Artless Nonculture: rock and roll

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News | Rachel Logic (Uncommon Logic, First Offense, Dropgun): R.I.P. 1979-2016

On Monday, February 29th, 2016, active member of the Akron punk rock scene, LGBTQ* activist, and loyal friend to many Rachel Bishop (AKA Rachel Logic) was involved in a fatal car accident. During her life, she made a huge impact on nearly everyone who knew her, and was an inspiration to so many due to her bravery, honesty, sense of humor, and big heart.

When I met Rachel, everyone knew her by a different name. At the time, she was the bassist of the band Dropgun, who my band at the time, Dead City Dealers, had played a number of shows with. Though the two of us had never talked at any great length at that time, Dropgun had become one of my favorite punk bands in the area.

Then one day, in the Fall of 2009, I got a long, detailed MySpace message from a woman with the screen name "Rachel Dreadful", explaining that she was this person I had known the last couple of years, that she was transgender, she was going through transitioning, and wondered if I would like to do an interview with her for Artless Nonculture (2.0), in order to fully come out to the regional punk rock community, as well as to help answer everyone's questions, "all in one shot." After taking a minute to let this news sink in, I was eager to help.

Over the years, Rachel became sort of an "FAQ" for transgender issues, not just for me, but to many of the people in her life. Not that that's all she was, mind you; Rachel had a huge amount of knowledge on geek culture and punk music, as well. She had a sharp, sarcastic wit, and a warm, caring personality. She was also very humble, and would probably not care much for any tribute such as this one.

When my girlfriend of 6 years passed away suddenly, back in 2014, Rachel Bishop was one of the first people to reach out to me, offering support in any way she could. Keep in mind, before this we were not close; there was a lot of mutual fondness and respect there, definitely, and we would bullshit on Facebook, but I would say we were more fond acquaintances rather than good friends. And around the one-year anniversary of this loss of a loved one, Rachel actually took the time to drive to Cleveland from Akron to spend the afternoon with me. When I sent her a message thanking her afterwards, all she said was, "We all gotta take care of each other."

Over the last 2 years, we would periodically check in on each other via social media (me, struggling with depression and other issues related to the death of my partner, and her with her own moods and health issues. This would typically be in response to one of us seeing a Facebook post from the other).

We would always invite each other to come and hang out in each of our respective cities (we were only a county apart, after all), but something would always get in the way—typically money or car troubles. I really wish we had spent more time together now, because I truly believe we would have become good friends had we lived just a little closer to each other, or had fewer financial issues. Unfortunately, time gets away from all of us, and you never know when it's gonna be your last chance. I just feel really lucky that I got to know her at all while she was here.

As a tribute, I'd like to republish the 2009 interview I conducted with her while she was transitioning. Maybe her story can help someone else who's going through a similar situation, or help quell any confusion about the entire subject for someone who just doesn't "get it."

Interview with Rachel of DROPGUN

by Sam Sinister.

ANC: Please state your name, and what you do in which band.

RD: My name is Rachel, and I play bass in DROPGUN and maybe You Have Ten Seconds to Unfuck Yourself, if we ever play again.

Now for anyone who is confused, you're not a new member to either band, correct?

No, I am not. I've been in DROPGUN for three years. My legal name is John, that's the name I was given at birth. I'm a transsexual, and Rachel is the name I go by, and will legally be my name soon.

That answers my next question then... the legally changing your name thing.

I'm reading your mind.

Wanna explain the difference between a transsexual and a transvestite?

Well, the term transgender is a blanket term, covering transvestites/cross-dressers, genderqueers, and transsexuals... and others. They all have one thing in common: They mess with gender.

A transvestite is a person who lives as their birth gender, but get some sorta kick outta cross-dressing. [The term "transvestite" has fallen out of usage in most circles within the trans community, as it is now seen as being archaic and, to some, offensive— much in the same way that "colored" and "negro" are within the black community today. -Ed.]

Transsexuals are people whose bodies developed differently than their brain.

Now, this is a new term to me... What is genderqueer, and is that different from homosexual?

Yeah, it's just people who screw with gender to the point that they completely break the binary laws of male and female. Gender and sexuality are not related.

So, how far along are you into the transition? Are you taking hormones?

