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PRECARI-PUNX
finally finished!
FOR
NOW WE ARE ASKING QUESTIONS OF PUNKS...
' Calling all the young punks slaving their sore arses in precarious
jobs, your backs acheing, your minds are numbed. How come all these
punks are doing the shitwork but never seem to comment on the role and
nature of (precarious) punks at work. If you can be arsed, come by and
fill in our Precari-PunX poster with your crappy work situation and
how it affects your mind and body. You don't have to be a punk rocker
to fill one in neither...
Curated
by 'How We Live',
the Precari-Punx exhibition / research process is small part of an intended
but as yet unformed collective action against social insecurity, for
a refusal
of work,(*) for the ABOLITION OF WORK. Like getting back
to basics! '
(*)
Why
should I be fighting for jobs? I don't want to fight for jobs. I don't
want to go and work in those factories. I don't want to go to work in
a Taiwanese sweatshop. I don't want to work in the export processing
zone. I'm not raising a banner of 'jobs for all'. Fuck that, those jobs
are paying R480 a month. Your upkeep in a council flat is R900. I must
be part of that shit?"
Durban activist, quoted in 'Classes, Multitudes and the Politics
of Community Movements in Post-Apartheid South Africa' -
Franco Barchiesi, 2004
IDENTITY
CRISIS...
At the end of the day, we don't know if this is research into work or
research into punks?
What does it mean to identify as a 'punk'?
Is it the same as identifying as a 'worker'?
For most
of us, work is the root of 'how we live' because we work a job to get
money to pay the rent and buy food. So it seemed that if we questioned
'how we live' we might get answers to how we could live, and
then some.
We like
punk. We are still punks. We still like punk's playful game of refusal.
In a wider sense we like it's awareness when its raging. We like it's
mindfulness of the alienations and crazyness of 'The System'. We like
it's insistence on autonnomous practice, DO IT YOURSELF. We like it's
dynamism and it's occasional grasping of the totality of what's wrong.
We like its combative fury and we like its, ahem! class roots...
THE
SCREAM:
" it's easy
to forget that the beginning is not the word but the scream..a scream
of sadness, a scream of horror, a scream of anger, a scream of refusal:
NO!..
it is from rage that thought is born, not from the pose of reason...we
start from negation, from dissonance..(it) can take many shapes. An
inarticulate mumble of discontent, tears of frustration, a scream of
rage, a confident roar. An unease, a confusion, a longing, a critical
vibration...we scream not because we are sitting in an armchair, but
because we are falling over the edge of a cliff "
John
Holloway, in 'Change The World Without Taking Power' (Pluto,
2005)
If we
had been failing in our quest for words to describe the appeal of punk
for us over the last twenty years, then we found it finally in the above
quotation. That's how it has always seemed to us, a chaotic scream in
all directions. But a scream that forces action, like the cry of baby,
a wail that forces attention and care. That the metaphor comes from
a book who's base is the theory and practice of autonomy could not be
more beautiful.
PUNK
+ IDENTITY :(to
be continued...)
"Is identity
a deceit, a make-shift, and should we hurry to make any pattern we can?
Or is there a coherence, perhaps a beauty if it were possible to find
it? I would like to convince myself but I cannot. The best there is
are days when the jigsaw assumes its own meaning and I no longer care
about what picture is emerging. By that I mean I am unfrightened by
the unexpected. If there is beauty it will surprise me. Of all things
it cannot be calculated. I suspect there is no picture. I should have
said that whatever the picture is, it will not be the one of the box'
Jeanette
Winterson in 'GUT Symmetries' 1998
"I
realised then the distance between the vagabond I still was and the
guardian of law and order I might become if I succumbed to the temptation
of law and order, and the cosiness that can bring. Every so often I
need to remind myself of the struggle that has to be put up...against
the allurements of rebellions whose apparent poetry conceals invisible
appeals to conformity "
Jean
Genet in 'Prisoner
of Love' 1986
RANDOM NOTES:
to be fleshed out?
