[should you prefer a pdf of the essay, here you go: http://bit.ly/2pqPbbx]
The first punk band: the case for The Fugs.
There is always a danger in declaring something as the “first” of its kind. The minute one points the finger another will come along and adjust the gaze further back. Attempting to identify a "first" and at the same time dismissing anyone else's attempt to do so is an occupational hazard of being an academic--not to mention a symptom of living in the modern world and not being able to consume all of the knowledge available. I say all of this fully realizing that someone can, and will, undercut the argument that I am about to make. But, we must begin the discussion of punk somewhere. It helps to have a case study to explore the various aspects of what punk music is, so let's start with The Fugs.
A casual listen to their songs might not immediately summon up the image of The Sex Pistols or The Ramones, or any of the typical 70s punk “sound.” And, they certainly don't immediately conjure the image of a punk--there are no black leather jackets, or safety-pin piercings, or tattoos, and no mohawks or liberty spikes. No, The Fugs were a different breed. They were raised on the Beat Poets and were friends with Ginsberg and Warhol. But, even a cursory glance at the song titles will reveal a band very different from others in 1964 (when they were formed) and even 1965 (when they first performed). Their first album, The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction, included ten tracks, including: “Slum Goddess,” “I Couldn’t Get High,” “Boobs A Lot,” and “Nothing.” The Fugs also recorded an additional twelve songs during that session, including: "Jack Off Blues," "Bull-Tongue Clit," "Coca Cola Douche", "We're the Fugs," "Kill for Peace," and “CIA Man.”
While most of the songs from this record are playful, and sometimes downright silly, "Nothing," "Kill for Peace," and "CIA Man" really stand out as songs that show a critical bite that inhabits the socially conscious punk bands to come years later. "Nothing," as Ed Sanders recalls in Fug You (2011), was "written to the melody of a Yiddish folksong," and quickly became one of their anthems (120). The song embodies the spirit of Dadaism and negates everything from the days of the week to "fucking," "sucking," the "Church," "God," and philosophy in general. The simple song intensifies and the singers howl at various times, but ultimately, like good punk song, the focus is on the message of the song and the intensity, and earnestness, of the performance. "CIA Man" and "Kill for Peace," feature the same simplistic song structure, but take a satirical swipe at the U.S. government--much in the same way Dead Kennedys will in the 80s with "Kill the Poor," Holiday in Cambodia," "I Kill Children," and "When Ya Get Drafted." The song "CIA Man" proclaims the titular character to be a sort of boogeyman who can: plan riots, overthrow dictators, buy governments, "squash republics like bananas," "train guerrillas by the dozens," and "take the sugar from its sack, pour in LSD and put it back." Similarly, "Kill for Peace," depicts American aggression, suggesting killing: the Prussians, the "gooks," and, of course, the Russians. There is nothing subtle in these lyrics, which is a tradition carried on by Bad Religion, Crass, Fear, and other punk bands.
While there was an investigation of obscenity with regard to the lyrics of “Louie Louie,” there was no room for debate with regard to the Fugs—their lyrics were printed loud and clear in album liner notes (see endnote 1). And, Sanders made sure his audiences could hear his words. In fact, clarity of message was one of the primary concerns when Sanders founded the Fugs. His inspiration was the Beatles. He writes, "I couldn't help but notice how The Beatles' words were crystal clear! Intimately hearable! That would be my goal with The Fugs--that the words could at last star in the musical mix" (68). Most likely, the reason "Louie Louie" was investigated and The Fugs weren't, was because "Louie Louie" was a pop smash played on nearly every radio station across the country, and the Fugs' songs weren't (see endnote 2). Though their hope was to spread the anti-war message as loudly and to as many listeners as possible, there was some benefit to being a bit obscure. The "crystal clear" lyrics ensured the Fugs wouldn't be a number one hit anytime soon.
