SCOTLAND THE GRAVE, PART ONE: ORIGINS

OK. Let's start with a song, then discuss the ideology it is reacting against. It's all directly (im)pertinent to contemporary Scotland, you'll see; stick around for the punchline, cos you're not going to get this sort of stuff anywhere else in this country, trust me. So let's kick off with an old satiric pop-punk classic. I have included the lyrics below the video link:


She's giving me the creeps
The girl I knew is dead
She says her armpits are hairy cause it's natural
So why does she shave her head?

Her legs are hairy logs, and she's got earrings in her face
What's with this hippie bullshit anyway?

She's giving me the creeps
She's Dawn Quixote
You can sell your LSD in a dirt lot now
'Cause People's Park is free

The bums that she calls homeless people still aren't eating now
And the broads that she calls womyn still get raped

She's giving me the creeps [x4]

She's giving me the creeps
She wallows in her words
Semantics mean much more than action
In her moronic world

Well I extend my most heartfelt apologies
For being white and male without a cause

I used to be a huge fan of American punk music when I was younger. Indeed, I was a fan of American/UK underground musical and filmic and literary culture in general, and have written for more publications than I can remember about those subjects. But that's another conversation. Chicago pop-punk band Screeching Weasel were my favourite band back at that time, though I have not bought anything by them for over twenty years, and I used to read Maximum Rocknroll. The now-defunct punk zine (though it still maintains an online radio presence) was run from San Francisco, and was the Bible of the world punk scene, the fundamentalist inky-finger DIY-band-information sea that all the anarchopunk zine tributaries ran down into.

MRR was the way I kept up-to-date with information about Screeching Weasel, and other fun bands, through the columnist writings of their contentious, controversial, crank-yanking singer Ben Weasel, and others: Pink Punk Lily, The Rev. Norb, Mykel Board, etc. I read about the Weasel's excellent 1991 Pervo-Devo EP, from which the song above comes, and ordered it through the post. I ordered it from a small DIY label in San Francisco called Shred of Dignity (later Outpunk), who were the world's first record label dedicated purely to queer punk bands.

I loved that EP, and still do. In fact, I'm going to post the pisstaking first song from it,
I Wanna Be A Homosexual
, cos it's fucking hilarious and great:


As you can imagine, back then, being a hetero male in Falkirk, a post-industrial drunken angry homophobic town, and being into this, and other weird, obscure splatter and exploitation and punk shit...did make people look at you askance. However, I couldn't care less back then, still don't, and it made no difference to me. The EP arrived with a bonus. I must have included a few cents extra and, as was the DIY punk spirit back then (maybe today, I dunno), they sent me along another gay-themed EP for free, which was nice of them. It was on clear vinyl, as I recall:

You can see some angry riot grrrl bands on there, another burgeoning extremist feminist musical scene from the time. Look it all up, if you feel like it. Being from San Francisco, MRR was right on the (lunatic pink) fringe of the burgeoning extremist PC scene, hardcore as fuck. They would cover gay punk bands like Pansy Division:

Vegan Reich were a militant vegan straightedge (zero-edge straightedgers don't drink or fuck or do drugs; a nightmare ascetic life, basically) band, who would haunt the letters page of MRR with holier-than-thou diktats from Muslim singer Sean Muttaqi. Check out the lyrics below this video if you like being told what to do, and judged mercilessly and apocalyptically:


At the other end of the punk-and-existential spectrum you'd have letters from drunk mad birds ranting about their love of GG Allin (one of my own personal fave artists). I particularly remember one young jaded punk woman (lot of pain and rape and abuse and horror in women in the punk scene, if they're real about it, tragically) waxing lyrical about listening to the album below, mocking pop-punk and its soft adherents:

The letters page was hilarious, as everybody tried to out-PC everybody else, scoring holier-than-thou hardcore militant points, whilst getting mocked by others not buying the religious fundamentalism-alike PC racket. At the time, reading about all these freaks and faggots and drunks and junkies and shock-and-awers and nailbiters and cockblockers and neighbour-shockers and earbleeders and anarchy-seeders and “peepers and prowlers and pederasts and panty-sniffers and punks and pimps” (James Ellroy) in the punk scene round America was fascinating to a young Scot. It was far away, seemed alien and exotic and new, and these were people I wished I could be round back then. I remember (as far as I know) idle chatter to get loads of punks to move to one area of America (can't remember where) so they could take over the place, to a degree, and make sure they didn't get any hassle; strength in numbers, at least. That call being promoted from San Francisco, the one-time home of the Jim Jones cult was ironic indeed.

For anybody who doesn't know, Jones was a 1970s cult leader who took his 918 acolytes out to Guyana in South America, then killed them at gunpoint by making them drink cyanide-laced Kool-Aid (really Flavor Aid; doubt Kool-Aid would have liked the publicity). This is where the now-generic term 'drink the Kool-Aid' comes from, to denote somebody who has been brainwashed by some discipline into self-destructiveness, or at least mental intractability.

As I just briefly showed above, that extremist, take-no-prisoners, incredibly-angry-at-marginalisation subterranean subculture (sometimes just white middle class brats rebelling against affluent mommy and daddy, until they got a career) was just starting to come into existence in the punk scene. Maximum Rocknroll was the loudmouth-amplifying megaphone that pinballed the minority sexual identity fury round the USA and the world. I have never been homophobic or discriminatory towards any kind of sexuality in my life, so I thought it was cool, as there were angry, oppressed youngstars starting their own zines and scenes and fighting for their right to party in any cocksucking and arsefucking or cuntlicking or fistfucking combo they felt like. I totally approved.

The fact it was so abstract it was almost rendered meaningless to me; the photos and letters and records could have come from Mars, they were so far removed from the Falkirk angry drunk scene I was slowly drowning in. Complementing its depressed, weary blues scene, the town would eventually get its own punk scene a decade later from the time I am writing about, where they all started spouting tired “this is punk/this isn't punk” well-worn American cliches, but that's another story.




So what does all this angry sexual minority extremism and infighting and America-copying (culturally, I was guilty of it too; though at least I was doing it at source, discovering the stuff myself, buying the obscure, hard-to-get books and films and records and magazines, not having it regurgitated to me by somebody else) and hissyfitting and pussyfooting and backslapping praise from backstabbing men and women sound like to you, perceptive and sighing, and maybe farting or nosepicking, Scottish reader?

That's right, our very own beleaguered first minister's (I'm not capitalising her title, fuck that) government, and some of her more...how shall we put it delicately...
vocal
followers.

Oh come on, you knew that was coming

Tell me I'm wrong.

Laughing, as ever.

END OF PART ONE

Read Part 2 here:





Comments

Post a Comment