Nowadays punk as a political scene is so disconnected from a wider political
reality that it burns. But its a scene that is sometimes far ahead of
that political reality, in it's own anti-political 'let's do this right
here and now'. It's a crash course of fucked up belief systems, strong
oh-so strong identity politics and tough on those who infract the rules.
Yet, within it, there is love, anti-power and rage. There is immediacy
and spontaneity. It's punk and punkers that keep the dream of anarchism
alive, not the self-defined anarchist groups of the world. Punk is a
possibility. Self-defined 'Anarchists' are mainly a rigid pain in the
ass. In this sense punk is precarious for what is more balanced on a
precipice than the dream of a free world?
The big trouble with punk is that the scene revolves around a musical
style and in the main that music isn't really going anywhere special
especially if you're not twenty years old anymore, have been to a million
shows and have forsaken black patched clothes for something less archaic.
That punk is attractive to a certain age where identity and belonging
is a big deal is a plus and minus. Plus because rebelling is an essential
component of growing up (although we hope that we never grow up!). In
that moment of rebellion, of embracing commercial or more underground
punk, there is the chance to find genuine and life-affirming critique
of yourself and the society you live in and for that critique to change
your life, to provide theory and practice towards more autonomy. On
the minus side, it's the easiest thing in the world to market punk rebellion
and we can only watch the passing of another wave of punk fans as they
buy, buy, buy into it for a few years before moving on. Punk as a subculture
is riddled with these contradictions: Record collecting mania, knowing
all the names, going to all the shows, pouring shit on the bands that
aren't in or aren't 'for real'. These things are not just the preserve
of the youthful rebel. Punk can sometimes have so many rules. The breaking
down of an idea for indepedence towards freedom into a set of musically
exclusive genres is, for us, baffling. Emo? Screamo? Post-Emo? Crust?
Punk? Hardcore? Post Hardcore? At this level, it's just another round
of the consumers choice pretty far removed from punk's one essential
idea. But then you can't have punk without the music, right? So then
follows that punk remains a circulation of products, of commodities,
of things. Can punk be a 'thing'? Without things what remains
Punk is the Italian for 'Autonomy'?
In the essay 'Punk and Autonomia', put together by Chumbawamba
dude Keir, attempts are made to find the connections between the massive
and feisty Italian 'workers' movements of 1977 and the sprawling chaotic
cultural movement of punk in the UK. Both 'movements' were based on
an attempted practice of autonomy, the notion that through free collective
activity (doing stuff for ourselves without being told how or why) we
could run our own lives. This practice demands a critical and antagonistic
relation to how power currently functions at a society-wide and individual
level to repress the instinct to act freely andharmoniously. In the
Italian experience, a much wider attack was launched against what can
be called the totality - against work, against culture, against a politics
of representation, against state power and how the residues of that
power that seep into our own everyday life (the body, love, morality...)
The Italian movements of 1977 pushed for the limits of revolutionary
theory and practice (an anti-politics?) and with serious consequences
- 2000 imprisoned in massive State repression of the growing autonomous
institutions and culture. (A good novel that gives an insight into the
hopes and despairs of the '77 is 'The Unseen' by Nanni Ballestini).
Across
towns, in the U.K, a similar grasp for autonomy was coming out of the
inspirations of the first wave of punk bands. These bands had all been
sucked into the belly of big business. Through the distorting lens of
mass media, the shock of punk was quickly accomodated, most early bands
signing up for record deals, promotional tours, media hype. Such moves
are inevitable when 'artists' believe that the music they create is
bigger than just the simple joyful practice of collective creativity.