Yeah, I've been doing that for a year-and-a-half or so. I've got a therapist. It's been interesting, first trying to hide the changes, like wearing a coat on stage while sweating. Second, not hiding the changes, like when my friends look at my chest. It's funny. I take two pills every day, and one shot in the leg every week. So it's a routine, but it's worth it.

At least you have a sense of humor about it. What's the reaction been like so far from your friends/band? Your family?

The band has been pretty rad. Everyone reacted in their own way, but all positive. My friends have been great; I haven't had a terrible reaction yet. I'm not saying people 100% get me, or accept me, but it's been fine so far. There's so much gender-bending in rock, I think I can get away with it a little more than, say, an accountant. (laughs)

How long before you're done with the hormone treatments, or do you never stop with them?

I'll always be taking estrogen, but I won't have to block my testosterone once I lose some of the male equipment.

When will that be?

When I raise the money. Insurance normally won't cover trans health issues in the USA, so the brunt of the bill is on me and my family. It's not uncommon for trans people to drop 40k during transition. A lot go bankrupt, blow through savings, and sell everything that's not crucial to life. If I had the cash I'd be done by now. If I hadn't of sold my soul to the devil for rock n' roll I'd be cashing that in.

(Laughs) This is gonna be an in-depth and complicated interview...

Maybe you'll win an award.

(Laughs) Doubtful.

Well, if it makes you feel better, the Cavs are up by 27!

Not a basketball fan (laughs), sorry... or any sports for that matter.

If you live in Akron you gotta like the Cavs, it's the rules.

So, when did you first realize that you were... uh, for lack of a better word, different?

From the time I was able to notice the difference between boys and girls. I knew if I tried to hang with the girls I'd get messed with, so I hung out with the guys and envied the girls from afar. It was weird when everyone was growing up, I didn't understand why I was becoming more boyish.

Well, then later in life, I'm sure it's easier to hang out with mixed company, though...

Sure, and I didn't hate being a guy, it just wasn't the perfect fit. When I was growing up, I latched on to punk rock, because at least then I could control why I was an outcast. I know other trans people latch on to things like sci-fi, and comics, and stuff like that. In fact, there was a band called Label the Traitor that were huge when one of their members came out as a trans person. So I know there has to be more of us out there. If I could reach out to just one punk still in the closet, then they'd reach out to one, and so on. That's one reason that I'm open with being trans, and not trying to go stealth.

One of the early New York punk frontmen, Wayne County, later became Jayne County...

That's right! Very early on, too. How punk rock is that?

I guess very... I mean, if punk is being "real" and saying, "Fuck you, this is me and you can deal with it or get out of my way," then I'd say you're pretty damn punk rock.

Bobby Steele of the Undead is friends with Jayne and he's shared a few stories online (laughs).

Okay so, you mentioned that sexuality and gender are completely unrelated. What exactly is your sexual orientation? I mean, since "gay" and "straight" are usually determined by whatever gender you happen to be...

Well, as a guy I'm straight, and as a girl I'm lesbian. It's a weird line to cross. That's an issue some gay people have with trans people. Some don't like the switching ability.

Would you be lesbian right now, or would that happen once the transition is complete?

I think of myself as a lesbian right now, plus it makes sex hotter (laughs).

You're married, right?

June 1st, 2010 is the big day. It's a Tuesday, because nothing is ever normal with me.

How did she take it? Was this something she's been aware of all along, or did you sorta spring it on her?

She was amazing, it doesn't hurt that she's bi. All of her family has been really nice about it too. I will marry her as a guy, however, as there is no gay marriage in Ohio (yet).

Ah, that brings up an interesting point. Once you're married, and then you "officially" become a woman, can they sort of revoke the marriage? In a legal sense, I mean?

In Ohio, where I live, I can't change my gender on my birth certificate, so my marriage will not be voided. It's really sad, some people lose their marriage after years together.

Sounds complicated.

No kidding.

But you'll have a new social security number once you legally change your name, right?

(Very long pause) ...I think you win a prize for stumping me. I have no idea.

Yes! Free DROPGUN t-shirt?

(Laughs)

I'm serious.

Well, first we gotta make 'em.

Oh, okay.

We're a lazy band.

Umm... MP3's emailed to me that aren't on Devil Music?

