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Full text of "Maximum Rocknroll 101 (1991 Oct)"

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As you probably know, Gilman St is in deep shit. It's about $6,000 in debt to the landlord and 
the IRS. Many of the stalwarts of the last few years are burning out, especially those doing security, 
booking and general shitwork. The city of Berkeley is not happy either and may review the use permit. 

All of these problems are soluable though. It's more a matter of whether the East Bay scene is 
able to recognize what an asset Gilman is, how good it can really become, and what a loss it will be if it 
closes. Most all of the current E.B. bands would not even exist if it weren't for Gilman, and those few who 
predate Gilman have benefitted one way or the other from it too. And it is these bands, and some of the 
labels, that owe the most to the place, rd like to encourage all of you to stop and think about this 
situation and what you might be able to do to help out. Rest assured, if Gilman closes, the E.B. scene will 
shrivel up and slowly dissolve over the period of a year. Warehouse parties will get closed down if they 
become regular affairs, people will not meet new people, and new bands will not form out of old bands. 
The incentive to form will disappear with no place to play. And out-of-town bands will no longer be 
headed this way once they lose this anchor point for their tours. 

What can be done? A few suggestions: 

1) Local bands can kick back their earnings from shows at Gilman (minus expenses) for a couple of 

2) Local bands can get more involved in volunteering, since they are the only people getting something 
material out of Gilman (either pay or exposure) 

3) Local labels who have arown because of Gilman can try to organize their bands in doing benefits, 
helping run shows they play on, or by donating a small percentage of their labels' earnings to Gilman. 

If people feel that Gilman nas fucked up in the past (which it has) and would rather throw the 
baby out with the bathwater, they might want to get involved instead in those areas (booking, for 
example), and insure better working conditions rather than complain about the mistakes, most of which 
occur from overwork and pecious little gratification. 

It's time for the East Bay community to solidify around Gilman and make it be what it's always 
tried to be: a truly community-run clubhouse. 


Ad rates: Beginning with this issue, rates will change as follows: 

1/2 page (71/2"x5"): $100 (up from $75) 

1/3 page (5"x5"): $50 (stays the same) 

1/3 page (21/2"x10"): $40 (down from $50) 

1/6 page (21/2"x5"): $25 (stays the same) 

We hope this will encourage many of you to take smaller sized ads, especially if you're just 
promoting 1 or 2 items, and will make room for those who haven't been able to get their ads 
in before. 

•Subscriptions: Because of the two part issue 100, those with subs will find their sub-ending 
number lowered by 1 because they received both 100's. 

•Sales Tax: California residents must now pay sales tax on magazines, so Californians, when 
you order a sub, it’s now $1.25 more, a total of $16.25. Single issues will be 200 more, 
totalling $2.70. Sorry!!!!! 

MRR is always looking for contributions (scene reports, Interviews, news features, 
articles, letters), and we have a neato scanner that can read stuff you send us and put It Into the 
computer, but it needs your help. Our scanner can only read things that are crisp and clearly typed. 
It can't read hand-written corrections. It can't read low-quality photocopies. 

If you need to make corrections, it helps to use a photo blue pen designed especially for 
iayouts-the light blue is invisible to a scanner (or a xerox machine). Also, please don't type in all 
capitals because then we have to re-type everything, and that's no fun. And if < 

the MRR format (song & book titles i 

l, and that's no fun. And if you can, try to follow 
quotes, LP/tP titles & zines underlined, local bands in all 

capitals in scene reports). This makes the shitworkers happy (or less miserable, anyway). 

If you're using a computer, you can send in your stuff on a 3-1/2 inch disk~we can convert 
from any program (as long as you tell us which program you used). We will return your disk to you. 


(chicks, babes, fucktoys, sluts, stupid bitches, whores, holes, rape victims, 
hey baby what's the matter why don't you smile?) 


Write MRR to rag about sexism in the scene or whatever makes you angry, sad, glad, 
excited or ready to kill about being a woman in this male-dominated world. Send letters, 
columns, whatever to MRR for a new separate section of the mag. (Got any ideas for a 
name? For now, just address it to: MRR Girl Stuff, PO Box 288, Berkeley CA 94701.) 


has relocated to our new studio located in the basement at the 
MRR house. The equipment is all new, the crew is charged up, 
and the music will wail. We’ve been at this since 1977, and 
while we recently lost our home base station for all those 
years, we’re fucking ready to kick ass again. Each one hour show contains the latest in 
punk/hardcore/garage indie releases, as well as interviews (there will be more of them 
now) and other features. The weekly show comes on cassette, along with an info sheet on 
what’s inside, and is ready to play tor very cheap (just a tad above cost—averaging about 
$5 a week for stations in North America. For more information on how to receive the 
program at your station, please send in an inquiry on station letterhead, and we'll get the 
details to you. 