The specific context and spontaneity of why bands and songs come about
in the first place is quickly lost to playing in a band as if it was
a job, which is what record deals and massive tours are. The spark and
flash of 'Boredom' by The Buzzcocks is quickly dampened by having to
play the song over and over again ad nauseum to yet another random bunch
of sweaty youth in another dead beat town somewhere on yet another boring
Saturday night. (In this respect, we wonder why Mick Jagger still can't
get no 'satisfaction' despite being in the sex, drugs and rock'n'roll
business for nearly 40 years!) A further example of these delusions
of grandeur that punk people can suffer from follows: Forgetting that
they play music together because presumably it is (or was) fun and personally
inspiring, Le Tigre now say they signed to a corporate record label
with a better distribution network because they 'owe it to their fans'.
This is putting the cart before the horse, writing songs now because
the fans demand something of you, not because you necessarily have something
to say or uncover. Probably this is why the last Le Tigre album totally
sucked with zero of the mad get-up-and-go rightiousness of the first
two. This is not to pursue the false argument that smaller independent
lables and distro are inherently anything other than businesses (but
more on that later).
More Boredom...
After these first wave of punk bands, the qualilty of 'Boredom', or
'White Man In Hammersmith Palais', the outright exposure of personal
loneliness, deperation and alienation, the sense of someone saying something
that struck you right at the heart of your own experience of living,
was taken up by a million young punks in forming bands, doing zines
etc. No talent required just some imagination and encouragment needed.
The story has been told a hundred times for better or worse elsewhere.
Just like in Italy, there was a groundswell of self-confidence, a blossoming
of simple autonomy and this expression of anti-power still rocks on
today despite being somewhat contained in the subculture, or later worse,
encoded as the ideology of punk (ideology: where you no longer have
ideas but the ideas have you).
On a mass level, there wasn't really the class conscious all-out assault
that was detectable in the Italian moment, a situation often described
as a 'laboratory' where experiments in the possible (and we would say
the impossible) where undertaken. Punk was always a very cultural moment,
itself a kind of radical laboratory or a kind of useful scream and tantrum
against the prevailing culture. Punk against the impenetrable spectacle
of stadium shows with endless virtuoso playing and superstar status.
'By demistifying culture, punk created a space for an explosion of self-activity'
(Punk and Autonomia). It was no longer solely a question of consuming
culture. It was now possible to create. Everything useless learned in
art class about Old Masters, every flashy rock band viewed on TV, every
alienating mega-concert could be forgotten about. In the here and now,
imaginative acts could take place without the sense that something else
was needed - ability, money, managers, media coverage, a job, record
deals. The image had momentarily cracked. The bullshit of modern life
had been seen through. That culture functions as a repressive and denigrating
force against us was fleetingly exposed. It was strange moment, like
a self-contained revolution (never escaping the confines of culture)
but revolutionary anyway even if only in the here and now, going nowhere
(like the bus on the Sex Pistols record sleeve!!).
I, II, III or IV?
Pre-punk dole life and your shit council estate had kept your critique
pretty sharp when your own frustration of trying to learn the solo from
'Stairway to Heaven' got too much. If Jimmy Page had pulled himself
up by his guitar strap to get rich, he was still just another rich cunt
despite how much 'Black Dog' got you off. (As a quick-ish personal aside,
getting into punk in 1976 meant that all these bands were now enemies,
which is useful for a while until you realise the problems of black
vs white thinking and the trap of too much self-identity. We weren't
actually old enough to listen to Led Zep in 1976 and so punk was our
first music, our first choice as an independent consumer! But we were
aware that they were the old way, the boring farts we needed to kill.
It was in about 1988 that I heard 'Whole Lotta Love' again and paid
attention and realised that on a physical level, it fucking rocked.
This is only included to break purity and because we assume that it
will be unbearable for some to have to read about Led Zep rocking here.
There is no purity, no dividing line between those who fought the punk
wars and those who didn't. There was no slate wiped clean or Year Zero.
