{"id":997,"date":"2026-07-10T14:40:49","date_gmt":"2026-07-10T14:40:49","guid":{"rendered":"https:\/\/movingandmortgagehub.com\/?p=997"},"modified":"2026-07-10T14:40:49","modified_gmt":"2026-07-10T14:40:49","slug":"how-two-punk-icons-are-giving-the-cramps-a-second-life","status":"publish","type":"post","link":"https:\/\/movingandmortgagehub.com\/?p=997","title":{"rendered":"How Two Punk Icons Are Giving the Cramps a Second Life"},"content":{"rendered":"<article>\n<div><ul><li><span>Share on Facebook<\/span><\/li>\n<li><span>Share on Twitter<\/span><\/li><li><i><?xml version=\"1.0\" encoding=\"UTF-8\"?>\n<svg>\n<\/svg><\/i><span>Share on Bluesky<\/span><\/li><li><span>Email<\/span><\/li><li><span>Comments<\/span><\/li><\/ul><\/div>\n<div>\n<p><span>One fall night<\/span> in 1979, two best friends went to a small club in their hometown of Washington, DC, to see a band. The show was so extraordinary, the band so singular, that decades\u2014and thousands of shows\u2014later, even at \u201cAARP age,\u201d as one of them now puts it, they still talk about it. They were especially taken with the lead singer, a lanky, glamorous Frankenstein-esque character who, by the show\u2019s conclusion, was up on the bar, crooning merrily as he punched through ceiling tiles while the club owner looked on and laughed.\u00a0<\/p><p>Read more <a href=\"https:\/\/movingandmortgagehub.com\/?p=995\">ICE Keeps Using The Same Justification For Killing Drivers<\/a><\/p>\n<p>\u201cI\u2019ve never recovered from that show,\u201d Henry Rollins recalls. \u201cI\u2019ve never gotten better. Ian and I talk every Sunday. We\u2019ve been best friends for 52 years. We talk about that time we stood next to each other and watched the Cramps.\u201d<\/p>\n<p>Rollins, now 65, was a frontman for the legendary Southern California punk band Black Flag and later the MTV mainstay Rollins Band. Since retiring from music, he\u2019s been a spoken word artist, radio host, actor, journalist, and TV presenter. The best friend he mentioned is Ian MacKaye, who fronted Minor Threat and Fugazi and co-founded and still co-owns Dischord, one of the most influential DIY record labels of all time. Their friendship is the stuff of punk legend; they also worked at H\u00e4agen\u2013Dazs together as teens. And like so many punks and rockabilly fans\u2014and millions of other freaks and weirdos\u2014Rollins and MacKaye fell fast and hard for the Cramps.\u00a0<\/p>\n<p>The Cramps were the brainchild of singer Lux Interior (Erick Lee Purkhiser) and guitarist Poison Ivy (Kristy Marlana Wallace), who met as art students in Sacramento in the early 1970s, when Ivy caught a ride with Lux and a friend while hitchhiking. They became partners in life and art for the next 37 years, and the only two continuous members of the band until Lux\u2019s death in 2009.<\/p>\n<p>The Cramps coined the word \u201cpsychobilly\u201d to describe their music\u2014a louche, wild, leering, slithering blend of surf rock, nascent punk, mutated doo-wop, and blues-derived guitar. This they combined with bizarro-Americana lyrical matter: teenage werewolves, bikini girls with machine guns, Elvis, witchcraft, B-movie horror flicks, insanity, lust, death, and the beyond. Lux and Ivy were the Cramps\u2019 most memorable visual elements: tall, thin and cadaveresque, he would moan and writhe across the stage, often wearing high heels and lingerie\u2014their song \u201cI Want to Get In Your Pants\u201d was, as Lux cheerily told interviewers, about his love for wearing women\u2019s clothes.<\/p>\n<p>Onstage, Ivy would stand watchfully nearby\u2014lithe, implacable and feline, with curly red hair and a constantly changing selection of vinyl, latex, and animal-print garments. (She\u2019d previously worked as a dominatrix, she once said, and between that and being in the Cramps, she eventually developed a latex allergy\u00a0and had to retire her collection of such garments.) She often played a Gretsch 6120, an enormous, hollow-bodied electric guitar, and is rightfully included in <em>Rolling Stone<\/em>\u2019s list of best guitarists of all time, often cited as central in shaping the \u201cprimitivist\u201d rock-and-roll style. \u00a0<\/p>\n<p>By the time Rollins and MacKaye