Gay For Johnny Depp: The Shape Of Punk To Come?

Given the ridiculous monikers, public fisticuffs and rampant self-abuse Gay For Johnny Depp are increasingly known for, it's perhaps surprising to learn that, given the opportunity, this feral New York hardcore troupe show themselves to be five insightful young punk enthusiasts with some robust theories on modern living and, believe it or not, a social conscience. Though they'd likely baulk at that humanising appraisal.

Emerging from the lively Brooklyn hardcore scene in 2004, some members had previously served time with Garrison, former Hundred Reasons' split-EP buddies but now sadly defunct. Upon its inception, Gay For Johnny Depp immediately staked out a claim as bad kids on the block, tearing up venues and baiting audiences. As guitarist Sid Jagger tells us: “Our first show in the UK saw some delicious violence that ended up with some very frightened people and our singer in the NHS with eight stitches on the inside of his cheek. Shit way to begin a tour really, because he had to scream every night after that and rip open his wounds again and again.”

Acknowledging his band's rather divisive sense of humour (a point underlined by the assertion that, in the event of legal action by the real Mr Depp, the band might change their name to Gay For Patrick Swayze), Sid continues: “The UK is our home away from home. We have been very fortunate to have the best and most inspired shows in your fine land because, I imagine, of a deep understanding of political sarcasm and a desire to embrace art in all of its myriad forms.”

GFJD have become the targets of criticism from numerous hardcore die-hards and straight-edgers who claim the band's comparatively hedonistic lifestyle undermines the reputation of the scene they emerged from. “Boston shaped my early punk years as that is the scene that defined a lot of the music for me when I was younger," reflects Sid. "But Marty (Leopard, vocals) was deeply involved in both the Long Island and NYC punk scenes. There is a grand idea of attempting to do all things a few times as to better understand those around you. So when younger we would all book shows, do sound, load gear, play shows, and clean up. It gives you a much richer perspective on those you are working with. As far as I am concerned we are all in the same sinking ship, so best to just grab a bucket and start bailing water.”

“When I was being introduced to hardcore it was in a more encompassing way: to embrace all types of music and art. You didn’t have to love the Pogues or The Smiths or the Cure or Slapshot or Ministry or Born Against or Basquiat or Harring or Eno, but you knew they were all valid and they were all not Paula Abdul.” With that in mind, when asked what he feels alienates him from certain contemporary hardcore circles, he admits that "close-mindedness under the guise of a counter culture is something I despise.”

It's a statement made clearly in reference to the criticism levelled at his own band. Asked to elaborate on the subject Sid volunteers: “Well, to set the record straight – pun intended – I really have met and adore many people who have decided to lead straight lifestyles – our drummer for the first 7 years of the band comes to mind –and am quite impressed with people who are able to rebel against one of the most obvious forms of mental and physical stagnation in our world, meaning drugs and alcohol. Although I don’t find these things – or anything really – to be inherently evil.”

“That said, I am also distrustful of a scene or counter culture that defines itself by what it doesn’t do rather than what it does. I have seen many a self-described 'Str8'-edge person completely buy into corporate America and drink far too much Coca-Cola, or mindlessly fall in love with horrifically bad reality television. That sort of behaviour doesn’t seem to show off any sort of edge on the rest of the world.”

With some of the hardcore scene enjoying a brief flirtation with mainstream success, partly as a bi-product of MTV's fixation on the emo genre and its many manifestations, perspectives on the future of the genre vary, especially where credibility is concerned. “Don’t take this the wrong way, but I don’t particularly care," Sid shrugs at the contemporary landscape. "I think that Gallows are pretty fantastic, though I can’t say as much of some of the other faces that have graced the cover of glossy magazines. Music is in a state of flux and has been for the last ten years. The money is gone, which in a way just brings us more in line with the other art forms out there. Lord knows there isn’t much money in being a dancer or an oil painter these days.

"Hardcore will exist and thrive in some ways on a local level, because it's the easiest way for kids to make a racket and thrash out some of the natural angst of being young. To be fair, most hardcore is rubbish as recorded music, but it's more visceral, present and absolutely beautiful in the live setting as it speaks to a more primal part of the human condition. Will there be 'hardcore hits'? I’ll leave that decision to the folks scouring crabcore on YouTube.”

In light of such considered speech, it's almost hard to believe that this is the same band who have so flippantly entitled not just themselves but almost every track and album they've ever released. In particular, the numerous references to homoerotic acts with their namesake seem to fly in the face of Gay For Johnny Depp's clear powers of analysis. In parting, Sid's response to allegations that perhaps the band's reputation for shenanigans has undermined their potential to convey serious messages is as abrupt and effective as much of their musical arsenal: “I would ask the same question of Henry Miller, Dorothy Parker, and Hunter S. Thompson.”

Point taken.