While radio-unfriendliness becomes a hallmark of later punk music, this isn't the case with the two bands most commonly fingered as the "first" punk bands--The Sex Pistols and the Ramones. Both bands, along with the MC5 and Iggy Pop and the Stooges, were on major labels that wanted to sell records (see endnote 3). And, sell records those bands did. The Fugs were not, and did not. They were initially on Folkways Records (known for folk, world, and children's music), and then each album after the first was pressed on ESP-Disk. Originally ESP was created to release Esperanto music, and founded on the principle of providing artists "complete artistic freedom, unimpeded by any record company interference or commercial expectations" (see endnote 4). And they took that artistic freedom to heart. Their sound is unpolished, their lyrics provocative and even goofy at times. Though the Fugs didn't have major labels knocking down their doors trying to sign them, they also didn't seek that kind of publicity--it wasn't worth compromising their mission and intent. This ethos resonates loudly with other later punk bands who signed to independent labels like: Caroline (1973), Mystic (1976), SST (1978), Cherry Red (1978), IRS (1979), Alternative Tentacles (1979), Reach Out (1979), Epitaph (1980), Dischord (1980), Frontier (1980), Touch and Go (1981), BYO (1982), Combat (1983), Sub Pop (1986), and Lookout! (1987). To be "punk," in the purest sense, was to have artistic integrity and a label that would support it. The Fugs found that perfect marriage.
In addition to having a label that allowed true artistic freedom, the Fugs also shared a common "punk" trait with bands that came after them--an obscene name. For punk bands, dubbing themselves something offensive was almost a sure-fire way to attract attention. There’s a long history of “offensive” naming in punk music, for example: Cock Sparrer in 1972; Sex Pistols, Big Balls and the Great White Idiot, and Throbbing Gristle in 1975; Buzzcocks, The Members, The Slits, Penetration, Joy Division (see endnote 5), and Vibrators in 1976; Dickies, Sniveling Shits, and Nipple Erectors in 1977; Urinals, Dead Kennedys, Peter and the Test Tube Babies, and Crass in 1978; Bad Religion and Circle Jerks in 1979; The Dicks, and Meat Puppets in 1980; The Meatmen, Butthole Surfers, and Hard-ons in 1981 (see endnote 6). While most other bands that are frequently named as the "first" punk bands opted for a non-provoking name (Barbarians 1964, Kingsmen 1963, Kinks 1964, Los Saicos 1964, MC5 1964, Sonics 1964, Stooges 1967), the Fugs chose to name themselves after, "Norman Mailer's euphemism for 'Fuck,' which he utilized in his World War II novel, The Naked and the Dead" (Sanders 120). Though substituting "fug" for "fuck" kept the censors happy in both cases, readers and listeners knew what the original artist meant. They were the Fucks.
So, what makes the Fugs punk? Their name (the Fucks). Their label (independent, allowing artistic freedom, which they took full advantage of). Their lyrics (crass, direct, clearly audible and frequently repeated throughout the songs). Their lack of polish (clearly DIY). The Fugs even got in on the marketing gag by selling, "Fugs panties, with a gold 'Fugs' on each and an arrow leading downward to the mons veneris" (Sanders 150). And, above all, their willingness to challenge conventional norms. These traits all make the Fugs the first and purest punk band, and the model that later punk bands will follow.
End notes
1. The March 1969, FBI report on the Doors includes a document that references the Fugs. It reads, "Not everybody is as blatant as 'The Fugs.' The group derived their name, of course, from the four letter word for intercourse. They are well-known on college campuses and in clubs in major cities. Their records are very successful. You might want to listen to a few cuts, without any ladies within earshot. A copy of their most recent LP is attached. Cut 1 describes the group's philosophy. Cut 3, Side 1, describes the use of saran wrap as an emergency contraceptive in the back seat of a car. (This is a well-known substitute for rubber condoms among young teenagers at our local schools as well as PS 152 in the Bronx.) Side B has a satirical piece on the 'fucking CIA man'. Cut 2 on that side describes the use of the Coca Cola as a douche, pointing out that it provides a good taste as well as protection." Despite this detailed account, the FBI doesn't investigate the Fugs. They do, however, attempt to shut down his independent press (Peace Eye), his paper (Fuck You/ A Magazine of the Arts), but, ultimately, the only time Sanders sees court is during the Chicago 7 trial.
2. Though, that's not to suggest that the Fugs didn't register on the radar. On July 9, 1966, the second Fugs' album (this one featuring "Kill for Peace") hit the Billboard Top 100 Albums at 95, and climbed to 89. Also on the charts at that time: #51 Sounds of Silence (Simon and Garfunkel), #65 Rubber Soul (Beatles), #81 Uptight (Stevie Wonder).
3. The Sex Pistols were dropped from EMI, then A&M, before finally signing with Virgin. Sire Records, the label the Ramones were signed to until 1990, was a subsidiary of Warner Music.
4. This quote comes from the ESP-DISK Record Catalog from January 1, 1969. They also included the motto that reads: "The artists alone decide what you will hear on their ESP-Disk."
