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NOFX aren’t breaking up, they’re retiring — and it’s probably for the best for everyone involved

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NOFX aren’t breaking up, they’re retiring — and it’s probably for the best for everyone involved

After 40 years as a band, the bold and brash punk quartet NOFX is calling it quits, but not in a dramatic, explosive way. Instead, they’re signing off this weekend after three final sets at Berth 46 in San Pedro that will wrap up a massive globetrotting tour in which they play 40 songs each night and never the same set twice. It’s the culmination of four decades together as one of the biggest punk bands on the planet, and roughly 10 years of the kind of slow-building resentment that’s usually reserved for close family members and old married couples.

“When you were in a punk band in ’83 all the way through ’88 or so, there was no hope of ever making a living, because no punk band had ever done it,” lead vocalist and bassist “Fat Mike” Burkett says in his backstage trailer at Chicago’s Riot Fest, surrounded by a documentary crew following the final tour and holding a quarter-consumed bottle of Tito’s vodka. “We just did it because we loved it. There was no future. I went to college and real estate school, but I always just wanted to play music with my best friends. It was about saying things you just want to say and not caring what other people think.”

But after spending the bulk of the 1980s fruitlessly bouncing around the SoCal punk rock scene, in the ’90s NOFX — Burkett, guitarists Eric Melvin and Aaron “El Hefe” Abeyta and drummer Erik “Smelly” Sandin — soared to unimagined career heights.

NOFX’s achievements and impact on punk rock at both a local and a global level can’t be overstated. Throughout the ‘90s and 2000s (including 1994’s seminal album “Punk in Drublic”), they became one of the most revered and influential bands in the genre due largely to their unique combination of inappropriate humor, unremorseful attitude, catchy tunes and surprisingly intelligent lyrics. Not only did they define the sound of West Coast punk rock alongside their SoCal contemporaries like Social Distortion, Bad Religion and Descendents but they also opened up opportunities for the next generation of (more radio-friendly) punk rock to reach massive mainstream appeal through bands like Green Day and the Offspring.

Following a decade of success after success as the face, primary songwriter and de facto leader of one of the most prominent bands and record labels in punk rock, Burkett turned his attention to a new cause: ruining the reelection campaign of President George W. Bush. Leading up to the election, Burkett used his platform with the band as well as his Bay Area-based record label, Fat Wreck Chords, to launch Rock Against Bush, a political movement aimed at getting punk fans to vote against the incumbent president. It featured a tour, compilation CDs, merchandise (including the iconic “Not My President” shirts) and tangentially NOFX’s 2003 album, “The War on Errorism.”

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Fat Mike Burkett of NOFX performs at Riot Fest 2024 in Chicago.

(Craig Cummins)

“I gave it a year and a half of my life, and I feel I did my civil service,” Burkett says. “I traveled around the country, did radio shows at 6 a.m., did a whole Warped Tour and probably signed up a couple hundred thousand kids. Me and half the staff at Fat Wreck Chords f—ing gave it our all and worked really hard. It was f—ing heartbreaking. That’s why I’m not gonna let it ruin my life if Trump wins. It would be horrible and democracy may be killed, but you can’t let it ruin your life. You still have to be happy and joyful. Help in your community, and do what you can to still make the world a better place even if we’re f—ed.”

People who know Burkett both inside and outside of the band believe the 2004 election was the first time he’d earnestly set out to do something and failed, and he took it extremely hard. To cope with that loss, Burkett — who says he’d never touched cocaine until 1998 — turned harder into drugs and alcohol at a time when some of his bandmates (all of whom were in their late 30s in 2004) were looking to move away from the partying lifestyle.

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Nevertheless, NOFX continued on relatively unimpeded for a decade or so, until the band says Burkett’s drug use began to slowly affect his decision-making, recording and live performances. Since then, the rift between the frontman and the others (particularly Melvin) has deepened to the point where the trio has held multiple interventions for Burkett — most recently in 2020, when he went to rehab for a month after vomiting and defecating blood at the vacation home of friend Matt Sanders, singer of Avenged Sevenfold.

“I went to rehab for a month, got out and was sober for pretty much 10 months — but not completely sober,” Burkett says.. “We had a couple rehearsals where I did some lines of coke and had some drinks beforehand, and toward the seventh or eighth month, I was partying again. They all were saying, ‘You’re so much better now. You’re such a nicer person. You’re so much happier.’ And I was thinking, ‘This is hysterical. I’m doing the exact thing I’ve always done.’ When they’d ask me, ‘How’s your sobriety going?’ I would say, ‘Great!’ because if you look up the word ‘sobriety’ in the dictionary, it’s not ‘not drinking,’ it’s that you’re under control of your life.”

Fat Mike and Eric Melvin of NOFX performing at Riot Fest 2024 in Chicago.

Fat Mike and Eric Melvin of NOFX performing at Riot Fest 2024 in Chicago.