CFMU Hamilton, Ont 93.3FM Mon 11:59 PM 
CHRY No. York, Ont 105.5FM Fri 1AM 
CKIA Quebec, PQ call station 
CKMS Waterloo, Ont 94.5FM call station 
KALX Berkeley, CA 90.7FM Weds midnight 
KCPR San Luis Obispo, CA 91.3FM Thurs 5PM 
KSCL Shreveport, LA 91.3FM Weds 10PM 
KZUM Lincoln, NE 89.3FM Weds midnight 
WCNI New London, CT 91.1 FM Sat midnight 
WCSB Cleveland, OH 89.3FM Weds 3PM 
WEFT Champaign, IL 90.1FM Sat 6PM 
WGHR Marietta, GA 102.5FM call station 
WMPG Portland, ME 90.9FM Sat 11PM 
WZRD Chicago, IL 88.3FM Sun 3PM 
Radio Dio St-Etienne, France 89.6FM call station 
Radio FMR Toulouse, France 91.6FM call station 
Radio Pomme Louviers, France 101.1 FM Sat 5-7PM 

RADIO STATIONS: MRR Radio shows are available for 
stations only . Requests for info should be on station let¬ 
terhead. Contact us at the address on the next page. 



• U.S.: available from U.S. address below. 
Copies are $2.50 each/ 6 issues sub for 
$15.00. Calif residents, it’s $16.25--cuz of 
sales tax!!! 

• Canada: available from U.S. address at 
bottom of page. Copies are $2.75 each/ 6 
issues sub for $16.50 (US dollars). 

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sub for $15.00. 

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don N22/ England. Copies are £2.50 each/ 6 
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Back issues #36-38, 42, 44-52, 55-64 are 
$1.50 each ppd in U.S. ($1.65 in Calif), $2 
Canada, $4 South America, $4.75 Asia & 
Australia (all from MRR/US). Same issues 
are £1.50 for U.K. and $2.50for Europe (from 
MRR/UK). Back issues 65-100 (pts 1&2) are 
at same rates as stated above in sub info. 


Scene Reports: continuously, with photos! 
Interviews: continuously, with photos! 

Ad Reservations: backlog-write or call now! 
Ad Copy In: 1 st of month-absolutely no later!! 


1/6 page: (2 1/2" x 5") $25 

1/3 page: (2 1/2" x 10") $40 

1/3 page: (5"x5") $50 

1 12 page: (7 1 /2" x 5") $100, 2 or more items! 

CLASSIFIEDS: 40 words cost $2/60 words 
max for $3. No racist, sexist or fascist mate¬ 
rial. Send typed if possible. Cash only!!! 

COVER: Cowboy Killers p: Jerome Chufhead 

SELL MRR AT GIGS: Within U.S., well sell 
them to you at $1.50 each ppd, cash upfront. 
Must order 5 or more of the same issue. Need 
business address to UPS to. 

READERS: if your local record or magazine 
store isn’t carrying MRR or runs out of them 
too quickly and doesn’t reorder, please let us 
know the name of the place so we can tell our 

STORES: If you have problems getting MRR 
from your distributors, try contacting Mordam 
Records at (415) 243-8230. 

Please send all records, letters, articles, 
photos, interviews, ads, etc., to: 

PO BOX 288 

BERKELEY CA 94701-0288 


411-This Isn’t Me-LP 



NATION OF ULYSSES-13 Point Program..!P 


SAM I AM-live 


Why am I wasting this line? 


V/A-The Bottom Rise Up The Top-8" flexi 
V/A-They Ain't Seen Nothina Yet-EP 
RANDOM CONFLICT-Shadows Of Existence-EP 
HAKUCHI-Fall A Sacrifice To Delightness-EP 
STEP ASIDE-I’ll Take Darkness-# 5 
! DISASTER-War Cry-12" 

INTENT TO INJURE-Reinforcement-EP 



HEROIN-EP & live 

411-This Ain’t Me-LP 

Jesse in Albu but now in NYC 

Grand Canyon-in person 

Matt’s radio show on KTEQ in Rapid City 


GITS-Second Skin-45 


V/A-Very Small World-2xLP 


Decaf soy mocha 

NONOYESNO-Japanese Mondo Bread-LP 
411-This Isn’t Me-LP 
SILVERFISH-Fuckin’ Drivin’ Or What-12" 

NONOYESNO-Lederhosen Verbot-12" 
SEAWEED-Despised-EP & live 
HALO OF FLIES-Music For Insect Minds-CD 

PAIN TEENS-Sacrifidal Shack45 
HOLE-Pretty On The Inside-CD 
ICE T-Original Gangster-LP & live 





STEELPOLE BATHTUB-Arizona Garbage Truck-pic EP 

GG ALLIN & ANTISEEN-Murder Junkies-LP 

JEFF DAHL & POISON IDEA-Tribute To Stiv-45 

SPOT 1019-live at Robert’s birthday 

L7-Keep On Rocking-EP 

12 PACK PRETTY-Foul Mouth-EP 





UNSANE-My Right-45 


COMB-Kinda Like Beat’n Your Dog-EP 
FFF-Electric Violin Thrash-LP 
411-This Ain’t Me-LP 
GITS-Second Skin45/L7-John Peel Sessions-EP 
V/A-Back Again-EP/V/A-Feel Lucky Punk-LP 
V/A-Pittsburgh Punk Ain’t Dead-EP 
V/A-Very Small World-2xLP/V/A-Ox #9-EP with zine 
V/A-World’s In Shreds Vol 5-EP 