5. Joy Division, though not immediately as obvious as some of the other names listed, is named after the Nazi "division" of prostitutes who pleasured soldiers in concentration camps. The name came from a reference in Yehiel Feiner's novella House of Dolls (1955).
6. After 1981, the band names become even more blatant in an attempt to shock audiences. I need only point to two examples to make this claim: Crucifucks (1982) and Anal Cunt (1988).
Bibliography
Armstrong, John. Guilty of Everything. Vancouver: New Star Books, 2001. Print.
Bangs, Lester. "Protopunk: The Garage Bands." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 261-4. Print.
Boot, Adrian and Chris Salewicz. Punk: The Illustrated History of a Music Revolution. London: Broadwall House, 1996. Print.
Gimarc, George. Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock 1970-1982. San Francisco: Backbeat Books, 2005.
Kurlansky, Mark. 1968: The Year that Rocked the World. New York: Random House, 2005. Print.
Marcus, Greil. "Anarchy in the U.K." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 451-7. Print.
Marsh, Dave. Louie Louie: the History & Mythology of the World's Most Famous Rock 'n Roll Song. Ann Arbor, MI: Michigan UP, 2004. Print.
McCarthy, Jim and Brian Williamson. Gabba Gabba Hey: The Graphic Story of the Ramones. London: Omnibus Press, 2013. Print.
Melnick, Monte A and Frank Meyer. On the Road with the Ramones. London: Bobcat Books, 2007. Print.
Perry, Mark. Sniffin' Glue: and other Rock 'n Roll Habits. London: Omnibus Press, 2009. Print.
Ramone, Dee Dee and Veronica Kofman. Lobotomy: Surviving the Ramones. New York: Thunder's Mouth Press, 2000. Print.
Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984. London: Faber and Faber, 2005. Print.
Rockwell, John. "The Sound of Manhattan." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 415-23. Print.
Sanders, Ed. Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side. New York: Da Capo Press, 2011. Print.
Sanders, Ed. "Liner notes for The Fugs First Album." The Fugs. Fantasy Records, 1994. CD.
True, Everett. Hey Ho Let's Go: The Story of the Ramones. London: Omnibus Press, 2005. Print.
Tucker, Ken. "New Wave: America." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 440-4. Print.
The first punk band: the case for The Fugs.
There is always a danger in declaring something as the “first” of its kind. The minute one points the finger another will come along and adjust the gaze further back. Attempting to identify a "first" and at the same time dismissing anyone else's attempt to do so is an occupational hazard of being an academic--not to mention a symptom of living in the modern world and not being able to consume all of the knowledge available. I say all of this fully realizing that someone can, and will, undercut the argument that I am about to make. But, we must begin the discussion of punk somewhere. It helps to have a case study to explore the various aspects of what punk music is, so let's start with The Fugs.
A casual listen to their songs might not immediately summon up the image of The Sex Pistols or The Ramones, or any of the typical 70s punk “sound.” And, they certainly don't immediately conjure the image of a punk--there are no black leather jackets, or safety-pin piercings, or tattoos, and no mohawks or liberty spikes. No, The Fugs were a different breed. They were raised on the Beat Poets and were friends with Ginsberg and Warhol. But, even a cursory glance at the song titles will reveal a band very different from others in 1964 (when they were formed) and even 1965 (when they first performed). Their first album, The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction, included ten tracks, including: “Slum Goddess,” “I Couldn’t Get High,” “Boobs A Lot,” and “Nothing.” The Fugs also recorded an additional twelve songs during that session, including: "Jack Off Blues," "Bull-Tongue Clit," "Coca Cola Douche", "We're the Fugs," "Kill for Peace," and “CIA Man.”
While most of the songs from this record are playful, and sometimes downright silly, "Nothing," "Kill for Peace," and "CIA Man" really stand out as songs that show a critical bite that inhabits the socially conscious punk bands to come years later. "Nothing," as Ed Sanders recalls in Fug You (2011), was "written to the melody of a Yiddish folksong," and quickly became one of their anthems (120). The song embodies the spirit of Dadaism and negates everything from the days of the week to "fucking," "sucking," the "Church," "God," and philosophy in general. The simple song intensifies and the singers howl at various times, but ultimately, like good punk song, the focus is on the message of the song and the intensity, and earnestness, of the performance. "CIA Man" and "Kill for Peace," feature the same simplistic song structure, but take a satirical swipe at the U.S. government--much in the same way Dead Kennedys will in the 80s with "Kill the Poor," Holiday in Cambodia," "I Kill Children," and "When Ya Get Drafted." The song "CIA Man" proclaims the titular character to be a sort of boogeyman who can: plan riots, overthrow dictators, buy governments, "squash republics like bananas," "train guerrillas by the dozens," and "take the sugar from its sack, pour in LSD and put it back." Similarly, "Kill for Peace," depicts American aggression, suggesting killing: the Prussians, the "gooks," and, of course, the Russians. There is nothing subtle in these lyrics, which is a tradition carried on by Bad Religion, Crass, Fear, and other punk bands.