first saw them, the Cramps had played a show at Napa State Hospital, a mental health facility, that became an instant legend. They brought the house down to the extent that about a dozen patients were inspired to escape during the show. (\u201cThose people at Napa hospital were less unusual than some of the crowds we\u2019ve played,\u201d Lux wryly observed to Dick Porter, whose book <em>Journey to the Center of The Cramps<\/em> is considered the definitive work about the band.) The patients found the Cramps fairly unusual, Porter wrote, screaming \u201cWard T\u201d at the stage. Ward T was, the band later learned, was the section for lifers, \u201cthe ward no one comes back from,\u201d Lux told Porter.\u00a0<\/p>\n<p>The Cramps came to an abrupt end in 2009 when Lux, then 62, died suddenly and unexpectedly from an aortic dissection. Poison Ivy withdrew from the public eye: no interviews, no reunion tours with a stand-in singer, no reissues of Cramps records. Even so, the band\u2019s legend continued to grow, attracting new generations of fans. <em>Wednesday<\/em> star Jenna Ortega had a surprise viral moment last year when her titular character, the Addams Family\u2019s sullen Goth daughter, did an appropriately weird little dance to the Cramps\u2019 \u201cGoo Goo Muck.\u201d Bootleg albums and merch have proliferated. (Full disclosure: I may have a few off-brand Cramps shirts in my closet.) You can even buy a beer named after one of their most beloved albums, with a can that\u2019s \u201ca nod\u201d to (translation: completely lifted from) the cover art.<\/p>\n<p>Earlier this year, Rollins and MacKaye began working with a small group on a secret project: reviving the Cramps\u2019 own Vengeance Records and starting a new business, Cramps Inc. The first order of business for the reformed Vengeance Records is to release a 1977 album that had, until earlier this year, been sitting unheard on tapes in Ivy\u2019s Los Angeles garage. Titled <em>Gravest Gravy,<\/em> it was produced by Alex Chilton, a beloved producer, songwriter, musician, and co-founder of the iconic indie band Big Star. The album will be released on August 21, and Cramps Inc. intends to reissue at least nine other Cramps records.<\/p>\n<p>MacKaye and Rollins are not being paid for this\u2014in a meeting with Ivy, Rollins says, he told her, simply, \u201cI would just love to be your archivist.\u201d\u00a0Cramps Inc. will also release merchandise\u2014including t-shirts and highly sought-after colored-vinyl pressings of <em>Gravest Gravy<\/em>\u2014to help Ivy benefit from the wildly popular, and mostly illicit, market for Cramps merch.<\/p>\n<p>\u201cOf course Ian and I are going to work for free,\u201d Rollins told me via Zoom. \u201cNo money was ever offered or asked for. I don\u2019t want a dollar. I\u2019ve got the bucks. Isn\u2019t this what you spend money on? What would you rather do? Do fentanyl or work with a Cramps catalogue?\u201d\u00a0<\/p>\n<p>Releasing an unheard Cramps album required listening to every mix of every song on <em>Gravest Gravy <\/em>and trying to decide which were the best, a task Rollins says he undertook \u201cwith fear, trepidation and awe.\u201d<\/p>\n<p>\u201cThis is not a small deal,\u201d he says. \u201cYou\u2019re now speaking for a band. One of the best bands ever, a band that means so much to me.\u201d After listening to every version, he adds, \u201cI sent my notes and mixes to Ian, whose ears I trust more than anyone I know.\u201d\u00a0(MacKaye offered his own notes, and adjusted the levels on a few songs, though they both found Chilton\u2019s work nearly unimpeachable.)<\/p>\n<p>\u201cI\u2019ve never been more excited about a record and I\u2019m not even <em>on<\/em> it!\u201d he says. \u201cWe\u2019re not on the cover. We\u2019re in the fine print at the bottom and that\u2019s the way I want it to stay. When you go to the Smithsonian and see the big T. Rex bones standing up, you know that\u2019s a team of expert people who put that up in a dark night and vanished like dew on the hood of the car. You don\u2019t know their names. That\u2019s what it\u2019s all about. Me and Ian, we don\u2019t need a hurrah.