MUDHONEY-Every Good Boy Deserves Fudge-LP 
HALO OF FLIES-Music For Insect Minds-CD 
TAR-Solution 8-45 

NONOYESNO Japanese Mondo Bread-LP 
UNSANE-Jungle Music-45 
PAIN TEENS-Sacrificial Shack-45 
OLIVE LAWN-Beautiful Feeling-EP 
GNOME-13 Family 45 

V/A-Pittsburgh Punk Ain’t Dead-EP 


V/A-Feel Lucky Punk-LP 
SNUFF-That’s Fine-12" 

IRON PROSTATE-Rock’n’roll Nursing Home45 


411-This Ain't Me-LP 




V/A-World’s In Shreds Vol 5-EP 

DMZ-1976-77 Demos-LP 

LEATHERFACE-Not Superstitious-12" 

RADICTS-Rebel Sound-LP 


NATION OF ULYSSES-13 Point Program-LP 



THE EX-She Said45 

411-This Isn’t Me-LP 



THEE HEADCOATS-Shouldn’t Happen-45 


V/A-Very Small World-2LP 


Ben Is Dead-#14-zine 


Primary Concern-#7-zine 

JALLA JALLA-Minnesota Plates45 
POJAT-Pala Maata-EP 

RADICTS-Rebel Sound-LP 
12 PACK PRETTY-Foulmouth-EP 
69 EYES-Barbarella45 
V/A-And Everything Nice-EP 
BHANG REVIVAL-I’m Not Talking-45 





Volunteers olwoys welcomed 

Meetings 1 st & 3rd Sun of month 6:30PM 

we buy, sell, trade 
new & used records/tapes/CDs 
fucking unbelievably cheap 

Hours: Weds-Fri 3-8PM, Sat noon-7PM, 
Sun 1-7PM. closed Mon-Tues 

Selling your collection at a reasonable price? 
Give us a call or send in a list! 


Fri Sep 13 - Thatcher on Acid, 
Green Day, Cringer, Morphias, 
Paxton Quigley 

■ Sun Sep 15 - Spoken Word Extrava¬ 


■ Fri Sep 2o - Funnelhead, House Of 
Pimps, Anal Mucus, Concrete Mu¬ 
cus, Blamed 

■ Sat Sep 21 - Monsula, Radicts, 
Rhythm Collision, Horace Pinker 

■ Fri Sep 27 - Boom & Legion Of 
Doom, Schleprock, TBA 

■ Sat Sep 28 - Ska Nite 

■ Sun Sep 29 - Alice Donut, Victims 
Family, Blister 

■ Sat Oct 4 or Sun Oct 5- Coffin 
Break, Dwarves, Supersucker, Men¬ 
tal Floss 

■ Fri Oct 11 - Muff (ex-Pandoras), 
Mummies, Winona Ryders 

■ Sat Oct 12 - NoFX, Pennywise, No 
Use For A Name, Fighting Cocks 

■ Fri Oct 18 - Blatz, Jackacid, TBA 

■ Sat Oct 19 - Les Thugs, Jonestown, 
Generator, TBA 






"Punish Me" from the 

■ Gilman Record Swap" 

Sun Oct 27 

call Dave at (510)524-8465 
_ for table reservations 

SHOW INFO: (510)525-9926 
BOOKING: (510)524-8180 

P-I LP to be released 
later this year. 


CASH or H.O. payable to POISON IDEA 


P.O. BOX 86333 PORTLAND, OR 97286 

Altered Reality 

i€;iS;back-with ; ;i||| 


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7"/Double 77127T-SHIRT - UNITED STATES: S3 00/S5.00/S6 00/S10 00 CANADA: S3 50/S6 00/S7.50/S12 00 (A..) EUROPE: S6.00/S7 00/S10.00/S15.00 (Air 




Max R&R Readers, 

I’ve seen lots of criticism in these pages of 
the American political system, Which is a good 
thing whether or not one agrees with it. I’m 
writing this, though, to encourage everyone 
who's old enough to vote against George Bush 
in the upcoming '92 elections. Even if you think 
“voting's for suckers” (MOFUNGO) I'd like to 
plead how important it is that someone other 
than George Bush be president come next 

Not to pick on people, but Clarence Tho¬ 
mas (Bush's current Supreme Court nominee) 
drives out of his way to attend an Episcopalian 
church known for people speaking in tongues 
(they stand up and babble in a language they 
don't speak and claim it’s the holy spirit speak¬ 
ing through them). This church, unlike some 
other Episcopalian churches, is dead-set against 
abortion. If Thomas (or some other Bush ap¬ 
pointee) gets on, that’ll be SIX people on the 
Supreme Court who think abortion should be 
illegal and that unauthorized searches are cool. 
If Bush gets re-elected it's highly likely that the 
Court’s strong liberal, Harry Blackmon who’s 86 
years old or something, is going to retire. This’ll 
make it 7 to 2 in favor of those wno don’t believe 
in civil liberties. Maybe if Bush doesn’t get re¬ 
elected, whichever Democrat gets elected can 
nominate someone else and the country won’t 
suffer from a plague of Supreme Court deci¬ 
sions like the one just made that says federal 
funding can be hinged on certain ideas the 
federal government likes being promoted to the 
exclusion of others. Some examples I've swiped 
out of the July 26 Boston Phoenix: lawyers 
could be banned “from presenting certain op¬ 
tions such as plea-bargaining" to clients the 
gov’t doesn't like; public health workers would 
have a hard time educating about AIDS if a law 

that are “dirty" or “indecent" - like sex and drugs; 
“educators and librarians...are heavily depen¬ 
dent of government funds". There’s no telling 
what could be pulled from curriculums or library 
shelves, not to mention what the case applied to 
federally funded clinics can or are being made 
to. Not mention abortion as an option to their 
clients, so women with money get all necessary 
medical info, but if you can’t afford that care... 