Many of those who made up the second wave of more spontaneous and more
quickly defunct punk bands had learnt some rudiments jamming along to
crap 70's rock records. Punk was then somewhat of a mindfuck in that
the impetus of what you wanted to do, to rock, was now possible. Instead
of mastering endless guitarwank and practicing a lot to perfection,
it was okay and more enjoyable to just to bash about and shout and enjoy
yourself and have an instant band. End of digression, dude!).
Houses of The Holy...
'Donning the costume of someone else's rebellion as if it were there
own...The very idea of mohicans is like somebody and their friends suddenly
deciding to be Elizabethan imps and really gettting into lutes'
Motorbooty Zine, in 'The Motorbooty Generatio'n (Years ago!!)
But the limits of punk rock doing it for yourself were quickly reached.
It was fun while it lasted and then it wasn't so much fun. Taking it
too seriously left many back in the headjam of the culture spectacle.
Up on stage, adoring the adoration, or at least feeling like someone
centre stage for once. It was bound to end in tears. The repackaging
of punk happened with one year of 1976. Then it was back to the rock
star trip. The void was only ended by the reinvention of punk as anarcho-punk
and this being the trajectory that has kept 'punk' alive and functioning
as a culture, an attitude, a desription, a weight around our necks?
In a sense, we always run up against the same old feeling when we try
to situate, summarise, contain, expand on 'what is punk?' and 'why is
punk'? It's just The Scream remember? We get to the point after so much
thinking that there is really nothing useful to say about punk. It just
is. It's a mass of contradictions and conventions (musically, politically,
stylistically) and it's a mass of codes and conservatism. To try and
pin down what makes punk, as if all of it's reasons and activities can
be explained in a package is probably both impossible and tedious. As
supposed radical types, we reject the grip of radical identities (punk,
activist, vegan, straight-edger, squatter, etc). This is because we
are all (only) human first and foremost without conclusive personalities.
Punk clothes are a uniform. If you desire to be yourself and to be free
of ego-identified roles and attitudes, if you want to reject the shit
society we live in then dressing up as punks won't get you very far.
Although you'll feel at home with allthe other people who feel as you
do. It's a conformist statement of non-conformity in the same way as
a group of businiess people in grey suits feel comfortable amongst each
other. Punk clothes is a set of style codes that comes from the past.
('You wanna be part of the scene? You're just part of the scenery. Got
the picture yet?' Heresy) If the intention is to want to appear different
from everyone else and to distance yourself from everyone else (presumably
those you perceive as uncritical of the world) then dressing as an elephant
or squirrel would be more effective and more funny and far less puke
makingly moralistic. Dressing up as punk misses the greatest aspect
of punk, its promotion of autonomy. The nub of what makes punk great
is when it look outwards and reaches ahead of itself - Crass playing
benefits for striking miners, punks stealing art materials for special
needs pupils at school, running free bicycle workshops, the craziest
music made for love, punks that dig radical history, crusty punks that
fight the cops against all odds...) But then all the above was done
by people dressed as punks. Touche! Punks not perfect but it's better
than being in the SWP. It's a million things all in a big mess with
a lot of mutual exclusives..punks that wanna fight, punks that glorify
working class anti-intellectualism, middle-class punks that wanna change
the world by consuming Converse and Eastpak and look down their noses
at your lack of fashion credibility, punks that break the bogs at shows,
punks that drink themselves to death, punks that rip off squat shows,
punks that boss people about in riots, punks that only listen to punk
music (as if that personally mattered), punks that are sexist whilst
wearing patches that proclaim their anti-fascism, punks that are 'real
punks'...are any of these things punk?
Punker / Worker?
Keir in the essay 'Punk and Autonomia' notes, via quotation (Harry Cleaver)
that as we craft our autonomous space and environments, we do so scarred
and contaminated by the misery and exploitation that we endure in our
everyday lives. The people that we are and the commodities that arrive
from the scene (records, patches, shows etc) are part of the inevitable
and unavoidable process at work in a capitalist system. We cannot step
outside of capitalism and run our lives free from it's social relations.