While there was an investigation of obscenity with regard to the lyrics of “Louie Louie,” there was no room for debate with regard to the Fugs—their lyrics were printed loud and clear in album liner notes (see endnote 1). And, Sanders made sure his audiences could hear his words. In fact, clarity of message was one of the primary concerns when Sanders founded the Fugs. His inspiration was the Beatles. He writes, "I couldn't help but notice how The Beatles' words were crystal clear! Intimately hearable! That would be my goal with The Fugs--that the words could at last star in the musical mix" (68). Most likely, the reason "Louie Louie" was investigated and The Fugs weren't, was because "Louie Louie" was a pop smash played on nearly every radio station across the country, and the Fugs' songs weren't (see endnote 2). Though their hope was to spread the anti-war message as loudly and to as many listeners as possible, there was some benefit to being a bit obscure. The "crystal clear" lyrics ensured the Fugs wouldn't be a number one hit anytime soon.
While radio-unfriendliness becomes a hallmark of later punk music, this isn't the case with the two bands most commonly fingered as the "first" punk bands--The Sex Pistols and the Ramones. Both bands, along with the MC5 and Iggy Pop and the Stooges, were on major labels that wanted to sell records (see endnote 3). And, sell records those bands did. The Fugs were not, and did not. They were initially on Folkways Records (known for folk, world, and children's music), and then each album after the first was pressed on ESP-Disk. Originally ESP was created to release Esperanto music, and founded on the principle of providing artists "complete artistic freedom, unimpeded by any record company interference or commercial expectations" (see endnote 4). And they took that artistic freedom to heart. Their sound is unpolished, their lyrics provocative and even goofy at times. Though the Fugs didn't have major labels knocking down their doors trying to sign them, they also didn't seek that kind of publicity--it wasn't worth compromising their mission and intent. This ethos resonates loudly with other later punk bands who signed to independent labels like: Caroline (1973), Mystic (1976), SST (1978), Cherry Red (1978), IRS (1979), Alternative Tentacles (1979), Reach Out (1979), Epitaph (1980), Dischord (1980), Frontier (1980), Touch and Go (1981), BYO (1982), Combat (1983), Sub Pop (1986), and Lookout! (1987). To be "punk," in the purest sense, was to have artistic integrity and a label that would support it. The Fugs found that perfect marriage.
In addition to having a label that allowed true artistic freedom, the Fugs also shared a common "punk" trait with bands that came after them--an obscene name. For punk bands, dubbing themselves something offensive was almost a sure-fire way to attract attention. There’s a long history of “offensive” naming in punk music, for example: Cock Sparrer in 1972; Sex Pistols, Big Balls and the Great White Idiot, and Throbbing Gristle in 1975; Buzzcocks, The Members, The Slits, Penetration, Joy Division (see endnote 5), and Vibrators in 1976; Dickies, Sniveling Shits, and Nipple Erectors in 1977; Urinals, Dead Kennedys, Peter and the Test Tube Babies, and Crass in 1978; Bad Religion and Circle Jerks in 1979; The Dicks, and Meat Puppets in 1980; The Meatmen, Butthole Surfers, and Hard-ons in 1981 (see endnote 6). While most other bands that are frequently named as the "first" punk bands opted for a non-provoking name (Barbarians 1964, Kingsmen 1963, Kinks 1964, Los Saicos 1964, MC5 1964, Sonics 1964, Stooges 1967), the Fugs chose to name themselves after, "Norman Mailer's euphemism for 'Fuck,' which he utilized in his World War II novel, The Naked and the Dead" (Sanders 120). Though substituting "fug" for "fuck" kept the censors happy in both cases, readers and listeners knew what the original artist meant. They were the Fucks.
