A Kiss across the Ocean: Transatlantic Intimacies of British Post-Punk and US Latinidad

by Richard T. Rodríguez

In A Kiss across the Ocean Richard T. Rodríguez examines the relationship between British post-punk musicians and their Latinx audiences in the United States since the 1980s. Melding memoir with cultural criticism, Rodríguez spotlights a host of influential bands and performers including Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Frankie Goes to Hollywood, and Pet Shop Boys. He recounts these bands’ importance for him and other Latinx kids and discusses their frequent identification with these bands’ glamorous performance of difference. Whether it was Siouxsie Sioux drawing inspiration from Latinx contemporaries and cultural practices or how Soft Cell singer Marc Almond’s lyrics were attuned to the vibrancy of queer Latinidad, Rodríguez shows how Latinx culture helped shape British post-punk. He traces the fandom networks that link these groups across space and time to illuminate how popular music establishes and facilitates intimate relations across the Atlantic. In so doing, he demonstrates how the music and styles that have come to define the 1980s hold significant sway on younger generations equally enthused by their matchlessly pleasurable and political reverberations. 

Genres: Music, Nonfiction, Cultural

264 pages, Paperback

First published September 13, 2022

Reviews

[Baal Of · Rating 5 out of 5]

Only in the intro, and I'm already loving this book:

...the charge of cultural appropriation too easily shuts down the deliberation on the ways disparately situated people and histories indelibly move and touch one another. (page 26)

What a stunningly beautiful book. This book blends an intensely researched acedemic style with a deeply presonal narrative thread to reveal the complex connections between gothic, post-punk, new wave and related styles of music and the various cultures of latina/o/x people. Personally I love the academic approach and the dense, information-packed writing style that Rodríguez employs. This book is well-served by a slow and careful reading to allow the subtle ideas to percolate, and Rodríguez is wonderful at elucidating fine distinctions when navigating the differences between cultural appropriation, and genuine stylistic influences (or to use his wording "intimicaies"). Rodríguez has a nuanced and well-balanced view, and deftly reveals the positive aspects of an artist like Adam Ant with respect to race, while also discussing and understanding the negative aspects, rather than falking into simplictic condemnation (like some people I know).

The chapter centered around Bauhaus was the one that resonated with me the most. When I was an active member of the goth community in Austin, there were some in the scene who did accept the idea, articulated by several outsider music critics, that goth was a purely white phenomenon which explicity or implicitly denied influences from black music. Rodríguez exposes that misperception (or outright lie) with a thorough examination of the music of Bauhaus, who incorporated elements of dub, reggae, and other influences.

There is so much more to this book (I haven't even touched on the LGBTQ aspects which are extensive) that I could go on at length, but instead I would encourage anyone with interest in this subject matter to get this book and read it.

I was already familiar with all the bands discussed in this book, except for Blue Rondo À La Turk and I've now added their first album to my ever-growing lists of albums to hear.

[Lisa · Rating 3 out of 5]

This book was waaaaaay too academic for me. If you can tell me what this says, then this is the book for you.

"Moreover, while deep connections are undoubtedly established across time and space, they often manifest in real time and thus generate a combined sensuality that is not flatly disparate but advantageous given the fortuitous opportunity of temporal and spatial alignment" (p. 9).

The book does however throw out a lot of incredible factoids like that the Sex Pistols' first ever gig was OPENING FOR ADAM ANT'S FIRST BAND omg what lol. I googled so many the bands the author named because I had completely forgotten about them. Rodriguez makes an extremely clear case that not all goths were white. In fact, his knowledge of the subject is truly mind-blowing. It's just that he swallowed a thesaurus and tried to make this book as complicated and wordy as possible. I will fully admit to skimming a lot of it due to it's complexity. It's not the book's fault but it was not my cup of tea. I felt that the more promising and accessible sections are when the author talked about himself and brought up anecdotes about his life as a gay Latino. That said... less Frankie Goes to Hollywood and more Bauhaus, please!

[Valery · Rating 5 out of 5]

One of the few purchases I made recently, I picked this up because it relates to me in some ways: being a fan of 80’s new wave and post-punk music and a US Latina. I didn’t grow up in the 80’s (born in early 90s), but I’ve grown to love the music regardless of my age (my mom having cassettes of 80’s music also helped!).