In a sense this is what makes us critical of punk fashions and it's
insistence that independent shows and labels are meaningful. There is
something autonomous in putting on your own tours and putting out your
own records but you can't escape the social relations that mean somewhere
in the world someone extracted the oil that makes up your 7" single
and someone in a factory made your guitar. Someone else designed the
computer that you use to send your bands email out on to book tours.
Someone mined the metal in your beer can. Someone is bored at work somewhere
doing something that passes through your life. They work and get paid
but the work creates profit on top of the employers investment in labour
and machines. This is capitalism. These social relations are almost
invisible and we forget that almost everything we do keep these relations
ticking over without them ever being explicit. This brings us back to
the whole notion of Precari-Punks in the first place. It's to make visible
the social relations at work when we work and to ask the question then
of punks...what work do you do?
Everything's Gone Black...
Punk politics seems to rest a lot on morality. Such and such is wrong.
Something is bad. We are all to blame. There's a lot of punks songs
out like this but there aren't many punk songs that take a look at the
reasons why the world is fucked up. Increasingly so, more punk bands
are opting for the 'it's all fucked, the world is dying, people are
bad, it's all our fault and there's nothing we can do about it' line.
These are the words we hear a lot in these songs..'Emptyness. Fear.
Dying. Nothing. The End'. This seems like a reaction to the problem
we spoke about above that punks are unable to grasp the subtleties of
capitalism or the subtleties of radical actions against it. It's a kind
of giving-up Scream maybe that reflects the defeatism and increased
individualism of the times. It's a collective battle to change the world,
not a weight to be borne purely on one's shoulders. It's about possibility,
reaching forward not escaping into self-loathing and moralism. There's
also a definite punk pull towards comforting black and white thinking
in the punk scenes. Independent against major labels is the big black
and white punk argument. But with the above mentioned social relations
in mind, the argument for DIY labels
is a false one. There is no escape from the process at work. We don't
think anyone should sign to a major label either but not out of punk
moralism that majors are big capitalist bastards (business is business)
but because you'll get fucked! Okay it's better having a job doing something
you like but this can quickly get dull and ruin your liking for it.
Imagine having a job as a masturbator!
(Interesting to us in the Chumbawamba sign to a major label slag-a-thon
was that despite being so terrible musically, a look at their lyrics
over many albums convinced us they actually had a pretty decent grasp
of what was going on in the world and they were actually pretty for
real in their political intentions. This seemed to be missed by many
puritans who would never forgive them despite themselves a) usually
having retarded holier-than-thou Anarcho-Punk politics and b) never
being put into the position where major contradictions have to be faced
off with possibities including defeat. Who knows what was for the best?
Of course, we cannot be assured of the Chumba's niceness (!) never having
met or dealt with them).
One Step Beyond...
Maybe we are expecting too much. In fact I know we are expecting too
much and we shouldn't be so pure about punk. In the face of it's contradictions,
it doesn't do too badly but, as people who believe in the possiblity
of revolutions, we see that punk could be so much more...So much more
when it eventually dissolves away from what it has built and punks no
longer exist but by then we will all be punks...hmm a difficult one!
We remain punkgnostic. Punks without the soapy hair, more likely to
slap on 'Ascension' by John Coltrane but excited by the Heresy re-releases
CD. We can't escape our past and the experiences that we had (and still
have) in and around the punk scene. We can't forget the freedom and
autonomy of action that we saw, theorised and helped build in certain
situations. Are we punks? It's beautiful man but we fail to answer our
own question.
Sorry about the Led Zep stuff. We really are.
Say
No More! An
Interrupted Conversation...Or
'One More Push If We Are To Be Punks' until we say more again!!
