLEN MATLOCK (THE SEX PISTOLS), THURSTON MOORE (SONIC YOUTH), K.K. BARRETT (THE SCREAMERS), RAY CAPO (YOUTH OF TODAY), GLENN BRANCA (THEORETICAL GIRLS), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), ROGER MIRET (AGNOSTIC FRONT), PETE SHELLEY & HOWARD DEVOTO (THE BUZZCOCKS), DEE POP (THE BUSH TETRAS), ALICE BAG (THE BAGS), RICHARD MANITOBA (THE DICTATORS), JAMES CHANCE (JAMES CHANCE & THE CONTORTIONS) and film director JIM JARMUSCH, CBGBs owner HILLY KRISTAL and various managers, writers, artists and photographers.
i think one strong suit of this documentary is its ability to elucidate the long line of influence that followed one band to another over time. how bands like THE DOORS influenced THE STOOGES who influenced THE SEX PISTOLS and BLACK FLAG and NIRVANA and so on. in essence you see how bands such as THE VELVET UNDERGROUND, SUICIDE, THE DEAD KENNEDYS, PATTI SMITH, THE DAMNED and THE RAMONES (among many others) are all linked and part of a greater movement towards challenging, complicating, questioning and, in turn, revitalizing the form of ROCK AND ROLL.
examples provided included the concurrent POST PUNK and NO WAVE that came about after the first wave of PUNK ROCK. both took the ethos of originality and freedom and applied such to the music, creating new takes on song structures and experimented with expanded palette of instruments.
the HARDCORE scene of the 1980s was the opposite of such in that songs got condensed and sped up even faster. scenes that began with first wave PUNK adherents more interested in art and originality were taken over by HARDCORE bands that were largely aggressive and violent. part of that anger was political at the REAGAN administration as well as a feeling that their lives were set to be disrupted by economic uncertainty. that scene begat the ALTERNATIVE ROCK scene of the 1990s, or as JELLO BIAFRA puts it "punk inspired rock bands." as the 1990s dragged on you get bands like KORN and LIMP BIZKIT with their dumbed down break down sections and shocking lack of social consciousness.
there was nothing revelatory about this documentary, but it serves as a welcome definitive statement about a genre for anyone new or interested in the place of PUNK ROCK in music history. it really gets at the core idea of the genre in spite of its many permutations: that being the value being an individual. finding your voice, whatever that may be, and speaking your truth vociferously with an almost disregard for the opposition. thats a healthy sentiment for anyone to learn.
my only gripe with this film is that they spends way too much time talking about THE CLASH and JOE STRUMMER, but that is my own personal bias making itself apparent. i still find that band, despite their influence, to be full of themselves. just my opinion.
BOOK REVIEW | "UNDER THE BIG BLACK SUN: A PERSONAL HISTORY OF L.A. PUNK" BY JOHN DOE WITH TOM DESAVIA AND FRIENDS
photo & text by nacrowe
this book covers what i would consider an often overlooked history in the story of PUNK ROCK and HARDCORE, which is that of the first wave of L.A. PUNK ROCK which lasted roughly from 1977-1982. much as what distinguishes this scene in terms of the diversity of its participants (varying race, sexual orientation, geography, class, political affiliation) and their sound (rockabilly, traditional chicano, avant-garde, mixed-media, performance art), this book reflects such with its multiple authors as curated by X's JOHN DOE and co-author TOM DESAVIA. these writers include members of THE BRAT, THE GO-GO's, THE ZEROS, T.S.O.L., THE FLESH EATERS, THE MINUTEMEN, THE BLASTERS, BLACK FLAG, THE SCREAMING SIRENS and X. incorporating this many voices with their own chapters gives the book a unique depth from other books on the topic. you really get a feel for how the scene was initiated, evolved and ultimately fractured through the viewpoints of participants with varying perspectives on the topic. this was a deft structural decision by DOE and DESAVIA as it places the community as the author, which it seems was the ethos of the scene.
much of what has been written on L.A. PUNK is more or less associated with the HARDCORE scene of the 80s with such notorious bands as BLACK FLAG, CIRCLE JERKS, THE ADOLESCENTS, T.S.O.L. and THE MIDDLE CLASS, and deservedly so as such have had immeasurable effect on modern PUNK-influenced music, active sports (bmx, skateboarding, motocross, surfing, etc) and associated lifestyle industries. it could be argued modern youth culture is defined by this scene. what doesn't get as much appreciation is the fact that this scene evolved (or devolved) out of the first wave which was decidedly less violent and more inclusive.
in essence the first wave was an art movement informed by the previous GLAM ROCK fanbases of bands like T.REX and DAVID BOWIE morphing into the early PUNK crowds that first encountered 1977 PUNK bands like THE DAMNED, THE RAMONES, THE CLASH and THE SEX PISTOLS. its arguable that the ethos of the first wave was informed by GLAM ROCK and early PUNK. even hispanic participants from EAST L.A. took these influences as the impetus for picking up an instrument, not the inherited musical traditions of their parents.
the real inflection point of this novel is the transition that happened in the early 80s to HARDCORE, which was decidedly more violent, less inclusive and less experimental in its approach. this variant was all about aggression and spoke to an audience beyond the borders of the original scene. reading about how that played out and how both sides felt about it is beyond interesting as it constitutes a debate on the nature of PUNK ROCK and what that ever-mercurial tag actually means.
on one side you have a scene that prizes individuality and personal expression as a means of combating societal norms, whereas the other is not concerned with such subtleties and has more interest in burning the fucker down as a means nihilistic rage rooted in the subversion of the failed AMERICAN DREAM as exemplified by the vacuous SOUTHERN CALIFORNIA lifestyle. its all a matter of perspective and of course, there is no correct interpretation.
this confusion is what i expect DOE was interested in when writing and compiling this book and i highly recommend it for anyone interested in PUNK or HARDCORE.