First, I hope the upcoming winter season finds everyone in good spirit and productivity! I was able to spend much time with Peter Case of the Plimsouls and Nerves these last two weeks. We appeared together at Cactus Records in Houston, and he also gigged at Mucky Duck a few weeks later as well. I snapped this pic of him not far from the record store after looking at the palm trees and thinking, ‘This could be the front cover for Miami by the Gun Club,” a band we both admire. So, this pic is an homage of sorts. We are gathering work for our follow-up to Epistolary Rex, our book of letters and correspondence. This one will likely include poems, prose, and tour diaries. The text editing and selection is underway as I pen this update, so look for it to be published this next year, either DIY or by a small indie press.
Next, Left of the Dial just received a very positive and compelling review in the long-time iconic German fanzine Trust. I thank writer Jan for his input and support. In fact, the Vic Bondi interview in LOTD was previously published by Trust, plus they published the skate punk theory section of Visual Vitriol as well, so I am indebted to their commitment: they continue to find my work an European audience.
Lastly, I am preparing an academic article relating to the politics of punk, which should be completed at the end of the month. Please read the abstract below, and if you have any documents, fanzine articles, reviews, or insight and experience that may help with the effort, please feel free to contact me at: email@example.com.
Also, visit the archive I have established to highlight the punk-meets-politics material here.
Practicing What they Preach? Using the Visual Culture of Punk Flyers to Index Counter-Cultural Conscience
Abstract: For decades, punk rock has been equated with ever-shifting and fluid concepts of dissent, disruption, and antithetical activities. As such, punk has been deemed a threat to social-cultural mores since its first and second wave incarnations during the 1970s and 1980s, when bands in Britain from The Clash and Crass to Newtown Neurotics and the Membranes offered pithy political invectives and counter-culture visions. In the United States, bands like The Dicks, Dead Kennedys, and Millions of Dead Cops followed suit in America, pushing similar boundaries as the music mutated into “hardcore” — a harsher, stripped down, and more choleric variant of punk — that branched deep into suburban enclaves. My book Visual Vitriol (University Press of Mississippi, 2011) explored both the street art and social discourse of this generation, while my new on-line digital archives, including over 300 politically related gig flyers, and curatorial activities, such as co-organizing the exhibit Punk and Politics in Portland at the vegan, worker-managed collective Red and Black Café during July 2012, focus on mapping, quantifying, and understanding the various activism inherent in punk. My text will provide an overview of those projects, highlight where punk money was gathered and spent (while probing whether it promoted volunteerism, philanthropy, and community involvement), and try to paint an accurate picture of how punk critiqued dominant culture not simply by offering rhetorical stances, symbolic strategies, and clever conceits but by channeling support and media to a wide array of social, cultural, labor, political, gay and lesbian, and environmental efforts.