It feels like it's come to a point of having nothing to say about all
this anymore. Or more accurately, it feels like it just impossible to
say anything worthwhile about punk rock and punks. This maybe just ennui,
lack of novelty, growing older, not caring, boredom, self-consciousness
and so on. Today, there is nothing more to be found in texts or in observing
/ living in a punk scene. The Scream is the thing. It is the foundation
of looking at punk because punk has always been a continuous event that
both thrives and struggles with contradiction. So The Scream recognises
both the frustration that punk articulates with living in this mad world
but also The Scream comes out of our mouths because we can't bear today
to place one more
word in front on another on this subject. It's the contradiction we
enjoy and with the distance we have from punk (seeking no credentials
nor status) we do not need to point a Pure-O-Meter at items, people,
shows etc to find truth. As a scream of refusal, punk works fine. It
seems pointless to use our tired words to analyse this. We simply can't
go on and we simply can't go meeting like this. If punk bores us, we
bore punks. Punk is content, is genre, is style, is subculture. We don't
have many illusions about the role punk might play in any forthcoming
revolutionary moment. Here and now, it's a counter-culture with somewhat
rigid rules enforced by either leaders or followers who most indentify
with it. Then again it's beautifully social in that punk repeatedly
creates or takes space to scream together in. At least, it recognises
struggle or resistance even if it often retards it's original impulse
(to break free of society's boredom and contraints) by placing parameters
on what is punk politics. But hey punk will never be an organising principle
like Bolshevism or Anarcho-Syndicalism or Anarcho-Primitivism but in
it's own embrace with chaos, we trust that a new world can indeed be
built on the ruins of the old. We also trust that punks create ruins
quicker than any other political ideology. We don't feel the need today
to 'read' punk via Marx or Situationist ideas, nor cultural theory nor
any current Bible of punkrockdom. Like any attempt to analyse the external,
you learn a great deal about your own internal habits. Punk for us is
a bad habit so we need to let go, to not take it seriously with our
own bad word habit. If we insist that punks give up the identity, we
insist that we give up our identity as 'critics'. Like a love affair,
there is no subjective logic to it, as there can be no system of revolution
that does not include it's own abolition or dissolution. Do not feed
the punks! Set we free, set punk free.
We hope you are enjoying our own continuing self-torture and word self-snares.
Or at least grasping our grappling with our own reality to change it.
We like to think about things, to question things but we like to walk
in the park too. We are not experts that seek to present answers but
we write because we see it as conversational.
FUCK THE SYSTEM
'As a fourteen year old I was smart enough to realise that punk rock
wasn't profound. We change and yet remain the same'
Stewart Home, Cranked Up Really High (1995)
This seems to be contradictory enough for us. Punk is not profound.
In itself, it's mainly prosaic. It's everyday meat and potatoes. Not
particularly philosophical. But then it's profound in the sense that
The Scream comes from deep within. Punk changes but remains the same,
the same as we as individuals experience the same changes in personality
and identity. If we remain forward thinking and looking than some part
of the journey is still satisfying...
February 14th 2006 - The Contradictions.
You can buy our extended play 7". It's released on our own label,
Not My Revolution Records and it's titled 'No More Smashing Things'.
Essay to be continued...precariously...website to
be redesigned soon...
WATCH OUT FOR THE PUNKS...FIVE PUNKS AND WE'RE DONE
 were
done!!
SECOND
THOUGHT OF THE WEEK (while you wait)...
Why
is Hip-Hop culture bigger in Africa than Punk is? Why do X-Plastaz,
rap crew from Tanzania, rap about the casual nature of work in Arusha
and thus their imminent survival...rather than rapping about the forthcoming
apocalypse or animal rights.
|
here's
us
at a recent lecture we gave. You can mail us here:
|
 |
xxx The Immaterial Labour Girls
|
Surrounding,
interesting links:
Updated
by your PRECARI-PUNK DROID:
WHAT
IS PRECARITY?
NEW!
LIVING
IN A IMMATERIAL WORLD?