\u201d\u00a0\u00a0<\/p>\n<p>Besides Rollins and MacKaye, the group reviving Vengeance Records includes Larry Hardy, owner and operator of In The Red Records and longtime friend of Ivy and Lux, and Jimmy Maslon, a producer who made some of the Cramps\u2019 music videos. Poison Ivy is described as the \u201cmajor beneficiary\u201d of the project, which Rollins says is being undertaken with her full permission, although she\u2019s not deeply involved in the day-to-day operations of Cramps Inc. (She also is still not doing interviews, even if you all but beg, and have been pestering her PR reps intermittently for a decade.)\u00a0\u00a0\u00a0<\/p>\n<p>\u201cIf you\u2019ve ever been in a band, it\u2019s a very intense relationship,\u201d Rollins explains. \u201cYou get to know your bandmates more than you really want to. I\u2019ve been in bands with people I love like family and you hope you never see them again. For Ivy, the Cramps were the past, and when she remembers them, it comes with a lot of memories.\u201d\u00a0<\/p>\n<p>It doesn\u2019t immediately make sense that Rollins would be such a diehard fan of The Cramps, who inhabited a completely unique sector of the music world: outside gender, genre, and preconceived notions about what a \u201crock\u201d band should look or sound like. By contrast, Black Flag, Rollins\u2019 most famous band, became singularly associated with the violence of the 1980s Southern California hardcore scene, which was often incredibly hostile to women and nonwhite people. Rollins recalls women getting their shirts torn off at Black Flag shows and a disturbing influx of neo-Nazis and skinheads who were more than happy to pay a cover fee for the chance to beat up Black or Hispanic fans, sexually harass women, and sieg heil the stage.\u00a0<\/p>\n<p>The band didn\u2019t want violent thugs at their shows, Rollins says, but he\u2019s not surprised they were attracted. \u201cDid Black Flag set up a permission structure? Perhaps. Wittingly?<em> No.<\/em>\u201c<\/p>\n<p>\u201cI\u2019m sure our very presence, we bore some responsibility,\u201d Rollins adds. \u201cCould we have been better actors in that scene? I\u2019m not sure. I\u2019m not sure if there\u2019s more we could\u2019ve done. It\u2019s been so long ago. I can\u2019t accurately tell you.\u201d<\/p>\n<p>Rollins says he responded to Nazis at Black Flag shows by mocking them. \u201cI would call things out. I was the fake comedian. I\u2019m getting sieg heiled by a bunch of overweight Anheuser-Busch fans between songs, and I said, \u2018You can\u2019t make Army boot camp, much less the Third Reich.\u2019 The audience is laughing. The security has to get around me because now those eight knuckleheads want to beat me up. I made an enemy of those people very fast. I didn\u2019t just let it go.\u201d<\/p><p>Read more <a href=\"https:\/\/movingandmortgagehub.com\/?p=992\">Nature\u2019s Ingenious Survival Strategies Are No Match for Human Destruction<\/a><\/p>\n<p>Rollins also keeps an eye on the so-called manosphere, and \u201cmasculinity influencers\u201d like Andrew Tate, viewing them as targeting the same kinds of young, impressionable, angry, horny young men who used to populate Black Flag shows. \u201cThey\u2019re being sold a bill of goods,\u201d he says, bluntly. \u201cWhat I beg young men to do is listen to and believe women.\u201d<\/p>\n<p>He\u2019s had to do so himself, he adds. \u201cI listened. I paid attention. I read. I\u2019m always trying to lose my primordial tail and the glistening gills that throb on my neck.\u201d <\/p>\n<p>The meathead and white supremacist presence at Black Flag shows seemed to peak in 1986 or so, Rollins says, and those people didn\u2019t come to shows for his next project, the Rollins Band, at all. \u201cEither the tickets were too expensive or they hated the music. They simply stopped showing up.\u201d\u00a0<\/p>\n<p>Since retiring from music, Rollins has slipped comfortably into a role as a music archivist, moving to Nashville about three years ago to try to open a punk rock museum. Given the expense of owning or leasing a building, the \u201cmuseum\u201d is much more likely to be a series of pop-up events, Rollins says, with one planned for \u201clater this year,\u201d although he\u2019s not yet ready to provide details. Besides the Cramps, he\u2019s also now working with the \u201cestates\u201d of other great bands, he says. \u201cThat\u2019s equally bitchin\u2019 news for another time.