Firstly, a great thank you for turning me onto some great music when I was at school (eg 'Jeannot Ou Est Le Serieux.) Re: NME (the UK music weekly,) when it was putting Sun Ra, etc. on the cover -- do you think that punk can take any credibility for opening up some of this other 'world music' to a wider public, music which seems again to be ignored. The question there somewhere was about Punk's relation to other music, or the music presses brief period of openness. -Question (b) what about music (punky) that you didn't personally like, for example, I don't know Siouxsie and the Banshees? How do you feel about them in retrospect? And is it possible to like the punk ethic (D.I.Y.) and think the Pistols were miserable and wonder why John Lydon always has to sound eternally bored when he opens his mouth. Something to do with Punk's acquired habit of nihilism..? Also, I loved your record with Chantage. Was it a one off?
Just like you, it really was the D.I.Y. punk ethic that got me, babe; though that Rotten snarl trademarked a moment, still gives the chills, and did the job of grating up the charts like nails scraping the paintjob of a new Humvee, Rotten himself was more likely to chill out at home with a wicked dub than a punk 45, and so was/am I. Having said that, "Oh Bondage Up Yours" by X Ray Spex is still a disc to live by/with/for, and the same goes for many punk gems.
QUESTIONS FROM MY READERS FOR NEXT TIME...BE SURE TO STOP BACK BY FOR THE ANSWERS
From Drew S.
How would you define the differences between Punk and Ska, both the music and the lifestyles?
From Tee Bob
Lady V, The term "bottom line" is most often used in business usually to achieve goals derived from a strict accounting criterion. How is this concept in tune and in conflict with punk ethic and punk business practices? What is the punk business ethic and where does it stop?
Love and Donuts, Neonsandwich
Since We Last Met:
The Stranglers performed at Camden Town, London's legendary Roundhouse - 30 years to the day since they last played the venue...the Bush Tetras played NY after almost as long away...and arguably the biggest re-reunion of all, the Sex Pistols did LA and London... and here are special reports from our Spies...
When I labored at punk-rock weekly SOUNDS in London, one of our bright writers was Pete Silverton who went on to co-author "I was a Teenage Sex Pistol" with Glen Matlock, the Tuneful Pistol.
Pete reports from London: "They were the Sex Pistols. They played every song they knew and recorded. It was everything you wanted. It was loud and fun and noisy and familial in a strange kind of way. My son wore my original 1970s black leather Schott jacket, the Ramones one. It was a typical moment of the evening. The audience was far too acute to complain that this was a show rather than the frightening, unstable upheaval of a 1976 Pistols 'performance'. I didn't pay, of course. But I would have."
And more from Reggae Central. You want to play for hours, opening the wee envelope flaps to discover the mini-CDs and memorabilia of "Reggae Scrapbook" (Insight Editions), a very personal statement from actor/broadcaster/archivist and Marley specialist, Roger Steffens of Reggae and African Beat magazine, and photographer Peter Simon. They ransack their visual and memory stash to deliver a glorious, very touchable coffee table book of tricks and tales.