That's just one aspect of the case against 
letting Bush have another four years. There's 
always the fact that he’s a lying, drug-running, 
murdering, bad person in general. Bottom line 
is that this country is fucked, even more so than 
it is now, if we have SIXTEEN GODDAMN 
YEARS of Reagan/Bush insanity. If the Su¬ 
preme Court does go 7-2 in favor of Reagan/ 
Bush clones, who knows what kind of danger¬ 
ous shit could become law. I don’t know what 
has to be done to "temporarily” suspend the 
Constitution, but I suspect that there are ways 
it could be arranged. And yes, I do sound like a 
Biafra-inspired paranoiac, but I ask you to look 
around the world and see all the countries that 
are ruled by their military, who murder their own 
people (even more than the slow death we 
provide our poor), who have one legal political 
party, who have no civil liberties, and tell me 
why that hasn’t happened here. The United 
States is (I think) the longest currently running 

f overnmental system in the world - 215 years. 

he reason the US isn't a military dictatorship 
isn’t because you lead a charmed life and that 
nothing that bad will ever happen to you. Not to 
get philosophical, but you could get hit by a bus 
tomorrow, and America could be Nazi Ger¬ 
many inside of ten years from now. I’m not 
saying that it will be, but I hope you consider the 

Anyway, that's why I hope punkdom col¬ 
lectively will try their darnedest to keep George 

Herbert Walker out of the White house. Thank 
you, Jeff, 605 South St., Holbrook, MA 02343. 

P.S. I know I’m naive. 

P.P.S. SLAPSHOT is the hardest band in 
Boston, and if you don’t like them you’re a pussy 
and commie faggot. Girls suck because they 
can’t fight. Everyone who disagrees with you is 
wrong. Don’t ever change and always stick true 
to what you believe right now, because you 
understand everything and have it all figured 
out. Just like Ray Cappo. 

Dear MRR and readers, 

Recently I've been greatly disturbed by the 
level of ignorance displayed by some readers of 
this magazine. Most specifically, I speak of the 
individuals who constantly write letters sug¬ 
gesting boycotts, witch hunts and blackballings 
be carriea out against people whose views 
don’t coincide with their own. Much of the time, 
it seems these people have little understanding 
of the views of the people they slag and have 
even less of an idea why they hold these views. 

A letter fully indicative of this overzealous 
politically correct witch hunting was contained 
in MRR, and since it directly affected me, I feel 
I must respond. The letter to which I refer is one 
by someone with the clever pseudonym Ann 
Archist. In the letter, Ms. Archist suggested 
MRR readers, in response to “ageist thinking” 
(a problem worse than racism or sexism, ac¬ 
cording to Ms. Archist), should boycott publica¬ 
tions which require age statements tor their 

As a former zine editor, I think Ms. Archist’s 
letter displays the kind of intolerance she claims 
to decry. The individuals who require age state¬ 
ments before they will mail out a zine do so for 
their own well being. I can say with some 
certainty that almost all of these underground 
publishers wish this was not the case. Unfortu¬ 
nately, the joys of underground publishing are 
not enough to outweigh the threat of being 
thrown iri the pokey ana charged with distribu¬ 
tion of matter harmful to minors or some other 
ludicrous charge. 

The first zine I ever printed contained a 
short story and some artwork which I knew 
would offend quite a few people. Nonetheless, 

I decided to publish it without requiring an age 
statement. A friend of mine told me his 16 year 
old friend had accidentally left a copy of the zine 
lying around his house. The 16 year old’s father, 
a POLICEMAN, found the mag, and seriously 
considered dragging my ass in for distribution 
of matter harmful to minors. To put it mildly, the 
whole ordeal was pretty fucking scary. 

A year or so later, my friend John, also a 
zine editor, left a few copies of his publication 
with a friend’s younger sister (she was in her 
early teens as I recall) so that she could give 
them to his friend when he got home from work. 
Unfortunately, the mags fell into the hands of 
his pal’s irate father first, and John was only 
able to keep him from pressing charges after 
apologizing profusely and agreeing never to set 
foot in the family’s house again. 