So, what makes the Fugs punk? Their name (the Fucks). Their label (independent, allowing artistic freedom, which they took full advantage of). Their lyrics (crass, direct, clearly audible and frequently repeated throughout the songs). Their lack of polish (clearly DIY). The Fugs even got in on the marketing gag by selling, "Fugs panties, with a gold 'Fugs' on each and an arrow leading downward to the mons veneris" (Sanders 150). And, above all, their willingness to challenge conventional norms. These traits all make the Fugs the first and purest punk band, and the model that later punk bands will follow.
End notes
1. The March 1969, FBI report on the Doors includes a document that references the Fugs. It reads, "Not everybody is as blatant as 'The Fugs.' The group derived their name, of course, from the four letter word for intercourse. They are well-known on college campuses and in clubs in major cities. Their records are very successful. You might want to listen to a few cuts, without any ladies within earshot. A copy of their most recent LP is attached. Cut 1 describes the group's philosophy. Cut 3, Side 1, describes the use of saran wrap as an emergency contraceptive in the back seat of a car. (This is a well-known substitute for rubber condoms among young teenagers at our local schools as well as PS 152 in the Bronx.) Side B has a satirical piece on the 'fucking CIA man'. Cut 2 on that side describes the use of the Coca Cola as a douche, pointing out that it provides a good taste as well as protection." Despite this detailed account, the FBI doesn't investigate the Fugs. They do, however, attempt to shut down his independent press (Peace Eye), his paper (Fuck You/ A Magazine of the Arts), but, ultimately, the only time Sanders sees court is during the Chicago 7 trial.
2. Though, that's not to suggest that the Fugs didn't register on the radar. On July 9, 1966, the second Fugs' album (this one featuring "Kill for Peace") hit the Billboard Top 100 Albums at 95, and climbed to 89. Also on the charts at that time: #51 Sounds of Silence (Simon and Garfunkel), #65 Rubber Soul (Beatles), #81 Uptight (Stevie Wonder).
3. The Sex Pistols were dropped from EMI, then A&M, before finally signing with Virgin. Sire Records, the label the Ramones were signed to until 1990, was a subsidiary of Warner Music.
4. This quote comes from the ESP-DISK Record Catalog from January 1, 1969. They also included the motto that reads: "The artists alone decide what you will hear on their ESP-Disk."
5. Joy Division, though not immediately as obvious as some of the other names listed, is named after the Nazi "division" of prostitutes who pleasured soldiers in concentration camps. The name came from a reference in Yehiel Feiner's novella House of Dolls (1955).
6. After 1981, the band names become even more blatant in an attempt to shock audiences. I need only point to two examples to make this claim: Crucifucks (1982) and Anal Cunt (1988).
Bibliography
Armstrong, John. Guilty of Everything. Vancouver: New Star Books, 2001. Print.
Bangs, Lester. "Protopunk: The Garage Bands." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 261-4. Print.
Boot, Adrian and Chris Salewicz. Punk: The Illustrated History of a Music Revolution. London: Broadwall House, 1996. Print.
Gimarc, George. Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock 1970-1982. San Francisco: Backbeat Books, 2005.
Kurlansky, Mark. 1968: The Year that Rocked the World. New York: Random House, 2005. Print.
Marcus, Greil. "Anarchy in the U.K." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 451-7. Print.
Marsh, Dave. Louie Louie: the History & Mythology of the World's Most Famous Rock 'n Roll Song. Ann Arbor, MI: Michigan UP, 2004. Print.
McCarthy, Jim and Brian Williamson. Gabba Gabba Hey: The Graphic Story of the Ramones. London: Omnibus Press, 2013. Print.
Melnick, Monte A and Frank Meyer. On the Road with the Ramones. London: Bobcat Books, 2007. Print.
Perry, Mark. Sniffin' Glue: and other Rock 'n Roll Habits. London: Omnibus Press, 2009. Print.
Ramone, Dee Dee and Veronica Kofman. Lobotomy: Surviving the Ramones. New York: Thunder's Mouth Press, 2000. Print.
Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984. London: Faber and Faber, 2005. Print.
Rockwell, John. "The Sound of Manhattan." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 415-23. Print.
Sanders, Ed. Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side. New York: Da Capo Press, 2011. Print.
Sanders, Ed. "Liner notes for The Fugs First Album." The Fugs. Fantasy Records, 1994. CD.
True, Everett. Hey Ho Let's Go: The Story of the Ramones. London: Omnibus Press, 2005. Print.
Tucker, Ken. "New Wave: America." Ed. Jim Miller. The Rolling Stone: Illustrated History of Rock & Roll. New York: Random House, 1980: 440-4. Print.
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