NEW!
REFUSING STRUCTURES May 2006
COGNITARIAT
& SEMIOKAPITAL
STARBUCKS
STRIKE, N.Z
DISOBBEDIENTI,
CIAO!
MAYDAYSUR,
SEVILLE 2006
THE FREE ASOCIATION
2
SWP MEMBERS DISCUSS PUNK, AESTHETICS et al
MAKE
WORLDS
Interesting (if slightly trendy) bunch of stuff
INFO-LABOUR
and PRECARITY - Franco 'Bifo' Beradi
SOLIDARITY
WITH THE BRIGHTON BIN MENS STRIKE of 2001
SELF-REDUCTION
OF PRICES in ITALY (1970's)
BLOG
with good links on Precarity
ELECTRICITY
AND THE POLITICS OF STRUGGLE FOR PEOPLE's NEEDS IN
TEMBISA
PRECARIAT:
Special Edition of REPUBLICart on Precarity
CULTURE
IN DANGER? IF ONLY:
French Intermittents strike : A critique
INTERVIEW with ALEX FOTI:
(Ex of CHAINWORKERS)
UPDATE
on ALEX FOTI (see above)
PRECARIOUS
WORK RESEARCH + ACTIVISM from FEMINIST SOCIAL CENTRE in MADRID, SPAIN
PUNK
and AUTONOMIA - ENGLAND '77, ITALY '77
COMPLETE
HISTORY of the DEVELOPMENT of PUNK on NEW YORK'S LOWER EAST SIDE, 1950-1975
- A Song by Jeffrey Lewis
MARX
AND MAKHNO MEET MCDONALD’S: CASUALIZED WORKERS IN PARIS WIN SEVERAL
STRIKES
P2P
FIGHTSHARING DVD “PRECARITY”- an awesome compilation of 17
videos
(Available for only £3 at 56a Infoshop)
MOMENTS
OF EXCESS:
Text from LEEDS MAYDAY GROUP
What
is BIO-POWER?
MACDONALD'S
WORKERS RESISTANCE website
STARBUCKS
UNION ( I.W.W) Website
GENERATION
ONLINE - Excellent Helpful Site
INTERACTIVIST
EXCHANGE
An
E-mail to
PRECARI-PUNK GIRLS
"re:
punk article..maybe it has as much a moral tone as the punks u talk
about..... :-(
and there's this narrowness, a shared tiny vision of what punk means.....hmmmmm
punk does not have to be dogmatic.....often is but its not written up
in a contract.... punks r human too..................fucking up learning,
changing, trying to feel good, wearing clothes.........
elephant costumes lack a
certain practicality....
shy and full of action.....punk is not just rebellion but
home.....safety and comfort
punk only exists looking outwards.....inside it is nothing....just a
word...
hmmmm not everybody puts so much time into words and semantics.....it
is not the thing itself.......
don't worry so.....its human to be in love with words..... and u say
all this..... anyway just some thoughts....
"
your
mail here...
LAST
WORDS from us...
kind of
'Curiosity
kills the cat, but it also defines the cat. Besides it separates the
cat from the slub. Similarly alienation, drugs and alcohol, a disdain
for authority, a feeling of no future, and a love of violent dancing,
bad hygiene, and rash decisions may kill the punk. If so, let her or
him go in peace.
Could the cat keep from peeking into a paper bag? And if it could, should
that it would. Who would want to turn a cat into a slug that sees through
through slow, dead eyes and chooses its moves with cold and clammy deliberation?
Yet they pluck the punk of all its fur and feathers in the name of improving
the pedigree!
Let those who wish to remove the self-destruction from the very soul
of the cat and heart of the punk be forewarned: a world full of slugs
might be safer, but it would suck. Yea, verily.'
by
Aaron Cometbus
Editorial for Maximum R'n'R
|
FOR
THE ABOLITION OF WORK