It's all up on MySpace right now, even that Groovie Ghoulies cover we did.

Yeah, you can't download off MySpace anymore.

MySpace pisses me off more and more everyday, but I'm hooked.

I have "Alone" and "Black Whip". I downloaded those before all the changes to the player took effect...

I can't wait to get this album out, it's going to shock people a little. We have five or so songs being worked on right now. It's a real change from where the band started.

How so?

DROPGUN started off as a cover band, mostly Oi! and hardcore stuff. Then came Shittin' n' Gettin', and that was very rock and very punk with hard yelling vocals, and then Devil Music added a ton of guitar solos and calmed down a bit. The new one has a hint of surf in it, but in a rock n' roll kinda way. Sounds like nose bleeds and hooker spit.

Surf is rock 'n roll!

True.

And I don't think Devil Music was very tame, by the way... Pretty hard rockin' stuff.

Yeah, those guys really made that one work.

What kinds of covers did you guys play in the beginning?

Well, I wasn't in the band then, but it was a lot of early punk, hardcore, and Oi!. On any given night you could have heard anything from "Crucified" to "Borstal Breakout". Now we stick to the Dead Boys, and more rock n' rollish punk.

Electric Frankenstein, New Bomb Turks, stuff like that...

Yeah, but no covers of bands who are still around. Unless it's a special kinda deal, like the Misfits for Halloween...

Well, if you play the Glenn-era stuff, that band definitely isn't still around!

Yeah, no kidding. I did go see Danzig when he brought Doyle with him to do a classic Misfits set, it was amazing.

Anything else in the works for DROPGUN besides the album?

Nope, we're just doing that right now. Billy and Paul have been writing songs left and right. We just gotta get 'em recorded and fire 'em at ya.

Any last words for our 3 or 4 readers?

Yes. If you are questioning your gender or sexuality, contact your local PFLAG. Educate yourself. Also -Rock N' Roll.

- 4/26/2009 09:02:00 PM

EDITORIAL

I'm anxious.

Not about anything in particular, mind you. I'm just an anxious person.

As my food arrives, I realize that to any fly on the wall, I probably seem like a health nut. I'm not—far from it, in fact—but the egg whites, turkey bacon, and wheat pancakes sounded good to me for some reason. I'm sure from a distance, it all just looks like the same old slop any way. Not that it matters, either way.

On the short drive over here, I decided to flip through the radio stations. You know, just for some perspective. My old standby, WCSB, was playing polka (which I normally enjoy in small doses, but I wasn't quite "feelin' it" right now), and all the other stations were, unsurprisingly, unhelpful. Crappy modern pop music, even worse "rock" (what's the difference?), today's top "country" (I repeat), a Van Halen song (sadly the best thing so far, so I leave it)...

AND THEN!

The opening guitar lead and kick! snare! pattern of "Saturday Night's Alright (For Fighting)", one of Elton John's only real rockers, a bootboy/sharpie classic from way back, a time when someone outside of a particular subculture could write songs about and for that subculture, and still be somewhat respected by the members of it. Back when styles, and subcultures, and genres were pieced together from elements of pre-existing ones, a byproduct of diverse tastes and influences, amalgamated abominations, curated by influential scenesters, musicians, fans, and journalists; only given a name once something so loosely defined became solid... too big and widespread to be contained, it now needed a rallying cry. A catchy marketing term. Or both.

Maybe I'm reading into this too much. But I don't think so.

Punk used to be one of these things (and to a degree, to me at least, it still is). The bastard child of glam rock, novelty songs, '60s pop, what we now call "garage" rock, and an anti-hippie/anti-disco/anti-prog sentiment, among many other small strains of many other things, "punk rock" was a relatively unknown term, employed by a very small group of rock writers and fans, which was applied to bands and artists ranging from The Sonics to Alice Cooper. I doubt any of these groups liked the term very much, either.

***

::FLASH FORWARD 24 HRS::

Remember back when you could sit in a family restaurant for hours on end, no one fucking bothered you, and you could smoke an entire pack of cigarettes with the rest of society's dregs? Now I'm relegated to the magazine section of the public fucking library. The quiet is nerve-wracking, and I still can't chain-smoke. But regardless, it's free, and I get to save bandwidth on my internet at home. Isn't adult life fun?

