Guide Daddy Was a Punk Rocker

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The Q at Parkside for those for whom the Parkside Q is their hometrain News and Nonsense from the Brooklyn neighborhood of Lefferts and environs, or more specifically a neighborhood once known as Melrose Park. Sometimes called Lefferts Gardens. Or Prospect-Lefferts Gardens. Or PLG. Or North Flatbush. Or Caledonia west of Ocean.

Episode 30: Attack of the Cool Dads – Day 3 Part 2

Or West Pigtown. Across From Park Slope.

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Under Crown Heights. Near Drummer's Grove. Jackie Robinson Town. Home of Lefferts Manor.

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  • West Wingate. Near Kings County Hospital. Or if you're coming from the airport in taxi, maybe just Flatbush is best. No I haven't read it yet.

    Teddybears feat. Iggy Pop - Punk Rocker (lyrics)

    I was at my beloved Park Slope Food Coop the other day and heard a mom, about my age, calling out to her son Atticus. Will she have to change her son's name with the revelation that Atticus was a bigot?

    The Clash - My Daddy Was A Punk Rocker

    If you must read what someone besides the Q has to say on the issue, here's the Times. Remember, the book isn't even out yet. I'm speculating, just like everyone else. That would make it easy to dismiss her redrawing of the Atticus character as revisionist, or tainted, or angry.

    That is, she's known all along what crock it was that her Daddy was some sort of pres racially moral Superman. Even the most enlightened white Southern Gentlemen were products of their times. According to accounts, her father A. Lee even mellowed his segregationist views after the release of To Kill A Mockingbird, perhaps partly swayed by Harper Lee's extraordinary rendering of him as kind and just and brave beyond reproach?

    I mean, isn't Mockingbird the most awesome argument with your dad's generational conservatism and stubbornness?

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    And how great would it be for us all to have a more perfect vision of ourselves to reflect upon? Maybe it's what it was all about, who knows. I mean, she's a writer first and foremost. But you have to write about SOMEthing, don't you. I mean think of it. Harper's brilliant, radical. She studies law in Tuscaloosa, but she's clearer not cut out for following in her daddy's footsteps.

    And doesn't just hang with the housewives and humdrum guys and dolls. She settles in with some full-on art-deco loving wackjobs like Truman Capote and Michael Brown, the nutty songwriter for Industrials like the Dupont musical at the World's Fair, which spawned a hilarious song my father the biochemist sings to this day. Selberg must be ranked among the great vocalists of rock music. I dischi dei Cows saranno sempre carnevali di follie frastornanti, giostre di colossali boutade armoniche, dirompenti grotteschi sonori. Al confronto i Butthole Surfers sono un'orchestra di musica classica.

    Per quanto venata dalla stessa vena blasfema e caotica, fracassona e abrasiva, sul successivo Daddy Has A Tail Amphetamine Reptile, prende forma una canzone rock del dopo-hardcore, relativamente strutturata ed essenziale. Questo stile eterodosso si incarna in canzoni hard-rock come Camouflage Monkey , fughe hardcore come I Miss Her Beer , inni da garage-rock come By The Throat , brani che sono sempre sfregiati da scordature raccapriccianti e cantati con la grazia di un buttafuori. Ma il loro autentico spirito di anarchici del rock viene a galla semmai in baccanali forsennati come Sugar omessa dall'edizione su CD.

    La voce di Shannon Selberg riecheggia tanto i grandi shouter neri quanto i selvaggi rocker bianchi dei garage. Memorial e Preyed On sono oasi di pace nel rumore infernale. Ma gli arrangiamenti sono sempre da far accapponare la pelle, ruvidi, aspri, ispidi ed "acidi" ad oltranza; e alla fine a trionfare sono di nuovo i pezzi lunatici: il thrash demenziale di Whitey In The Woodpile , la baraonda alla MC5 di Big Mickey e soprattutto il monumentale blues di Nancy Boy Cocaine Whore Blues , suonato a tutto volume con accenti "hendrixiani" e cadenze da panzer.


    Canzoni come The Man non valgono un centesimo in decibel e distorsioni di quelle che le hanno precedute: ne conservano le convulsioni psicotiche e la rabbia sottoproletaria, ma accanto a sincopi quasi heavy metal. Lo sferragliante rock and roll di Good Cop annacqua l'impeto punk di un tempo. L'album sfoggia pur sempre episodi di grande valore, come Walks Alone , un rockabilly scatenatissimo, e The Woman Inside , uno dei loro nonsense tribali. Molto considerano questo il loro capolavoro, ma qualcosa dell'infernale genio degli esordi di era perso. Pur non avendo perso la classe, album come questo e il successivo Sexy Pee Story del sono tipici della generale regressione del genere verso il mainstream Butthole Surfers docet.

    Ma Sexy Pee Story , se non altro, vanta un'ispirazione scalmanata, un livello di follia davvero geniale e un'esecuzione tutta fuori dai canoni. Anche Orphan's Tragedy Amphetamine Reptile, segue quelle direttive di musica fracassona e caotica, ma al tempo stesso compiuta e compatta. A segnare questo nuovo periodo sono soprattutto le melodie: per quanto immerse in rumore scurissimo, Allergic To Myself e My Bob non hanno nulla da invidiare ai Nirvana. La grande progressione iniziale e il grande bailamme finale di Divorcee Moore sono il miglior manifesto del gruppo. Un tribalismo forsennato e i guaiti di un sassofono free jazz infuocano A Oven.

    Mas No Mas avanza a un frenetico ritmo boogie con improvvisi sussulti sgraziati delle chitarre. I Cows hanno rappresentato negli anni '90 la frangia demenziale del punkrock di Minneapolis. Selberg va annoverato fra i grandi vocalist della musica rock. Selberg moved to New York and virtually shut down the Cows. More varied than ever, quieter than ever, far more subdued and conceptual, and farther than ever from their punk roots, the sound now features too normalized vocals and vastly tamed guitars.

    The highlight is the rhythm.

    The instrumental Dear Dad is a demented deconstruction of the genre of movie themes. El Shiska is deranged tex-mex with trumpet, and Felon Of Troy is a frenzied jam of free jazz.

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    But, for a rock and roll band of this caliber, the stylistic variety is counterproductive. The Cows have lost most of their raucous energy, although greatly improved in sophistication. No I'm Not Coming Out si avvicina al grottesco storytelling dei Pere Ubu sintetizzatore lamentoso, drumming sincopato.

    Persino il viscerale garage rhythm and blues di Death In The Tall Weeds e Salive Of The Fittest rappresentano una sbiadita imitazione della furia che li caratterizzava in passato. Gayle Colopy Reviewer Gayle Colopy: Gayle is a semi-retired veteran of various governmental, non-profit and commercial enterprises, and is now a freelance writer based in northern California. View all articles by Gayle Colopy. Spread The Word del. Article Options.

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