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 HISTOY OF L.A. PUNK" BY JOHN DOE WITH TOM DESAVIA AND FRIENDS
photo 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, politcal 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.