TALLAHASSEE LASSIE was a record I wrote with my mom. A number of other famous groups have also recorded it such as Led Zeppelin (I understand they are currently touring) and several other English bands and also some various "Punk Bands".
I grabbed my drummer's cymbal in my teeth just as he crashed down on it with his sticks-I blacked out. I was a punk in those days. It was in Seattle. I still have all my teeth too, it's amazing.
Caitlin Cary and I were always talking about X when we talked about whiskeytown, before it became an actual band. We like the concept of there being no real front person in X, yet this kind of switch up of vocals and really their sheer power, and their ability to sort of bastardise punk rock and midwetsren rock and even country into their own sound.
The underground scene is still a cool way to meet a lot of cool people, see a lot of interesting bands and get a lot of food for thought, but people have to remain curious and get their brain activity food from other places besides punk.
I'd been a Bowie fan before punk and used to get no end of trouble. I was always getting knocked about and having to run up the street, getting chased by people. It was horrible.
In Fall Out Boy, we were all playing with our pop punk influences, so that was always within that kind of framework.
I tried to play bass in a punk band once, and it was an absolute disaster. I can’t play anything. I don’t know what it is.
The first thing that got to me was seeing David Bowie on a children's TV show, but Bowie was way beyond my aspirations. The Buzzcocks' Spiral Scratch came out in 1977 and it had a breakdown of the recording costs, then you saw Pete Shelley playing a broken guitar from Woolworths. We already had an idea of the kind of music we wanted to do, but punk showed us a way to do it.
It's funny how film is the slowest art form to adapt to freedom. It's had freedom all along. It could've done whatever it wanted to. You know the same freedom that do-it-yourself punk and post-punk musicians had in the late 70s and ever since. That's about the time I started getting interested in film, and I assumed that film would be moving along with the other pop culture forms. Its finally done it but it's taken decades for it to catch up just to basement band level.
I was starting to play the ukulele at the same time I was having all these conversations with [the late Ramones guitarist] Johnny Ramone, these intense tutorials staying up late and listening to the music he grew up on, and picking up what's a great song and what makes a great song. He was all about lists and dissecting songs, like what's a better song by Cheap Trick: "No Surrender" or "Dream Police"? Sometimes you'd be surprised by the answer. It was an interesting dichotomy between hanging out with the godfather of punk rock and starting to play the ukulele. They came together.
I think everybody likes a person that stands up for themselves. Nobody likes a punk or a coward.
I'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.
At one time I was a nihilistic punk with a mohican and a ring in my nose. I think in the course of time I'll find a middle ground, but I also carry that sense of responsibility. I'm in a position to defeat stereotypes.
If there's one thing that differentiates me from the rest of my family it's the rock element. I hung out with friends who like punk rock a lot. Not getting a big record deal, and having a hard time for years, it means you have to prove yourself and scratch your way up from nothing.
London has become really boring. I mean, years ago, London was really happening - there was swinging London and then punk. It was really different from other cities, and so I'd always wanted to go there and see what was actually going on. After that, hip-hop was the next thing happening, so to get the records or the proper clothing, you really had to actually go to New York. But now you don't really need to go.
I was in a couple punk bands as a kid. I did some more experimental stuff with my friend Dan for a few years.
Punk is the way of those who are unable to express themselves, but they aren't dangerous; at worst, they may kill their audience.
Punk and all that was just an image that ripped people off. Johnny Rotten's a wanker, and that's all there is to it.
Sometimes, if you want to be happy, you've got to run away to Bath and marry a punk rocker. Sometimes you've got to dye your hair cobalt blue, or wander remote islands in Sicily, or cook your way through Mastering the Art of French Cooking in a year, for no very good reason.
We weren't straight-A students. We didn't start playing until we were teenagers, and we started playing rock and roll and punk rock - power chords - before we ever thought we would play folk music. So virtuosity was just never in my reach.
I like to wear a "Do Not Disturb" sign around my neck so that little kids can't tell me knock-knock jokes. "Hey, how ya doin'? Knock-knock." "Read the sign, punk!"
My vision of punk rock was these dudes who were spitting on the audience and moshing. That's why I kind of left that scene. Then I see all these people around my same age or between 17 and 25 that were making music themselves in their own town. They weren't just singing, but creating. I see them putting out this music where there are tons of women involved in the scene and involved in the bands.
Johnny Rotten isn't punk. Maybe that's punk to somebody, but these people are participating and challenging the corporations that are telling us what punk is and what good music is.
Everybody wasn't always wasted. Why is punk rock about getting wasted? Isn't it punk rock to be sober and change the world? I thought it was about challenging capitalism? How are you going to challenge capitalism if you're wasted?
I was just a music lover who wondered what it would sound like if Otis Redding strapped on a guitar and played in a punk band. Thats it.
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