Tag Archives: punk

The Mechanic’s Guide

In many ways, stories are more important then truth. The stories that we tell ourselves, whether they are “true” or not, shape the world we live in and control when and where we will see opportunities or obstacles. Here’s a story that I was told when I was around 18. A lot of this story ended up being true, though bits and pieces were exaggerated either by the person who told me the story or in how I’ve remembered it.

The story concerns the above two women, Jenny Toomey and Kristin Thomson. Jenny and Kristin had a band called Tsunami out of DC in the 90s. They also ran a record label called Simple Machines Records. One of the more famous releases on Simple Machines wasn’t music though, it was a pamphlet called the Mechanics Guide.

The story as I was told/remember was that after being in Tsunami and a couple of other bands and running Simple Machines for a little while, Jenny and Kristin got together with some of their friends and decided to put everything they had learned down on paper so they could share it with other people. How to book a show, how to book a tour, how to record your band, how to turn that recording into an actual release, how to start a label, how to promote a label, etc. And the instructions were pretty low level. Not just ‘send your record to a record pressing plant’, but ‘here’s the plant that we use and what they charge us, and here’s another plant that our friends use and their rates’.

The idea was that it was everything you needed to know to start taking part in your culture in whatever way that meant for you. If you were the kind of person to form a band, here’s what you need to know. If you were the kind of person who’d rather form a label or a zine or book shows, here’s what you need to know. It was rooted in the idea that the reason most people were passive in their culture was because they didn’t know how to be anything else. So, teach them how to be active in the culture and some of them will go and do that.

I’ve been thinking about this story a lot recently and what it means. Not just in its promotion of DIY culture, but in what it says about helping the people that came after you. At the end of the day Tsunami were a great band and Simple Machines was a great label, but neither of them was revolutionary. People had done these things before and they’d do them afterwards. The revolution came in Jenny and Kristin’s decision to help the people who came after them. To make it a little easier and to share the knowledge they’d learn. An act that I still see as the punkest thing anyone has ever done.

Like I said, when I finally got around to looking into this story I found that a good chunk of it was actually true, though may be exaggerated. If you’re curious about the official story, you can find that here on the Simple Machines website.

Epilogue

Jenny and Kristin closed up Simple Machines in the late 90s after Kristin moved to Philly and they got got burned out on the business side of running a label. As an encore though they joined forces with several friends and founded the Future Of Music Coalition which helped independent musicians make sense of the new digital landscape and lobbied governments to ensure that independent musicians had a seat at the table as the new rules were being drawn up.

Jenny currently works at the Ford Foundation.

Kristin currently works at the Media Democracy Fund.

Creating truth from nothing

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I was recently reading the book Queercore: How To Punk A Revolution, an oral history of the Queercore punk scene, and I came across an interesting story.

One of the pivotal moments in the creation of queercore was the zine JDs, created by G.B. Jones and Bruce LaBruce. The zine documented a thriving gay punk scene happening in Toronto at a time when punk was still fairly homophobic and many gay punks struggled to find a way to reconcile their identification as both punk and gay. JDs presented a scene where these two things were able to exist side by side with no apparent contradiction. And, most importantly, here was a place where punks could be openly gay and feel accepted.

There was one issue though, it didn’t exist. The Toronto gay punk scene was in fact a handful of friends who all hung out at the same bar and a couple of whom had formed a band that occasionally played said bar. No one outside Toronto knew this though and so everyone just took them at their word and they went off and founded their own gay punk scenes all over the US and Canada because they thought that bridge had already been crossed and it was a natural normal thing.

In the book Kathleen Hanna sites JDs as a big inspiration in how she talked about riot grrl in the early days. Back when she still talked to the press about it, she would tell them that riot grrl was a national movement with groups all over the country. In truth, it was a couple dozen folks at the time, mostly in DC and Olympia, WA. Again though, people didn’t know that and so they thought they were walking down well trodden trails when in fact they were blazing brand new ones.

When I was thinking about this, it occurred to me that this wasn’t the first time I’d come across this tactic. R.U. Sirius, the original editor in chief at the infamous cyber punk magazine Mondo 2000, admitted, years after the magazine folded, that they regularly invented stories for the magazine if they couldn’t find actual people that were living the story that they wanted to tell. Again, the expectation was that people would read the article and be inspired to do their own thing, because they thought someone else had already done it.

The whole thing gives new meaning to “be the change you want to see in the world”.

Acknowledging ugly truths

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I’ve seen a couple of videos on TikTok that put forward the idea that punk is inherently inclusive and that if something is sexist, misogynistic, homophobic, etc. then it can’t be punk. While I applaud actively trying to make punk inclusive for everyone, and I may be taking to video creators too literally in their comments, I’m very uncomfortable with this sentiment.

The reality is that a lot of punk’s early history is sexist and misogynistic and homophobic and transphobic and all the rest. A quick read through oral histories like Please Kill Me and We’ve Got the Neutron Bomb makes that clear. And we’re not even getting into hardcore here. To present punk as something that was always inclusive is to just ignore the history of punk. It also makes telling the story of punk difficult.

How do you explain Kathleen Hanna’s call of “girls to the front!” or the concept of girls only shows, with out acknowledging the misogynistic environment that riot grrl pushed back against?

How do you explain the importance of zines like J.D.’s and Homocore or bands like Pansy Division and Team Dresch without acknowledging the homophobia in the scene?

And beyond the concepts, there’s the simple matter of giving people their due credit. Riot Grrl and Queercore were two of the most important movements in the history of punk. Not because they gave us great bands, but because they rebelled against the rebellion. They called out the hypocrisy and bullshit of punk and they demanded that it be what it was supposed to be. That took a lot of guts and a lot of courage and it deserves to be recognized. And that recognition can not be properly given unless we’re willing to talk about how and where punk has failed.

In the end the power of punk comes from it’s honesty. This is an art form that is at it’s best when it is being brutally honest about the best and worst things about humanity. If we’re going to move this art form forward and pay proper tribute to the people who came before us, then we need to be brutally honest with ourselves about how we got here. We need to celebrate the things we got right, but we also need to acknowledge the things we got wrong. And we need to honor the people who showed us we were wrong.

Ian MacKaye – Creative Time Summit DC Keynote (2016)

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…sometimes when we play shows I always try to remind the audience that we are the band, they are the audience, we are collectively making a show. If the audience was not there we would be practicing. The energy that happens between a band and audience is the thing that can elevate the moment and make it into something that is… transportive I guess or whatever the word is.

[Talking about Dischord Records]: ‘…December will be 36 years. This is a label that has been around… I just want to point out a few things. Never used a single contract. I don’t have a lawyer, never had a lawyer. We pay royalties every six months still to this day. I have four employees, who have health care. I just want to say those things out loud because people say ‘It’s to idealistic’ it’s not to fucking idealistic if you just do the work that’s in front of you and most of all if you don’t look beyond the work to the profit because that is the distraction. It’s the money that always gets in the way.

I do know one thing. Artists are translators, that I’m pretty sure about. They see something; they have to explain it. And the way they explain it, if they’re visual artists they make a picture, ‘this is what I see’. And if they’re writers and they’re thinking, ‘this is what I think’. And if they’re musicians, ‘this is what I hear’. And if they’re dancers, ‘this is how we dance’. They’re translating.