photo manipulation by nacrowe
at some point TALKING HEADS frontman and notable NEW YORKER (via Rhode Island) DAVID BYRNE decided to make a film about TEXAS. sounds horrible but TRUE STORIES (WARNER BROS, 1986) is a classic film of its time.
this musical was referenced consistently throughout my childhood, especially BYRNE's obtuse narration of "who cannot say this isn't beautiful?" when speaking about the seeming infinite flat expanse that is the lone star state. literally every time we went to a new country growing up, my father used that line. "everything you see here is typically SOUTH AFRICAN, and who cannot say it isn't beautiful?"
full disclosure: i've never been to TEXAS. its a streak i am hoping to keep. closest i got was the GEORGE BUSH INTERCONTINENTAL AIRPORT in HOUSTON and that was enough. unfortunately i feel like i was partly raised in the south given that for three years in NIGERIA i lived in a guarded company compound full of TEXANS and LOUISIANANS, but that is a story for another entry.
what separates this film from just being an eccentric look at a southern state by an outsider is the soundtrack. what makes the music work is its earnestness and ability to illustrate different aspects of TEXAN culture, from its proud LATINX population to its crazed-apocalyptic evangelical doom-spouting sermonizers to its then-growing construction of new mega-malls brought on by new wealth from the tech and petroleum industries, this film really captures a moment in the AMERICAN psyche where capitalism seemed to potentially provide a means to self-actualization.
or maybe it showcased the insular nature of a pre-internet AMERICAN landscape where basic needs were met for the first time in history and all that is left is the vacuity of media culture to provide meaning. i don't know. its a very interesting film that means something different each time i see it. sometimes i feel BYRNE is viciously satirizing and mocking MIDDLE AMERICAN VALUES while other times it seems he is empathetically presenting an endearing slice of AMERICAN life. it's probably all true. oh shit, see what i did their on accident. that's good stuff.
i should mention that the songs are sung in the film by an impressive cast including JOHN GOODMAN, TITO LARRIVA (THE PLUGZ/TITO & TARANTULA/THE FLESH EATERS), POPS STAPLES (THE STAPLES SINGERS) and, my personal favorite, GENERAL HOSPITAL actor JOHN INGLE as a crazed televangelist preacher spewing crackpot conspiracy horse shit. most people are also suprised to learn that BRITISH INDIE/ALTERNATIVE legends RADIOHEAD derived their name from a song in this film.
regardless, this film is amazing. you should see it whether you are a fan of DAVID BYRNE and/or TALKING HEADS or not. but really you should be a fan of them as well.
BOOK REVIEW | "UNDER THE BIG BLACK SUN: A PERSONAL HISTOY 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.