|Photograph by Joe Gall courtesy of Tesco Vee|
AESTHETICS FOR BIRDS: It’s of course notoriously difficult to define Punk and well-nigh impossible to do so in terms of some shared musical sound—even within a small time frame and regional scene like early L.A. punk you still get bands with radically divergent sounds (e.g., The Go-Gos playing shows with The Germs and Fear). The closest things I can think of that seem to unite the punk movement across time and place would be some attitude of rebellion and a strong DIY sensibility. Given that you’ve been part of the larger “Punk Rock” movement since the late 70s both musically (as founding member of the seminal band The Meatmen and later Dutch Hercules and Hate Police) as well as culturally (by helping shape, disseminate, and ensure the survival of such music as co-founder of Touch and Go Records), has anything struck you as being particularly essential to the notion of Punk Rock?
AFB: The Meatmen are known for their less than wholesome songs, many of which adopt in a tongue-in-cheek manner various offensive viewpoints, from the radically politically conservative and super-macho (“True Grit”, “French People Suck”) to the ultra homophobic, xenophobic, racist, and downright misanthropic (“Tooling for Anus”, “Camel Jockeys Suck”, “Blow Me Jah”, “Cripple Children Suck”). How often do you find fans embracing the offensive superficial message rather than the satirical content underneath? Do you notice a difference in this respect from your American fanbase to that overseas?
AFB: Do you find the line between adopting hate-speech so as to satirize it and good ol’ fashion hate speech anything more than just the line between satirical success and satirical failure (e.g., a line I take to have been crossed in the case of El Duce of The Mentors)?
AFB: The Meatmen and yourself in particular are also know for your live performances and stage antics. Do you think that to truly appreciate your music, one must see it performed live or is the live show just something extra for the fans of the music? Do you think that Punk Rock perhaps more so than other subgenres of Rock Music places greater value on the live performance as opposed to the studio track?
AFB: Perhaps my all time favorite cover song has to be The Meatmen cover of “How Soon is Now?” by The Smiths (I even philosophized about it here). You’ve done several covers over the course of your career (e.g., “Razamanaz” by Nazareth, “Dance to the Music” by Sly & The Family Stone, “What’s This Shit Called Love” by The Pagans, “Crazy Horses” by The Osmonds). What is it about a song for you that makes it worth covering?
For more information on the man, the myth, the legend Tesco Vee, as well as The Meatmen’s new album Savage Sagas, go to Tescovee.com