Aside from the usage of Latinx (which in all fairness to Rodriguez, he never seems to use it and it’s only relegated to the back cover. I have my slight issues with the word…), this is a wonderful analysis of how the music connected with Latino/as from the United States. He mixes academic analysis with personal anecdotes, but the language still remains fairly accessible. Rodriguez also recognizes the well intentioned attempts of some these artists to honor Latin culture, but still falling into some stereotypes at times (I will say this though, the note on Spandau Ballet by the end of book reinforces my dislike towards them, perhaps even more, ha).

Overall, recommended for anyone who is interested in new wave and post-punk music, US Latin and/or LGBT history.

[Alejandro Morales · Rating 5 out of 5]

It is rare that you might consider a book by a Professor of English and Media and Cultural Studies as a pure joy - but here it is. Yes, Professor Rodríguez experienced a huge amount of outsiderness growing up in Southern California as a descent of Mexicans and gay. However, his joy on the other side of this pain is evident through the music of his youth. This music is imported music from England that spoke to his - and many, many others in southern California, especially those of Mexican descent - outsiderness and alienation. (Professor Rodríguez, as a member of the LGBTQ+ community, compounding his outsiderness in the 1980s, whether in the USA or elsewhere). Joy? Yes! This is a story of redemption/identity acceptance through symbols, however accidently discovered, by some wonderful musicians who recognized that outsiders existed all over the world and more importantly were not only equal to those dominant in society but contributed voices that actually must be valued.

[David Allen · Rating 3 out of 5]

Rodriguez digs below the glossy nostalgia of Totally '80s weekends to understand and explain the cross-cultural currents between a few British post-punk bands and Latino fans (and gay fans) like himself in the U.S. It wasn't a one-way exchange either. While a bit academic and scholarly (the author is, after all, an academic and scholar) for casual reading, he does offer a very personal perspective in each chapter. His meeting with Holly Johnson of Frankie Goes to Hollywood is a high point. Rodriguez gave me an insight into a music and culture that I knew little about.

[Riley Gibson · Rating 3 out of 5]

massive new respect for Frankie Goes To Hollywood lol...and all of the bands covered for that matter. loved all of Rodriguez's personal anecdotes about his family and his deep phases of fandom - but this book feels a little formulaic and i struggled to get through some parts as it started to get redundant

but overall a very interesting and original point of view on 80s British white person music that i loved to hear

[Ric Montelongo · Rating 4 out of 5]

An amazing account of the connection of Latinx communities to the post-punk bands of the U.K. As someone who was a college student in the 80s who attended a university with little Mexican American representation, I often wondered why my friends and I found connection with New Order, Pet Shop Boys, and others. Now I know! Amazing research by Dr Rodriguez.

[Angelina Garcia · Rating 4 out of 5]

Ricky (whom I can now call my friend after drinking and perusing vinyl records together) draws the most incredible connection between SoCal Latino culture and the British punk scene of the 80's. Although this is an academic piece, Ricky has done an incredible job of making the text accessible to the Everyman, thus re-igniting the passion many US Latinos feel for British post punk and cultures.

[Completelybanned · Rating 4 out of 5]

As a young person who enjoys the new wave music Rodriguez singles out, I would love to see a volume two where Rodriguez deals with the latest generation of Latinx new wave and alternative music fans.

[Angela · Rating 5 out of 5]

I adore this book! Out of all of the books that I have read pertaining to Post- Punk and Goth of late, this is by far my favorite. Growing up in San Antonio, Texas Mexican and Latino music was always around. Hearing Tejano or Mariachis still warms my heart to this day. This book is a skilled weaving of two unlikely genres such as British Post- Punk and Latinidad weaving and influencing each other. Richard T Rodriguez does a great job of breaking up bands into chapters and highlighting the cross- Atlantic dialogue. Hearing about some of my favorite artist starting with Boy George! but including Siouxsie and the Banshees, The Cure, and Marc Almond and how they contributed to this continuing conversation was enlightening and nostalgic.

What is great about this book is the blend of academia and super fan enthusiasm, as I am a super fan as well. It felt like geeking out with my friends, as we so often do about bands and music - particularly in regards to Post Punk.

The final concluding chapter was fantastic and made me misty eyed to see how the torch is continuing to be carried and evolved as Latino artists front cover bands of these iconic Post Punk outfits and make the music their own.

Richard T. Rodriguez's reference section is a goldmine for further reading and I enthusiastically highlighted books I have and have read. I look forward to hearing more from this informed and talented writer.

[Nikolai Garcia · Rating 4 out of 5]

Started off a little too academic for me, but then got much easier to read and I had a lot of fun learning some cool things from this book. The parts where the author got more personal were definitely the best. I recommend to any music lovers, to ANY Chicanos, or to anyone interested in pop-culture!