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 & text by nacrowe
my introduction to SST RECORDS as a teenager, like i presume with most people, was through the AMERICAN HARDCORE icons BLACK FLAG. for me the record label, much like DISCHORD, EPITAPH, ALTERNATIVE TENTACLES or FAT WRECK CHORDS, was the symbolic representation of the DIY ethic and the attached value system of SELF-DEPENDENCE and COMMUNITY-BUILDING that 80s HARDCORE epitomizes. BLACK FLAG, more than any other band of that era, trail-blazed and literally fought for a nationwide network of alternate venues that later bands of multiple genres benefitted from.
so for me reading CORPORATE ROCK SUCKS: THE RISE & FALL OF SST RECORDS (HATCHETTE, 2022) by JIM RULAND was pretty eye-opening in that it very much showcases the CONFLICTED, DUAL LEGACY of a legendary label that both opened doors for untapped talent (from DINOSAUR JR, THE MEAT PUPPETS, HUSKER DU and SONIC YOUTH to SAINT VITUS, THE MINUTEMEN, SOUNDGARDEN and OXBOW among countless others) yet effectively exploited them in turn. and it is that second legacy of EXPLOITATION that feels incongruous with the initial ETHOS and CULTURAL WEIGHT of BLACK FLAG, as the band exemplifies more than any other of its era the idea of uncompromising INTEGRITY. such is the crux of this incredible book.
the band and the label both came out of a bloated 1970s cultural scene in SOUTHERN CALIFORNIA that saw radio and means of promotion being corporatized to the point that all ALTERNATIVE VIEWPOINTS were seemingly edged out of the conversation. what GREG GINN accomplished with his band and label was to promote an ALTERNATIVE COMMUNITY that appreciated different perspectives and musical ideas. his label very much promoted emerging scenes from seemingly unrelated genres of INDIE ROCK (DINOSAUR JR), MELODIC HARDCORE (THE MINUTEMEN, HUSKER DU, THE DESCENDENTS), DOOM METAL (SAINT VITUS), PSYCHEDELIA (THE MEAT PUPPETS) and even experimental NOISE ROCK (SONIC YOUTH). in turn, the CULTURAL LEGACY of the label was one of being at the forefront of culture, well beyond its HARDCORE roots. these bands mentioned are the well-known ones, for the label put out many, many more by more OBSCURE and AVANT-GARDE musicians that ran the gamut from JAZZ and ELECTRONIC experiments to IMPROVISATIONAL SPOKEN WORD performances. the label was very much over the map.
which gets at the current state of SST RECORDS. a dormant label that has largely been abandoned by its founder and has not nurtured the immense cultural legacies of its artists with comprehensive re-releases of landmark albums. worse, there are rumors that it has either misplaced or improperly stored master tapes. it just feels tragic that for a label that gave so many artists access to a community it fought so hard to initiate, that in the end they left it all to rot. or worse stagnate and fester as GINN refuses to voluntarily give artists their music rights back. music that his label has chosen to sit on, in some cases, for decades.
its that dual notion of GINN as both a RIGHTEOUS SUPPORTER and a CORPORATE GOON that is difficult to swallow for those on the outside. just the idea that SST RECORDS is as much a part of that soulless corporate business-as-usual approach that they supposedly were fighting against.
it is unfortunate.
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!
photo manipulation by nacrowe
dedicated to his close friend since childhood, kindred spirit and deceased former bandmate D. BOON, WE JAM ECONO: THE STORY OF THE MINUTEMEN (ROCKET FUEL FILMS, 2005) is an intimate documentary largely narrated by MIKE WATT about his former band, the highly idiosyncratic and influential 1980s HARDCORE band THE MINUTEMEN.
hailing from SAN PEDRO just as the SOUTH BAY was taking over the LOS ANGELES music scene with a more volatile and aggressive wave of PUNK ROCK that included the likes of BLACK FLAG, CIRCLE JERKS and THE DESCENDENTS, THE MINUTEMEN represented the conceptual and artistic vanguard of the scene. their lyrics were opaque and their sound kinetic yet off-kilter, skittish and dare i say it, funky. in a scene where subtlety was not the norm, both sonically and in terms of lyrical content, THE MINUTEMEN effectively expanded the out realms of the genre in the same way HUSKER DU had done in their respective scene at the time.
the core of the band existed before HARDCORE emerged, but in that scene they saw a freedom and artistic opportunity. D. BOON was an accomplished visual artist and had a way with lyrics where he could evoke images with a minimum amount of words. this efficiency likewise found its way to his guitar playing, which borrowed from various genres and transcended the extreme buzzsaw tempos of his label-mate and fellow scene participants, BLACK FLAG. in essence they had a chemistry that came from years of camaraderie and basically exemplified the DIY ethos of PUNK ROCK. they were completely self-made and unique.
can't say the same for the construction of the documentary itself. it drags a bit and has a very uneven pacing throughout. it could use another edit, which is unfortunate as the band definitely deserves better. but where it lacks in professional sheen it makes up for in content. its rough appearance may even make the film a better conduit for information as it provides a sense of intimacy, especially with regards to its interview footage.
this film includes archival live performances and then-recent interviews with the likes of peers such as IAN MCKAYE (MINOR THREAT), JELLO BIAFRA (DEAD KENNEDYS), MILO AUKERMAN (THE DESCENDENTS), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), J MASCIS (DINOSAUR JR), MIKE MILLS (R.E.M.), DEZ CADENA, CHUCK DUKOWSKI & HENRY ROLLINS (BLACK FLAG), KURT KIRKWOOD (MEAT PUPPETS), JOHN DOE (X), FLEA (RED HOT CHILI PEPPERS / FEAR), THURSTON MOORE & LEE RANALDO (SONIC YOUTH), ROBERT HOLZMAN (SACCHARINE TRUST), RICHARD HELL (TELEVISION / THE VOIDOIDS) and COLIN NEWMAN (WIRE) among many others.
worth checking out only if you are a deep fan of the genre or the artist, but may be less interesting for those not familiar or eager to explore either. there are other documentaries that are arguably a better introduction to the scene in general like AMERICAN HARDCORE (AHC PRODUCTIONS, 2006) or PUNK: ATTITUDE (3DD PRODUCTIONS, 2005).