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Quote by Matthew Power

“Everyone ate as a group, and a huge cauldron of dumpster-dived gruel bubbled over a campfire, tended by a grubby-handed group of chefs dicing potatoes and onions on a piece of cardboard on the ground. Huck [Finn] may have been right that a 'barrel of odds and ends' where the 'juice kind of swaps around' makes for better victuals, but it occurred to me that the revolution may well get dysentery.”

Quote by Matthew Power

Book:The Best American Nonrequired Reading 2009
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The Best American Nonrequired Reading 2009

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Matthew Power

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“My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.”

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“Ari [Up] was an artist and an artist needs love more than anyone, she needed loads, but I don’t know if she got enough on a one-to-one level. Everything came second to her music, even family. You have to be selfish to be an artist; your family just have to accept that. It’s not personal, it’s not that you don’t love them. What an artist gives their family isn’t routine and their constant presence, they give vitality and ideas, independence and creative thinking.”

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Book:Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys
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“Der scheinbar einzige Gast außer mir war ein junger Punker mit Hund. Er leistete mir beim Essen Gesellschaft, ernährte sich selbst aber eher von Flüssigem. Das Gespräch mit ihm war interessant, wenn ich ihm und er mir folgen konnte. Oft hatte ich allerdings das Gefühl, wir redeten einfach aneinander vorbei.”

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Book:Mit der Sonne Richtung Westen: Begegnungen auf dem Jakobsweg
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“I put on a tight black lace dress Sid got me from a jumble sale. It didn’t quite fit so he slashed a slit in the side – which is now held together with safety pins – then he hacked the bottom off whilst I was wearing it, leaving the hem really short and frayed. I pull on my holey black tights and Dr Marten boots; I still never wear heels if I’m seeing Sid.”

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Book:Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys
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“Ari [Up] hides nothing from our audiences: if she’s in a bad mood, she shows it, and if we happen to be on stage when she’s not happy, she just does a shit gig. There’s no You’ve paid money to see this so I’m going to give you a good time, or I’m not going to let the band down – she’s just grumpy and uncommunicative. This is a good thing in many ways, we’re against faking it, we tell it like it is. People in bands are just like the audience: they have good days and bad days, we’re not pantomime or theatre, we’re no different to anyone else. We don’t see ourselves as entertainers, trying to make the audience forget their troubles for forty minutes. We see ourselves as warriors. We’d rather people confronted their anger and dissatisfaction and did something about it. Like Luis Buñuel said, ‘I’m not here to entertain you, I’m here to make you feel uncomfortable.”

Punk RockSlitsGenuineness1970sPunksPunk FeminismPunksinger
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“But there seems to have been an actual decline in rational thinking. The United States had become a place where entertainers and professional athletes were mistaken for people of importance. They were idolized and treated as leaders; their opinions were sought on everything and they took themselves just as seriously — after all, if an athlete is paid a million or more a year, he knows he is important … so his opinions of foreign affairs and domestic policies must be important, too, even though he proves himself to be both ignorant and subliterate every time he opens his mouth. (Most of his fans were just as ignorant and unlettered; the disease was spreading.)”

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Book:To Sail Beyond the Sunset
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