(Craig Cummins)

Burkett doesn’t see his drug use as a problem and believes that he’s as healthy as he’s ever been thanks to moderation and exercise (he’s particularly fond of riding his bicycle, which he says he does 20 to 30 miles per day). In fact, the NOFX ringleader says he “only uses drugs when [he’s] working” and believes that retiring from the band — and the preshow ritual of cocaine and vodka that he says he uses to balance his nerves and energize himself — will be good for his health.

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To Burkett, the primary issue causing the familial drama within NOFX after all these years is a perceived lack of gratitude and respect he receives from his bandmates even when he feels as though he’s the one steering the ship.

It’s a situation where who’s “wrong” and who’s “right” likely doesn’t matter, as a resolution is unlikely to be found while they’re all stuck in a band together. Burkett and Melvin will always have their own versions of what’s transpired in recent years, with the other two members and the complicated truth all likely somewhere in the middle. But even amid their ongoing differences, Burkett admits it’s not as simple as just wanting to be thanked for being the primary songwriter or booking new opportunities. Instead, it’s a sense of boredom with playing the same shows and same material since he was a teenager. It’s not that the 57-year-old thinks he’s done writing songs or performing; he just wants new avenues in which to do them.

“I liken it to being a playwright who wrote a great play 40 years ago,“ says Burkett, who actually did write a musical called “Home Sweet Home” back in 2014. “I’m the playwright and the actor, and although the play is good and I’m a good actor, I’ve been acting in this f—ing play for 40 years. It’s been an absolute joy playing in a band with my best friends for 40 years, because all the dudes in my band are friends. They’re swell. They’re good dudes, but we’re not close like we used to be. Everyone’s got families and the things they’re doing now, so when we get together, it’s very professional.”

Four punkers standing in front of a metal door

“We were just treading water, and we were doing fine, but it was nothing like this,” Burkett said. “We called it off at the right time, and when people tell me, ‘You’ll be back in five years…’ they can go f— themselves.”

(Jesse Fisher)

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While some may look at the thousands of screaming fans showing up to each night of the farewell tour as proof that NOFX should continue — an idea that Melvin, Sandin and Abeyta are all open to — it also seems like the right time to call it quits before the members (again, particularly Melvin and Burkett, who haven’t spoken to each other in quite some time outside of band necessities) damage their relationship any further. Maybe they could’ve pushed on for another decade, but perhaps it’s better to go out with a bang and allow everyone to move on to the next stage of their lives before they melt down and fight each other onstage. After all, the reunion offers will most certainly be there if and when they’re ready.

As for the band returning in the near future, nothing is certain, but Burkett seems dedicated to keeping his word. Despite cracking jokes — at the expense of metal band Slayer — about a potential reunion at their penultimate tour stop at Riot Fest, he maintains that this is it for NOFX because “it’s so wonderful to have a beginning and an end.”

“I’ve never had my heart filled like it’s been on this tour — and our fan base is just incredible — but we had to stop,” Burkett says. “We were just treading water, and we were doing fine, but it was nothing like this. We called it off at the right time, and when people tell me, ‘You’ll be back in five years…’ they can go f— themselves. They don’t know me. People trust that I’m being honest in my life and in my lyrics, so how could I lie to our entire fan base and to everyone by telling them this is the last tour if it’s not? How could anyone do that? I can’t do it.”

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Review | Hoppers: Pixar’s new animation is a hilarious, heartfelt animal Avatar

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Review | Hoppers: Pixar’s new animation is a hilarious, heartfelt animal Avatar

4/5 stars

Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.

The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.

Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.

Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.

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“This is like Avatar,” Mabel coos, and, in truth, it is. Plugged into a headset, Mabel is reborn inside a robotic beaver. She plans to recruit a real beaver to help populate the glade, which is set to be destroyed by Jerry’s proposed road.
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Kurt Cobain’s Fender, Beatles drum head among $1-billion collection going to auction

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Kurt Cobain’s Fender, Beatles drum head among -billion collection going to auction

In the summer of 1991, Nirvana filmed the music video for “Smells Like Teen Spirit” on a Culver City sound stage. Kurt Cobain strummed the grunge anthem’s iconic four-chord opening riff on a 1969 Fender Mustang, Lake Placid Blue with a signature racing stripe.

Nearly 35 years later, the six-string relic hung on a gallery wall at Christie’s in Beverly Hills as part of a display of late billionaire businessman Jim Irsay’s world-renowned guitar collection, which heads to auction at Christie’s, New York, beginning Tuesday. Each piece in the Beverly Hills gallery, illuminated by an arched spotlight and flanked by a label chronicling its history, carried the aura of a Renaissance painting.

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Irsay’s billion-dollar guitar arsenal, crowned “The Greatest Guitar Collection on Earth” by Guitar World magazine, is the focal point of the Christie’s auction, which has split approximately 400 objects — about half of which are guitars — into four segments: the “Hall of Fame” group of anchor items, the “Icons of Pop Culture” class of miscellaneous memorabilia, the “Icons of Music” mixed batch of electric and acoustic guitars and an online segment that compiles the remainder of Irsay’s collection. The online sale, featuring various autographed items, smaller instruments and historical documents, features the items at the lowest price points.

A portion of auction proceeds will be donated to charities that Irsay supported during his lifetime.