Last summer, Dave Risher, a local record 
shop owner was taken to court for selling a Two 
Live Crew album in his store after the police 
banned the sale of the album. Fortunately, the 
court threw the case out, but the entire ordeal 
was no doubt an expensive and tiring one for 

I quit publishing my zine not long ago and 
enjoyed the experience of putting it out greatly, 
but I was fearful the entire time of being hauled 
into court for its content. I never did require an 
age statement for the purchase of my zine, and 
my friend John still doesn’t for his, but the close 
call I experienced as well as incidents involving 
John, Dave and underground folk such as Jello 

Biafra sure as hell made me understand the 
motives of people who do. People like Lilly 
Braindrop of Taste of Latex and Bruce of JD’S 
would no doubt be hauled before the magis¬ 
trate in nothing flat if they didn’t require sucn a 

Yes, Ann, the laws are fucked. Yes, its a 
tragedy that most adults in this country feel it 
neccesary to limit minors’ access to informa¬ 
tion. Yes, it is understandable for you to be 
angry. BUT, I’d suggest you remove your head 
from your ass and attack the individuals who 
make laws requiring people to ask for age 
statements before they sell their publications, 
records or art, not the people who are victims 
of these laws just as much as you and your 
friends are. Love and kisses, 

Slug/111 Earl St. #104/ San Antonio, TX 78212 

To Max R&R, 

This is in response to Ben Weasel, people 
like you piss me off— 

Like you said, you’re in America because 
it’s yours, so you enjoy its benefits, just as 
you’re enjoying the benefits of the “punk scene", 
although you don’t like how it is largely.... 

well, nice rationalization, but I still think 
your ideas suck. You say people in the "punk 
scene" are hypocrites... maybe you know the 
wrong people. You’re lumping a hunch of indi¬ 
viduals with separate beliefs into one label— 
punk, which originated in Britain when young 
blue collar workers began revolting against 
their fascist bloody government. Their means 
were ruthless, ana largely self-destructive, yet 
they got their message across. The message 
was that you may oppress a certain class of 
society, but sooner or later they will rebel, to 
fight for true freedom. America is supposedly 
the “land of the free", but Ben, like we can all 
see, this isn’t completely so. That is why I see 
young Americans of my generation wno are 
American “punks", if you so call them, fighting 
the oppression of our bullshit democracy. And 
if someone (or group of people holding similar 
ideological beliefs) must be suppressed (and 
they must, Utopia is a dream), then yes, let the 
corporate scumbags and asinine politicians of 
today’s US government suffer, tor I and my 
generation who hold my beliefs (to a certain 
degree) have suffered enough. 

You are what I would call fusing labels, as 
you do) a poseur. One who claims “punk” as 
“his", but is too much of a lame ass wimp to fight 
for what you believe, rather clinging to the 
traditional security of our founding forefathers’ 

Your boring hippyshit philosophy is cute 
for a while, I can’t hurt you, because you hurt 
me, or else I'll be a bad boy, too.... 

I wouldn’t fight a war overseas for some 
asshole in the White House, but I WOULD fight 
if I was persecuted in my home or out on tne 
streets. I wouldn’t worry about “stooping to 
someone’s level” if my life (or my freedom) is 

If you print this, I’ll respect your work (and 
MRR) even more than I already do—and you’ll 
be hearing from me much more in the future. I’m 
getting a band in formation, anybody write. 
Bruce E./1804 Hoover Drive/ (sub)Normal, IL 

Dear Maximum RnR, 

I’ve recently been enlightened by the ulti¬ 
mate punk rock experience. No, you don’t know 
the “band," you don’t know the “place.” I was out 
in the boondocks of Sherman, NY at the 
Starwood Pagan festival. Around midnight, 
people would build a bonfire, start hitting drums, 
and dancing. If you don’t think this is punk rock, 
you haven’t lived it. You didn’t hear the primal 

beat. Your average shit kicker plays maybe an 
hour. This stuff works until dawn and beyond. 
But you’ve got to remember the rest of the 
scene—the dancers circling the fire, the drum¬ 
mers off to one side. Sometimes dancers drum, 
drummers dance, or both at once. Anyone can 
pick up the rhythm with anything — two hands, 
two sticks, a pair of antlers, a rattle, borrow a 
drum or buy one, you sucker. Or make one. In 
any case, you can dance. And a lot of us were 
naked as jaybirds, and a lot of us were pretty 

? ood looking girls. Topless was a big scene. 
You can look, but nudity isn't really erotic 
without an invitation or modeling. We’re strip¬ 
ping away pretensions, inhibitions, and throw¬ 
ing them in the fire.) Talk about breaking down 
the barrier between performer and audience — 
the drummers weren’t there without dancers, 
dancers weren’t there unless there were drum¬ 
mers, and anybody could be anything else. No 
one to interview after the show, no end of the 
show, no “show." No cops (inside or outside). 
Maybe you see what I mean. Start a fire in your 
own backyard. 

This nas been a report from MOLE maga¬ 
zine. Thanks. 

Jeff Bagato/ P.O. Box 5033/ Herndon, VA 22070. 

