I recently received a press copy of the visual history book Butthole Surfers: What Does Regret Mean?

The poster from the show I first saw is in the book (and pictured below) … the memories of that transformative experience came flooding back. I remember like some alternate dreamscape; It was in the Pine Street Theater back when the ceiling had many many dozens of chandeliers hanging. It was incredibly loud, there was otherworldly behavior from the opening Portland bands The Hellcows, then Smegma – there were some sort of animal heads on stands on stage that ended up being kicked around the pit by the end of their set – then came an overwhelming surrealist sensory cacophony when the Surfers took the stage with two drummers, re-contextualized educational and surgical films, Gibby singing through a megaphone, a bizarre trancelike dancer who had to be helped off the stage after the band finished playing.

I’ve seen the Butthole Surfers a number of times. I don’t recall how many. More than three and less than twelve. Many other great experiences, but I can’t say any were as deeply effecting. Though watching Gibby shoot blanks with a rifle pointed at the audience during the first Lollapalooza tour was very unnerving. People were dancing in the mud in Enumclaw and he was point a rifle at us taking shots.

I did an interview after they signed with Capitol Records. We published that in Plazm magazine, issue 6 (1994). That’s now online here.

The book itself is a trip down memory lane. A visual archive of old flyers, posters, photographs, artworks, and set lists. It also contains memories and quotes from many of the Butthole’s contemporaries. If I have one criticism, it’s that there is only one woman’s voice. Neko Case makes the case that the Buttholes blow past gender. I believe that, but the case would be better made if there were more women commenting. The limited edition book comes with a flexi disc of unreleased music. Remember flexi discs? Serious Surfer fans might want to get their hands on this.

These days Raymond Pettibon is a  well regarded, respectable—ahem—respected  contemporary artist who exhibits around the world in major museums and galleries. He found his way to artistic prominence in a circumlocutionary manner. He began, early in his career (it can really only be called a career now that we are looking back 40 years) in the early 70s designing posters and record covers for punk rock bands, most notably Black Flag and The Minutemen. That’s certainly where I was first exposed to his work. It wasn’t until years later when I somehow, through a friend of a friend, figured out a way to reach him by phone at his mom’s house, and request a contribution to Plazm magazine. That was for Plazm #11, around 1995. He also contributed work to the Plazm coloring book in issue #16 [a pdf of the full book is available @ that link], three spreads in Plazm #28, and he has the final page in Plazm #30, the current issue as well.

Anyway, a travelling exhibition culling over 200 pieces from the early years in the LA punk scene comes to Portland’s One Grand Gallery this winter, opening on December 7th, the anniversary of Pearl Harbor.

Recommended viewing.

Raymond Pettibon: The Punk Years, 1978-86
December 7, 2012 – January 25, 2013
One Grand Gallery
1000 E Burnside St., Portland
Open Daily 11PM to 6PM

Opening Reception to be held Friday, December 7, 2012
7:00PM Gallery Opening
9:00PM Performance by Blood Beach