I told my friend Laurie I was writing an editorial, and she asked what it was going to be about. I said, "The state of music today, relevance of punk rock, specifically garage punk/first wave revival... mission statement, etc." She said that punk is more relevant than ever, and also:

"Music is pre-packaged, contrived garbage & people are sheep. Youth today have more to be angry about than ever. They have far less opportunity than their parents did--the world is garbage. They're just too busy playing on their phones to notice."

Honestly, I think the world is probably in the best shape it's ever been in, and there's nothing wrong with technology in and of itself [he said as he pounded feverishly on the keys of his laptop], but people, on the whole, definitely don't seem to be getting any smarter; At the very least, they're generally as complacent, stubborn, close minded, backward, anti-intellectual, superstitious, and boring as they ever were... a bunch of followers, lacking any critical thinking skills. People who make their minds up about everything based on who said the dumbest thing the loudest or most confidently. Some are even still stuck in this notion of "traditional values" and other outdated archaic bullshit, like strict gender roles/rules, and maintaining the "status quo".

Tradition is kinda like collecting a bunch of OCD rituals and passing them down through generations of scared, stupid assholes.

Punk might have been a reaction against hippies (partially), but that doesn't mean it was ever meant to be enjoyed by ultra-conservative, authoritarian twats. I mean, what kind of "normal," wholesome, career-path driven douche is going to ever really "get" the songs of the Ramones? You could argue that Johnny Ramone was a staunch Republican, but he was far from being a normal dude. He was into collecting rock 'n roll and junk culture memorabilia. He loved horror movies, and glam bands, and Yoohoo, and had long hair. He was obsessed with Charles Manson. He wore the same on-stage uniform of a t-shirt, sneakers, and torn blue jeans while he was off-stage.

But maybe my friend is right. Even the (very few) young punks I've met around here are only into excessively fast street punk, or old-style hardcore bands, or all that garbage crusties seem to love, like powerviolence. These fucks wouldn't give the time of day to a Ramones record, let alone something as influential on the entire genre as, say, rockabilly.

Hell, I even know some older people who were around in the early '80s, and even they think rock and roll is shit.

It's enough to make you wanna beat someone over the head with a copy of Please Kill Me.

THE ARTLESS NONCULTURE TOP 40

Alright, you sonsabitches! The moment you've all been waiting for:

It's ANC's Top 40 playlist for the month of January!

These are the songs that've really been tingling our private areas over the last 4 weeks or so, and if you really know what's good for you, you'll listen to THESE TRACKS ONLY for the next couple of hours—or at least for as long as your pathetic attention spans can handle it:

Columns | Rancid Vat: The Most Underrated Punk Band In Existence

by John Stahlman

I'm here to talk about Rancid Vat.

In case you bastards are illiterate, I'm talking about the punk band that came out of the hell hole of Portland, Oregon (not that I think it was bad, but the band hated their city of origin, so it is best to describe it in a term they would like).

Not Rancid.

So this article will in no way mention the band Rancid again, because no way in hell are they underrated. Rancid Vat, on the other hand, is.

Formed sometime in the '80s the band has gone through many line up changes, with the husband and wife duo of Phil Irwin and Marla Vee. Despite their unique and ahead-of-their-time sound, this band has never gotten the respect they deserved throughout their three eras (being the Portland, Philly, and Austin line-ups). Maybe it's because they did their own thing and rejected (and still reject) trends throughout their 30-something years of playing.

The first era was the Portland line-up of Phil Irwin (guitar), Marla Vee (drums), Eric Larsen (bass) and Steve Wilson (vocals). They started out as a noise rock group (due to Phil not knowing how to play traditional chords at the time) and got their name from dicking around with a Ouija Board, asking "spirits" what to call their band.

Eventually the band developed a very sludgy sound, reminiscent of the Seattle grunge bands that came into popularity in the next decade. Most of their lyrics were extremely nihilistic, with songs about murder, rage, and also contempt for the punk music scene at the time being trendy. Personally, it's a breathe of fresh air to listen to a band that goes back to the old themes of "no future" and "fuck off", since it seems more relatable for those trapped in a music scene that has been taken over by rules.

