Punk pedantry

So it was Talking Musical Revolutions last night, transplanted to a pleasantly dank cellar in Shoreditch, and Stevie Chick is discussing his fine-sounding, just-out book about Black Flag with John Robb, and Stevie mentions that guitarist Greg Ginn was a huge Grateful Dead fan, and how the whole punk Year Zero concept is a bit of a myth, and that the Sex Pistols were really into Yes, and I mutter sotto voce that, actually, it was the Buzzcocks (specifically Steve Diggle) who were into Yes, and Billy completes my thought process by asserting that the Pistols (specifically John Lydon) were more into Van Der Graaf Generator, and I wonder whether we should start a Facebook group or something of that ilk for people to get all nerdy about the banal minutiae of the whole Now-Form-A-Band culture, although wouldn’t it be more punk not to care?

Heads, I win. Tails, you *ooze*!

Congratulations, Steven Tyler, for having the scariest fucking picture ever.



I couldn't really care less if he is leaving Aerosmith, I just know a bunch of us died laughing at this picture in class today. As the guy next to me said, "God, I can just hear Stephen Colbert doing his Crypt Keeper impression!"

It’s not as funny as it used to be

I’d rather drifted away from Viz, and only picked up November’s issue because it promised a nostalgic wallow in the company of some of my old favourites, such as the Pathetic Sharks, Roger Irrelevant and Johnny Fartpants. (Hey – what happened to Mr Logic – surely the model for Sheldon from The Big Bang Theory?) But there was one gem, in the sub-Tuckeresque midst of Roger’s Profanisaurus: a single word that encompasses all those regional exclamations that don’t mean anything, such as “Howay the lads” and “Och aye the noo”; bolloquialism.

You go get the door--I'll be in the closet!

Nostalgia time! (For me, anyway.)



Omfg, that theme song.

Something else not available on DVD...the funny thing is, for me, it was just enjoyable to watch when I was a kid (I was probably 8 or 9); how could I know anything about it was controversial? But I guess this was probably the first gay-themed sitcom on the air. Half the jokes must have flown over my head (like the subject line).

Showtime kicked ass in the 80s. Who knew?

That was then, this is then as well

I just posted this at the Noughties blog, but I’ve allowed it to come out of its box and run around for a bit, since it doesn’t have school tomorrow or anything. It’s by Patrick West at Spiked, discussing the extent to which the current decade will be defined by its nostalgia for previous decades:

No wonder Philip K Dick’s stories have become so popularised in cinematic form - in the guise of Minority Report (2002) and A Scanner Darkly (2008), which are both paranoid paeans to the past, and to the future. And no wonder Danny Dyer’s fake cockneyism has become popularised in a time when we all long for the ‘good old days’ when West Ham, Millwall and Chelsea fans could kick the shit out of each other. No wonder the backward-looking Life On Mars was a success. Even Dr Who has a decidedly retro feel about it. Yesterday and Dave and various Discovery and History channels have become successful avenues, and with good reason. The Noughties has been an epoch of endless re-remembering.

Return of the old-style cultural theory post!

If I were to frame Larkin’s Law of Reissues, it would say that anything you haven’t got already probably isn’t worth bothering about. In other words, if someone tries to persuade you to buy a limited edition of the 1924-5 sessions by Paraffin Joe and his Nitelites, keep your pockets buttoned up; if they were any good, you’d have heard of them at school, as you did King Oliver, and have laid out your earliest pocket money on them... Everything worthwhile gets reissued about every five years.

Larkin was writing in 1969, in the days when music fans were expected to wait patiently for any audio scraps to fall off the table. But he also seems to speak of an era when nostalgia was rooted in accurate memories, with no potential for revisionism. For example, I certainly didn’t watch this



when it was first on TV in 1980. But in true postmodern style, I’m quite capable of retrospectively absorbing it into my childhood. If, as Roland Barthes suggested, the Author is Dead, did he take the Past down with him?

The Film of the Noughties

Last weekend, almost by accident, I caught Michael Moore’s latest salvo, Capitalism: A Love Story. It’s what you might expect from the man that Bernard Goldberg identified as the most dangerous person in America; let’s just say that the title’s a tad sarcastic. In fact one could argue that with this and Fahrenheit 9/11, Moore has created a cinematic diptych that defines the Noughties, a two-part Film of the Decade.

In fact, that’s what I thought for a few days: until I saw Chris Atkins’ Starsuckers, which reminded us that, even if our era is bookended by two New York institutions collapsing into dust, many of us have been distracted by Britney and Brangelina, by Jade and Jedward, and by the weird wish that maybe, just maybe, we could have a tiny slice of the same pie. Just a little too late for my book, I’ve found the film that sums it all up.