Dear MRR & Readers, 

Believe it or not, this letter is going to be a 
POSITIVE statement on the “scene”. Over the 
last two weeks I saw two shows at Gilman, and 
I think that my adrenalin gland is going to 
explode. The first weekend brought me BLATZ, 
and the second weekend brought me BORN 
AGAINST. Considering these are two of my 
favorite bands, I am definitely pleased with the 
outcome. I really want to talk about BLATZ. 
Yeah, I know, they are a bunch of goofy fools, 
jumping around on stage. But I’m a big goofy 
fool who likes to jump around with them. I can 
seriously say that no band has made me feel 
this way in a loooong time. I have only been able 
to see tnem twice, because I live 200 miles from 
San Francisco. (Oops, I mean the East Bay, for 
all you Gilmanites). But both times that I nave 
seen them, I just lose control. I become a 
spitting, heaving, dirty mess of flesh and bones 
with the biggest goofy ass grin on my face you 
have ever seen. (It even caused my hand to 
jump out and smack Jesse’s bare and unsus¬ 
pecting dick. Sorry I did that, but I am tryingto 
earn more punk points, so I can win MRR’s 
yearly punkest of punks sweepstakes. Seri¬ 
ously though, I am sure you're asking what is 
the point of all this? The point is that there are 
still bands and individuals out there that make 
all of this craziness seem worthwhile. Bands 
SIST, and ECONOCHRIST, are just a few who 
keep coming at you like there is no tommorrow. 
So, go out and treat yourself to one of these 
bands’ records, and get your blood pumping 
again. Trust me! Quit your bitchin’, and live for 
what the moment has to offer. Good things are 
out there for your consumption, so take the first 
step. Love and rim jobs to all you youngster 

Rob Coons/ PO Box 3431/ Olympic Valley, CA 


I do concede, and sorrowfully so, that the 
noise rock thing is in a rut, is cliche, is a 
bandwagon, etc. It seems that the MRR crew 
enjoys riding that scene. Witness some of the 
quotes from the May ’91 ish: 

“...for folks that can't seem to getenouah of that 
vintage '88 style groove ... ,r or “,„like Sonig 
Youth meets Nirvana meets Joan Jett on acid 
meets ..." or even predictable...but I’m sure 

the converted will pounce ..." and incredibly, 
“...barely mediocre, with a slow dirgy ‘noise’ 
sound 1..”. 

I'm incredulous at this! If noise is the '88 
style groove, please tell me what the fuck 
hardcore is. 

My guess is that it’s the '82 style groove. 
So tell me, MRR review crew, which is the 
deeper rut? 

Check out some more quotes from the 
May '91 ish reviews: 

“..,0/7 Lord I think I've found paradise. Good old 
fashioned punk..." or “ ...1982-type fast 
sound...good start..." or “captures that early 
Ramones sound to a tee - catchy... Nifty..." or 
“ Gang Green and DRI - killer stum..." 

The “anti"-noise reviews are no problem, 
really. They seem to reflect a desire to move 
that scene along—to prevent the bandwagon 
thing by failing to encourage it. This is respect¬ 
able enough and I support it. I hate it when 
music I like is bastardized by a million chumps 
and their brother because “tnis shit is catching 
on, man” or “we can make money playing this", 
or whatever. I hated the bandwagon/movement 
thing about hardcore. It got to be a real drag by 
'86. All those schmucks playing hardcore cuz it 
was the thing. I’m writing because of MRR’s 
seeming inconsistency here. Are you not really 
supporting a hardcore bandwagon (ten years 
on) while discouraging a noise bandwagon? 
The evidence can be found in your reviews, I do 
believe. What’s the difference, one corpse or 

I loved hardcore when it was fresh. It’s 
been stale for at least five years now, and I’m 
certain that the noise thing will become stale 
even faster. I appreciate trying to move the 
noisesters along. Why not do the same thing for 

Hoping for response and discussion, 

Mike Kole/ 511 Broadway/ Bedford, OH 44146 

Dear Mike; 

If you read the columns sections in MRR 
100, I'm sure you got the idea that there is no 
monolithic MRR perspective. This applies to 
the record reviewers as well, where there is 
quite a variety of musical passions represented. 
When records arrive here, they are usually 
assigned to reviewers who would probably like 
them best. I personally like about 10% of what 
we get in, and many other reviewers wouldn't 
care for my 10% (as witnessed by the different 
reviewers' Top 15s). Inconsistent? Of course. 
That's the nature of group projects. Tim 

To Everyone In The UK Gig Scene 

Foreign bands are no longer going to tour 
the UK! That’s what’s going to happen if we 
don’t buck our ideas up. 

A band comes to the UK, no one knows 
where they’re playing, sometimes they’ve been 
and gone and no one knows. It's easy to blame 
tour promoters and record labels but what good 
is pointing the finger going to do? It’s not easy 
booking and promoting a tour in this country. 
Six or seven shows in a row between set dates, 
with chances that you can get the same amount 
of good venues to provide guarantees isn’t 

As for promotion of the tour, well there isn’t 
anywhere to promote. As good as UK Resist is, 
it doesn’t come out regular enough to be of any 
use tour info wise. As for the more popular 
national indie music press, you can send them 
tour dates until you’re blue in the face but 
Hardcore is a musicformthey usually choose to 
ignore completely. So what’s left? Sending out 
tons of tour flyers and word of mouth. 

There’s a big lack of communication in this 
country. It’s a vicious circle. Bands come over, 

it’s difficult to advertise, therefore people don’t 
go, then there isn’t enough money to pay the 
band, sometimes no where to stay. Foreign 
hands don’t realise the problem and think it’s a 
waste of time coming to the U.K. This is why a 
lot of bands sometimes only do a London date. 