Not only this, but they have also written songs praising their favorite wrestlers at the time, and even covered wresting theme songs and music groups that they played with (such as Antiseen).

One of the main interesting aspects to the band's sound during the Portland days is Steve Wilson's vocals, which are extremely atypical in punk music: he sounds like a very menacing and mentally unstable John C. Reilly.

Songs to check out from this line up include "Apathy" (my favorite from the band), "Face Full of Teeth" (Antiseen cover, but it out-does the original), "Deeds of the Damned", "HHHH", and "When the Rolls Called Down Under".

After creating a bit of buzz, the band got a chance to move away from Portland, and they relocated to Philly, while unfortunately leaving Eric Larsen (who was previously fired) and Steve Wilson behind.

However, the Philly line-up became a force to be reckoned with. With the Cosmic Commander of Wrestling (RIP) fronting them, it added a more chaotic element to their sound with his extremely raspy and intense voice. This was actually the line-up that got me into them, and I wish I could've witnessed seeing this version of the band live.

Recommended songs from this line-up include "Hostile City U.S.A.", "Rock N' Roll Fraud", "Loser Leaves Town", and "Live Radio Fiasco" (includes a cover of Adrian Street's "Breaking Bones").

After some success touring with long time friends Antiseen, and other insane acts like the Murder Junkies and Hammerlock, the band again relocated, this time to Austin, Texas, and recruited Texas Studd as their new vocalist (as the Cosmic Commander decided to remain in his hometown of Philadelphia). Although a bit weak compared to the other previous vocalists, he does a pretty damn good job.

Recommended songs include "Die Hipster Die", "Imagine What I Could Do To You" (another Adrian Street cover), and "We Hate You All The Way From Texas".

Despite the line-up changes, they always had a "no bullshit" approach to punk rock, let alone rock music in general—An element that has been missing for some time, and is probably why they do not get the respect they deserve, or even taken seriously due to their noise rock origins—Which is bullshit, since everything they released does not sound dated, at all, and elements from even their earliest material can be heard in modern day bands.

John Stahlman is the current bassist of the punk trio Omission and has also been in numerous other bands in the northwestern Pa scene, including Paint Thinner, TxSxOxDx, Made Not Born, Wydell, and Choke The Bastard (now Vermin Warfare). He has a Bachelor of Arts from the University of Pittsburgh at Bradford and majored in Broadcast Communications with a minor in Public Relations, if that has any merit to it anymore. While at college he hosted a few radio shows at the campus' student radio station WDRQ1620 AM, most notably the Underground Vault, which played local music, and also covered the Biological and Health Sciences department while writing for the student newspaper The Source. Stahlman is currently unemployed, in debt, and has gotten to embrace even more of his nihilistic punk rock view of life.

A Brief Word on Lemmy

"When my oldest daughter was about five, I played a live concert video of Motörhead for her. The show opened, as always, with Lemmy announcing, “We are Motörhead and we play rock and roll.”

At that moment, my daughter’s jaw dropped and she let out this odd noise—part delight and part fear. That noise. That will be how I always remember Lemmy.

He played rock and roll."

Lemmy with Vice Squad's Beki Bondage

—Ben Butina

Reviews | Super Awesome Macho - Deep Water [2014, self-released]

by Sam Sinister

Tongue-in-cheek, egomaniacal, and self-referential amalgam of punk, surf, hard rock, and garage, sung by an ageless ginger army vet. Quite a few numbers even hinge on all-out American-style psychobilly—sans the usual upright bass, or any obvious cowpunk and honky-tonk influences—sounding something like horror punk songs, minus the horror.

The lyrics are hilarious slabs of satire and over-the-top bravado, referencing everything from Star Wars, junk food, drug addicts, unicorns, cowboys, Youngstown, video games, girls, and monster trucks, all while showcasing the sonic monstrosity that is Greasy Steve Dixon's guitar work, which sounds something like a Frankenstein's monster pieced together from parts of Dick Dale, Poison Ivy Rorschach, and Greg Ginn. Singer Texas Pete Wildman croons and hiccups in a style that's equal parts punk and roots.

The entire thing was recorded live by Tommy Horror in a warehouse, in one take—so it's obviously raw. Surprisingly, though, it's an extremely professional-sounding recording of a band that's obviously tight and well-rehearsed.

