One of the most storied shows of the punk era was seen by just a tiny audience at an unlikely venue — a California mental hospital. The punk rockabilly band The Cramps and theatrical art-punk band The Mutants played the Napa State Hospital on June 13, 1978, one of a series of concerts programmed at the institution for its residents during that era. What made this concert different was its documentation — it was recorded on old Sony equipment by Bay Area documentarian Joe Rees and his Target Video crew. “Somebody told me you people are crazy, but I’m not so sure about that — you seem to be all right to me,” says Cramps lead singer Lux Interior on the tape, which, with the shambolic abandon of both performers and audience, still carries a liberatory charge.

The Cramps at Napa may seem like just an interesting footnote in the history of punk, but there really is a lot to unpack. Besides the rock legend status, the story has many avenues when it comes to exploring mental health treatment and the defunding of facilities like Napa. 

The show is remembered as both a landmark moment for punk rock and for the perception of mental health care within U.S. popular culture, all in the wake of then-former California Governor Ronald Reagan’s cuts to social services within the state.

Upon release on VHS in 1983, The Cramps’ set was an immediate underground blockbuster, & became one of the most seminal performances in the history of punk rock.

The documentary is rife with insightful & cohesive interviews with former Mutants members, former employees at Napa State, Joe Rees, V. Vale of RE/SEARCH Publications, & others. That not only provide necessary context for the gig; along with Reagan’s time as California’s governor & his presidency; but also the grassroots radicalism in the Bay Area, the commercialized collapsed of the San Francisco psychedelic scene, the invention of the camcorder, & the proliferation of performance art in California (with artists such as Chris Burden especially) before punk rock got its foothold.

Of interest to people who seek examples of deep empathy for marginalized groups & dedication to art in unconventional ways & surprising places. Check it out if you can!

The footage of the concert is wild and energetic, with band members jumping into the crowd and audience members walking on stage to scream into the mic. The riveting film raises as many questions as it answers while chronicling how the concert came to be, how it was filmed and who the audience was.

This being 1978, some of those in attendance look like hippie acid casualties, but nobody is freaking out—whether they’re pogo-ing, frugging, wandering about or just wanting to give Lux Interior a hug, the inmates are clearly enjoying themselves. It’s infectious.