So, we’ve gone on long enough about the 
problems, what’s the solution? What we’re do¬ 
ing is by no means going to make everything ok 
but it’s a start. We’re starting to produce a news 
sheet, solely for the purpose of promoting gigs/ 
tours. Not just for foreign bands but for all U.K. 
gigs. It will include gig dates, promoters, band 
telephone numbers and addresses, a venue 
spotlight and any other gig related info we can 
think of. The problem, we can’t get all this info 
out of thin air. You must let us know of anything 
in the future. Always try to give a telephone no. 
to go with it to be printed. We will update it every 
time we receive a new piece of info. We have 
pretty good means of distribution and if every¬ 
one passes them on, hopefully we’ll see an 
improvement. We're not suggesting that this 
will totally turn the scene around but we’re trying 
to help and so must everyone else who enjoys 
going to gigs. Send info or a S.A.E for our first 
sheet to: Melanie and Sean c/o Tabby Village / 
4B Ingram St. / Wigan WN6 7NE, UK. 

P.S. Answering Richard Cocksedge's let¬ 
ter in MRR 99 we hope this explains the prob¬ 
lems that probably went on booking the NOFX 
tour and hopefully we’ll hear from you with your 
help and support. 

Dear MRR, 

This is an open letter to every band who’d 
like to tour in Europe and is contacted or will be 
contacted by a character named LISA M ULLER 
from Munster-Germany. 

LISA MULLER claims to be a tour-orga¬ 
nizer. Don’t buy this crap! She’s already done 
so much harm and if she isn’t stopped right now, 
she’ll do it again... 

My band CRIVITS from Rotterdam, were 
approached by her last year as we played in 
Canada. She said she wanted us to tour through 
Europe with an American band, named EN¬ 
COUNTER. Just like every band, CRIVITS are 
eager to tour whenever we can, so we accepted 
her invitation. Lisa said she’d set everything up 
and would take care of all the contracts. It took 
her 4 months to let us know that there’s actually 
gonna be a tour. This tour would’ve taken place 
in August. CRIVITS arranged a van (rental 
costs: about $2000 for 1 month), tour shirts 
($750 for 100 shirts), I quit my job and gave up 
my house, because I couldn’t afford the rent 
with no income, our bassplayer bought a new 
amplifier as his old one wouldn’t last a whole 
month of playing in a row, etc... 

ENCOUNTER are in debt for over $3000 
(plane tickets and other costs) We told every¬ 
one we know about this tour, so now we are 
being told that “they told us so", which sucks! 
My other band had to cancel a big show, be¬ 
cause of my absence, etc... 

Now, about 1 month before we should’ve 
taken off, we received a phone call by a friend 
of Lisa. She said that Lisa quit doing the tour 
and that we were on our own now. Great! All we 
had was a list of dates and cities. No addresses, 
no phone numbers, not even names of clubs. 
We knew then that we were in serious trouble. 
What could we do? ENCOUNTER couldn’t can¬ 
cel their tickets anymore and we had already 
paid a lot of money for the van, not to mention 
my personal sacrifices. We didn’t know if there 
were any clubs out there expecting us or not. 
We couldn’t reach Lisa or anyone else (Lisa 
disappeared for a long time, drifting through 
Germany, not having a single deutschmark left 


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U.S. occupies Panama, 
drug laundering flourishes 

from article 

Ry Ctrl Glenn 

There was no parade after the 
Pentagon’s last "glorious victory"—the 
one yi Panama. 

Thousands of poor people remain 
homeless. Their Panama City neighbor¬ 
hood, El Chorrillo, was bombed into 
oblivion by the U.S. Air Force. Thou¬ 
sands more are “missing,’’many lying in 
unmarked mass graves bulldozed to 
conceal the extent of the massacre. 

The puppet Endara government, 
sworn into office by U.S. generals dur¬ 
ing the invasion, has presided over a pe¬ 
riod of worsening economic and social . 
conditions. The Panamanian people are ■£ 
increasingly angry. _*.* 

One ostensible reason for the U.S. in- £ 
vasion was tc fight supposed corruption 3 : 
and drug trafficking. But a recent scan- z 
dal shed some light on that, and on the J 
U.S. connection ^ 

Yvette Torres, a U.S. Drug Enforce- ^ 
ment Agency agent, was transferred out 2 S 
of Panama for her own protection. She 
had reportedly received death threats ^ 
after her testimony that six companies "§ 
were being used to launder drug money ^ 
was made public. 

It turned out that President 
Guillermo Endara had been the trea- $ 
surer of all six of the companies. The 
Spanish news agency ACAN-EFE fur- 



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Americans who headed an operation COLORADO SPRINGS, 

that has imported a ton of cocaine a • /—v T -g —1 rr «-> w r-» 

month into Florida for the past 10 ^ ^ ^ JrX.OUyUb 

years. The U.S. embassy had no com¬ 
ment on the report. 

to give us a call, or drop us a line). Then, as a 
miracle, we remembered us playing with SONS 
OF ISHMAEL. We called them up and - thank 
god, if there is one - Chris helped us out incred¬ 
ibly. He gave us a couple of phone numbers and 
addresses. We called every number we had 
and found out a whole lot. Thanx Chris - you 
rule! Butthis wasn’t enough. All we had achieved 
was 2 shows in Germany, and there was 23 
more on the list... 

