{"id":4724,"date":"2016-05-05T14:06:52","date_gmt":"2016-05-05T18:06:52","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=4724"},"modified":"2016-05-17T13:49:21","modified_gmt":"2016-05-17T17:49:21","slug":"under-the-big-black-sun-by-john-doe-with-tom-desavia-and-friends","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/under-the-big-black-sun-by-john-doe-with-tom-desavia-and-friends\/","title":{"rendered":"Under the Big Black Sun
by John Doe with Tom DeSavia"},"content":{"rendered":"

\"Under<\/a>Eclipsed in popular consciousness by their distant cousins in New York and London, LA\u2019s punk progenitors forged an eclectic scene where country, blues, and Latin music coalesced with glam, garage rock, and beat poetry under a unifying DIY ethos and rejection of contemporary mid-70s popular entertainment. In Under the Big Black Sun: A Personal History of LA Punk<\/i> (Da Capo Press), John Doe, bassist and vocalist from the quintessential left-coast punk band X, and Tom DeSavia, a longtime record publisher and A&R rep, present the scene\u2019s history through a collection of 24 essays from the players who started it all. They include Go-Go\u2019s guitarists Jane Wiedlin and Charlotte Caffey, former Black Flag frontman Henry Rollins, Minutemen bassist and vocalist Mike Watt, TSOL frontman Jack Grisham, and vocalist Teresa Covarrubias of The Brat, among others.<\/p>\n

Doe said he wanted to document versions of LA\u2019s punk story regardless of whether or not it jibed with his own memories. Nevertheless, a fairly cohesive narrative emerges. It\u2019s a story of a lifestyle more expansive than music, a gay- and girl-friendly movement that spawned art, fashion, photography, and poetry and turned prevailing mores upside down\u2014a scene that provided an outlet for prurient interests which, in the words of Pleasant Gehman, \u201cincluded but weren\u2019t limited to fluid-gender identities and nonspecific sexual roles, uniform fetishes, multiple partners, and especially, openly gay and bisexual experimentation.\u201d Unfortunately for its founding members, the bacchanalian scene had expired by the onset of the Reagan \u201980s, the movement co-opted by California beach punks who pushed it in a more violent and destructive direction. This pushed out many of the original movers and shakers, who then turned to genres like roots and rockabilly. The end of this era was marked by tragedy: the suicidal heroin overdose of Germs vocalist Darby Crash on December 7, 1980.<\/p>\n

Those inclined to think of early punk\u2019s sound strictly in terms of the three-chord songs emblematized by the Ramones (although Doe writes that \u201cmost Ramones songs are not\u201d), might be interested in the left coast\u2019s stylistic variations\u2014from the synth-punk of The Screamers to The Blasters\u2019 spirited take on Americana. \u201cYou would never listen to Black Flag and mistake them for the Weirdos, The Dickies, X, or The Plugz,\u201d Doe says. Landmark venues like subterranean Hollywood nightclub The Masque and The Vex, the Chicano punk hub in East LA, helped publicize the nascent scene, as did influential fanzine Slash<\/i>, which gave rise to Slash Records, who put out wax from Fear, X, The Germs, The Flesh Eaters, The Blasters, and others.<\/p>\n

As one whose visual frame of reference for early punk was formed in part by the caricatures depicted in pop culture\u2014from the campy VHS cult film Class of 1984<\/i> to the Mohawk-shaving scene in Scorcese\u2019s After Hours<\/i>\u2014I found it funny how closely some recollections actually match up. \u201cMy senses were in overload,\u201d Caffy describes descending into The Masque. \u201cFrom the graffiti, to the sounds bouncing off of every surface, to the dog collars, safety pins, multicolored hair, crazy makeup, and wild clothing, to the toilets overflowing, to the feeling of the sticky walls and floors, to the nonventilated dense mixture of smells.\u201d<\/p>\n

While this isn\u2019t the first book to canvass this anthropological terrain (a book of oral histories, We Got the Neutron Bomb<\/i> covered similar ground in 2001, and 2007\u2019s Live at The Masque: Nightmare in Punk Alley<\/i> provided a pictorial history of the fabled venue), the assortment of narrative voices make this read uniquely engaging\u2014from Caffey\u2019s novelistic scene-setting to Wiedlin\u2019s pithy observations and punk rock aphorisms (\u201cGo\u2019s before Bro\u2019s,\u201d she writes) to Grisham\u2019s sardonic sorry not sorry for the hardcore scene\u2019s perceived transgressions. Even Watt\u2019s stream-of-consciousness storytelling, disorienting as it is with its laissez-faire disregard for conventions like capitalizing the first words of sentences, will almost certainly be appreciated by fans who can more easily piece together the disparate details.<\/p>\n

Like any rock memoir worth its salt, Under the Big Black Sun<\/i> has its share of fun facts and hilarious anecdotes like Gehman describing being handed a lit joint by Tony Curtis and Doe describing his early days with X co-vocalist Exene Cervenka inwhat is easily my favorite sentence of the book: \u201cExene was hanging out with scary Vietnam vets who would twirl her over their head while alternately calling her Mary Magdalene or the Easter Bunny.\u201d<\/p>\n

In a culture of dedicated bohemians, \u201cit was practically our duty to seek and find the other side of consciousness and break the rules of society along the way,\u201d Doe writes. Still, despite the forays into biker crank, various prescription uppers, Mickey\u2019s Big Mouths, and Camel filters, the specter of heroin abuse lurked quietly, with some \u201cdisappearing into their apartments only to emerge skinnier and stranger.\u201d Doe and other scene elders avoided the trap and continued to have long and prolific careers. Their art endures, and this collection is a fine entry point for understanding the purlieu from which it came.<\/p>\n","protected":false},"excerpt":{"rendered":"

Eclipsed in popular consciousness by their distant cousins in New York and London, LA\u2019s punk progenitors forged an eclectic scene where<\/p>\n","protected":false},"author":16,"featured_media":4725,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1038],"tags":[1039,1703,1691,1714],"class_list":["post-4724","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biblio-files","tag-biblio-file","tag-da-capo-press","tag-john-doe","tag-tom-desavia"],"yoast_head":"\nUnder the Big Black Sun by John Doe with Tom DeSavia - 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