The instruments of famous musicians have long been coveted collector’s items. But in the case of the Jim Irsay Collection, the handcrafted six-strings have acquired a more ephemeral quality in the eyes of their admirers.

Amelia Walker, the specialist head of private and iconic collections at Christie’s, said at the recent highlight exhibition in L.A. that the auction represents “a real moment where these [objects] are being elevated beyond what we traditionally call memorabilia” into artistic masterpieces.

“They deserve the kind of the pedestal that we give to art as well,” Walker said. “Because they are not only works of art in terms of their creation, but what they have created, what their owners have created with them — it’s the purest form of art.”

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Cobain’s Fender was only one of the music history treasures nestled in Christie’s gallery. A few paces away, Jerry Garcia’s “Budman” amplifier, once part of the Grateful Dead’s three-story high “Wall of Sound,” perched atop a podium. Just past it lay the Beatles logo drum head (estimated between $1 million and $2 million) used for the band’s debut appearance on “The Ed Sullivan Show,” which garnered a historic 73 million viewers and catalyzed the British Invasion. Pencil lines were still visible beneath the logo’s signature “drop T.”

A drum head.

Pencil lines are still visible on the drum head Ringo Starr played during the Beatles’ debut appearance on “The Ed Sullivan Show.”

(Christie’s Images LTD, 2026)

It is exceptionally rare for even one such artifact to go to market, let alone a billion-dollar group of them at once, Walker said. But a public sale enabling many to participate and demonstrate the “true market value” of these objects is what Irsay would have wanted, she added.

Dropping tens of millions of dollars on pop culture memorabilia may seem an odd hobby for an NFL general manager, yet Irsay viewed collecting much like he viewed leading the Indianapolis Colts.

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Irsay, the youngest NFL general manager in history, said in a 2014 Colts Media interview that watching and emulating the legendary NFL owners who came before him “really taught me to be a steward.”

“Ownership is a great responsibility. You can’t buy respect,” he said. “Respect only comes from you being a steward.”

The first major acquisition in Irsay’s collection came in 2001, with his $2.4-million purchase of the original 120-foot scroll for Jack Kerouac’s 1957 novel, “On the Road.” He loved the book and wanted to preserve it, Walker said. But he also frequently lent it out, just like he regularly toured his guitar collection beginning 20 years later.

A scroll of writing.

Jim Irsay purchased the original 120-foot scroll manuscript of Jack Kerouac’s “On the Road” for $2.4 million in 2001.

(Christie’s Images)

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“He said publicly, ‘I’m not the owner of these things. I’m just that current custodian looking after them for future generations,’ ” Walker said. “And I think that’s what true collectors always say.”

At its L.A. highlight exhibition, Irsay’s collection held an air of synchronicity. Paul McCartney’s handwritten lyrics for “Hey Jude” hung just a few steps from a promotional poster — the only one in existence — for the 1959 concert Buddy Holly, Ritchie Valens and J.P. “The Big Bopper” Richardson were en route to perform when their plane crashed. The tragedy spurred Don McLean to write “American Pie,” about “the day the music died.”

Holly was McCartney’s “great inspiration,” Christie’s specialist Zita Gibson said. “So everything connects.”

Later, the Beatles’ 1966 song “Paperback Writer” played over the speakers near-parallel to the guitars the song was written on.

Irsay’s collection also contains a bit of whimsy, with gems like a prop golden ticket from 1971’s “Willy Wonka & the Chocolate Factory” — estimated between $60,000 and $120,000 — and reading, “In your wildest dreams you could not imagine the marvelous surprises that await you!”

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Another fan-favorite is the “Wilson” volleyball from 2000’s “Cast Away,” starring Tom Hanks, estimated between $60,000 and $80,000, Gibson said.

Historically, such objects were often preserved by accident. But as the memorabilia market has ballooned over the last decade or so, Gibson said, “a lot of artists are much more careful about making sure that things don’t get into the wrong hands. After rehearsals, they tidy up after themselves.”

If anything proves the market value of seemingly worthless ephemera, Walker added, it’s fans clawing for printed set lists at the end of a concert.

“They’re desperate for that connection. This is what it’s all about,” the specialist said. It’s what drove Irsay as well, she said: “He wanted to have a connection with these great artists of his generation and also the generation above him. And he wanted to share them with people.”

In Irsay’s home, his favorite guitars weren’t hung like classic paintings. Instead, they were strewn about the rooms he frequented, available for him to play whenever the urge struck him.

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Thanks to tune-up efforts from Walker, many of the guitars headed to auction are fully operational in the hopes that their buyers can do the same.

“They’re working instruments. They need to be looked after, to be played,” Walker said. And even though they make for great gallery art, “they’re not just for hanging on the wall.”

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Movie Reviews

Film reviews: ‘How to Make a Killing,’ ‘Pillion,’ and ‘Midwinter Break’

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Film reviews: ‘How to Make a Killing,’ ‘Pillion,’ and ‘Midwinter Break’

‘How to Make a Killing’

Directed by John Patton Ford (R)

★★

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