\u201d\u00a0<\/p>\n<p>Having known Poison Ivy since the Black Flag days, Rollins says, he\u2019s happy to be part of any structure that allows her to benefit from the Cramps\u2019 legendary status while living the quiet, private, deeply spiritual life she wants. \u201cI don\u2019t need to speak to Ivy,\u201d he says. \u201cI need to work for the Cramps.\u201d\u00a0<\/p>\n<p>\u201cWe\u2019ll be the historians,\u201d he adds. \u201cWe\u2019ll do the heavy lifting.\u201d <\/p>\n<p>He means that literally. When Hardy, Ivy\u2019s old friend, discovered that the tapes in her garage \u201cwere showing signs of moisture,\u201d Rollins says, they needed to be moved, very quickly, to a climate-controlled environment. Rollins flew from Nashville to LA, rented a cargo van, and drove \u201c30 hours and 45 minutes\u201d back to Nashville, pounding energy drinks, the van sagging under the weight of the tapes. Rollins was pulled over in Arkansas for drifting across the white line. He told the cop, cheerily, \u201cI\u2019m riding the Red Bulls, sir!\u201d and was let off with a warning.\u00a0<\/p>\n<p>\u201cI paid to do this!\u201d Rollins said, referring to financing the trip with his own money, \u201cBecause in my mind I owe the Cramps a part of my life.\u201d<\/p>\n<p><span>It can be hard,<\/span> at this moment in time, to imagine caring deeply about something like a newly released album, no matter how legendary the band or thrillingly obscure the recording.\u00a0 The chaos of the second Trump administration has taken its toll on Rollins too. He\u2019s a DC native, after all. He says he wept when Trump paved over the White House Rose Garden. \u201cI try not to let any of this stuff get to me, but that got to me.\u201d<\/p>\n<p>For years, Rollins volunteered with the USO, doing tours in Iraq, Afghanistan, and Egypt, and visiting wounded soldiers in their beds at Walter Reed. (\u201cYou see a person half your age and half their face is gone\u2026You do five hours of that and get back to me.\u201d At the end of a day like that, he says, \u201cI have no appetite. All I can smell is that antibacterial soap.\u201d) He\u2019s particularly outraged by the 13 American service members who have thus far died in the war with Iran. \u201cEvery day, Trump and Vance are covered in their blood like a patina.\u201d\u00a0<\/p>\n<p>But Rollins also argues that art still matters\u2014even amid the chaos, outrages and endless travails of Trump 2.0. \u201cNo one will say \u2018bad dog,\u2019 for putting on a record in the middle of all of this horror,\u201d he says.<\/p>\n<p>\u201cIf you lose culture in your society, the society dies,\u201d Rollins says. \u201cIf you lose your art museums and your galleries, all you have is thugs and fighting and people being mean. In times of trouble, art gives us the backbone to keep fighting. It gives you inspiration\u2026You want to rebel against this awful war and this awful situation we\u2019re in, you don\u2019t take your eyes off the ball. But it\u2019s not bad to have a soundtrack. Keep your eyes on the ball and have a beat.\u201d<\/p>\n<p>Art and culture are \u201cwhat you have to lose with an administration like this,\u201d Rollins adds. \u201cThey hate science. They hate literacy. They hate women. They hate nonwhite people. They hate LGBTQ people. Those aforementioned groups, they make things that make life great. They want to eradicate it and erase it. You can do more than one thing at once. You can entertain many things. And so you can be concerned and fight the good fight, and you can also put a record on and love the Cramps.\u201d <\/p>\n<\/div>\n<footer>\n<section><h3>Owned by no one\u2014except you.<\/h3><p><strong>We just keep seeing it happen<\/strong>: Newsrooms owned by billionaires and corporations are spinning their own narratives, overwriting the truth, following only stories that keep them in the pocket of those with even more power.<\/p>\n<p><strong>Not here<\/strong>. We\u2019re not owned by anyone. 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