A for effort, or is it E for effort? E for Everyone. A for Awesome. Whatever. As far as replay value, it's only left my CD player twice—briefly, mind you—in the week I've had it. Can't wait for the next one. Bring it!

[Get the CD album here. Listen to schtuff here.]

Photos | Commandos and Super Awesome Macho @ Yorktown Lanes, 9/26/15

Photography by Sam Sinister.

Reviews | Turbosonics - Tres Gatos Suave (2015, self-released)

by Ben Butina

Alrighty, hodads, here’s the standard rundown on surf music.

It’s the early '60s in Southern California, and loads of teenage Baby Boomers are (a) learning to surf, and (b) dancing with each other. Naturally, they invent a form of instrumental dance music that sounds the way surfing feels. There’s a steady, driving drumbeat and a reverb-soaked guitar that supposedly mimics the experience of riding the waves.

After only five years, though, the heavier sounds and themes of the British Invasion and psychedelia washes out the surf sound. Surf rock has a minor resurgence in the '90s—thanks to Tarantino using the surf classic Miserlou in the opening of Pulp Fiction—but, it never really recovers from its wipeout long enough to get back into the mainstream. Everybody got that?

At first glance, it looks like surf rock is the ultimate “scene” music, arising as it did from a very specific subculture. In reality, most surf rockers never touched a board in their lives. (Hell, bands like The Trashmen out of Minneapolis were thousands of miles from the nearest wave.) Fortunately, surf is the kind of scene that doesn’t involve obsessively separating the “authentic” from the “poseurs.” There are certain kinds of guitars and clothes that most surf rock bands prefer, but for the most part, it really is just about the music, man.

This is one of the nice things about surf: you can pretty much leave the “scene” baggage at the door. It’s impossible for anyone to be in a fake surf band because there are no qualifications other than playing surf music. And, it’s impossible for any surf band to sell out because there’s no money to sell out for. (The most popular surf musician in the world is Dick Dale, and he’s touring constantly just to barely pay his medical bills.) As a newb, you never have to worry about anyone giving you a hard time. They’re happy to have you.

So, are the Turbosonics out of landlocked Pittsburgh, PA a real surf band? Is their new release, Tres Gatos Suave, an authentic surf album? Yes. Now on to the more important question of whether or not it’s any good.

If you’re new to surf music—or you’re only familiar with the '60s stuff— will be a good introduction to where this genre has gone in the last half-century while you were busy sniffing glue and staring at your smartphone.

Surf has gotten bigger and heavier since the '60s, but the focus is still on the melody. Listen to enough surf, and you’ll catch on that this melody business is right at the heart of the music. Too much experimentation and improvisation and you lose the purity and sweetness of the melody. Your music becomes a kind of reverb-soaked jazz and your audience doesn’t have a place to hang its hat. Keep it too simple, though, and your audience gets bored. By the time you’ve played your hook for the third time, the audience is already done with the song.

For most of the tracks on Tres Gatos Suave, guitarist Jason Truckenbrod does a solid job of finding this melodic sweet spot. He passes what I call the “hum” test. (Here’s how it works: When you’re done listening to a track, can you hum the melody? If the song got too far out there, the melody won’t stick. If it was too boring, you won’t want to hum the melody because you’ll be sick of it.) That said, there are a few tracks that I think he veered too far across the experimental border for my taste and I lost the thread. I am a remarkably simple-minded creature when it comes to melody, though, so your mileage may vary.

Melody will always be the heart of surf, and melody is timeless. If "Walk Don’t Run" or "Apache" were released today, we’d be humming those tunes, not saying, “Those melodies sound old-fashioned.” We would probably notice that the rhythm section sounds a little outdated, though, and that’s where surf has evolved most noticeably over the last 50 years. Keith Caldwell (bass) and Timmy Klatte (drums) do a great job of adding texture and interest to these songs while, at the same time, never losing the beat. (Which ain’t easy, kids!)

[You can listen to, and purchase, this release here. -Ed.]

Ben Butina lives in Westylvania with his patient wife and four kids. He plays guitar, bass, drums, piano, and harmonica—all poorly. If you’ve got a beef with him—or if you want to contact him for non-beef related communication—send your alcohol-soaked manifesto to butina@gmail.com.