At last, Lisa wrote us and sent the full list, 
including phone numbers and addresses. We 
received that list on Saturday, July 27th. (The 
tour was supposed to start August 1st) Hun¬ 
dreds of phone calls later (and a$250 phone bill 
with my name on it - heading my way) we found 
out that most clubs hadn't heard from Lisa since 
last February. 70% of the clubs were either not 
aware of us playing there, closed down for the 
summer, or already booked up. Can you be¬ 
lieve that!?! We will only play 6 of the 25 shows 
that were planned. And these shows can only 
be played because a lot of people - complete 
strangers to us - put so much effort into helping 
us or trying to book us last minute shows... 

You can imagine that we feel kind of pissed 
off at Lisa right now. At this moment mv hatred 
against this person is at its worst. I could in¬ 
stantly kill her if I’d meet her today. We are 
leaving for Germany in 2 days now. 
Broke...Stressed...And with an attitude!! Lisa: 
consider it better for health not to show up at 
one of our concerts. There’s no excuse for you 
being the shit-for-brains you are... 

Leaves us to thank the following people for 
being there for us when we needed them. All 
this bullshit going on about “there is no scene in 
Europe” has to stop, since there are enough 
people that truly care about others. These are 
people we’ve never met, but whom we won't 
forget. Thanx to: Chris (Sons Of Ishmael), 
Natascha Dierk (Rendsburg), Wolfgang (Ber¬ 
lin), Brigitta (Munich), Peter Carstens (Husum), 
Filke (Hamburg), Diethart and Benno 
(Kirchzarten), Tom tiler (Vienna), Markus (Ham¬ 
burg) and Lina (take care with your baby!) and 
many more... 

To all the dubs that were expecting us to 
play there and didn’t see us: We’re terribly 
sorry, but either we couldn’t reach you, or you 
weren’t there when we called. 

We still don’t know where Lisa is right now, 
but bands: beware! She’s screwed us up BAD 
and we believe she’ll do it again, if you’ll let her. 
Don’t deal with her when sne offers her help. 
Best thing to do is to write me and I’ll send you 
a full list of sincere people that CAN and WILL 
help you out. At least you won’t lose as much 
money as we did! 

I hank you MRR, for time and space in the 
number-1-mag around. Write or call me at: A. 
Franceplaats 700, 3069 BJ Rotterdam, Hol¬ 
land. Tel: 31-(0)10-4563197. 

P.S. Everyone wondering about new 
CRIVITS material: We’ll record some as soon 
as we get back. Probably out this winter... 

P.P.S. The NAUSEA live ep will be out 
within 6 months. At the moment I’m in financial 
trouble...AMY: I’ll get in touch with you a.s.a.p. 
Am I invited 'round new years?? I'm visiting the 
states by then... 

P.P.S.S. ANNIE BLATZ: see you around 
that same time! 

Dear MRR and readers: 

Well, for once in his life, Mykel Board said 
something that didn’t piss me off. I’m refering to 
his “what am I—a piece of brain?” comments in 
the last issue of MRR. 

It would be rather amusing, if it wasn’t so 
damned depressing. 

Okay, let’s start with the basics. I’m 27, and 

the dosest thing to sexual contact I’ve ever had 
in my life are two kisses and 20 minutes of hand- 
holding when I was 19. That was eight years 

So you may be asking, “Is this person 
covered with scales or something?” 

No. I’m not a model or anything, but I’m not 
unattractive. I’m often described as a very pas¬ 
sionate and sensual person. I hear all about my 
killer smile or my gorgeous eyes, if that makes 
a flip of difference in defining the situation. 

So what’s the deal? What makes me one 
of the most sexually ignored people in the 

Well, you tell me. 

I’m intelligent. I’ve always done well in 
school, sometimes despite every effort to piss 
off professors so much that they HAVE to fail 
me. I’m sensitive. Not in the new-age fartsy kind 
of way, but in human ways. I listen to people. I 
give the proverbial damn. I go to extremes to 
help people in any way I can. I’ve been de¬ 
scribed as thoughtful, deep, profound. I’m a 
writer, so maybe all writers get that tag. 

I guess the quickest way to sum all of this 
up is to say that people have always told me that 
I’d “be a great catch.” They tell me of all these 
wonderful qualities I have, they praise the size 
of my heart, they say, “why can’t I find someone 
like you?" 

I’m not saying all of this to brag or anything. 

I mean, I like who I am, but it fucking hurts to be 
who I am if, as Mykel said, all I am is “a piece of 
brain." Or heart. Or personality. 

I can’t complain about having the platonic 
relationships I have. I do love my friends. But 
isn’t there supposed to be more out there? You 
know, I read MRR and catch all the sexual 
exploits mentioned therein (usually by Mykel, 
who most likely lies like hell anyway), and a part 
of me feels extremely lonely about that. Titles 
like “the last punk virgin" go through my mind. 

Okay. Okay. So unlike Mykel, I'm not out 
explicitly to get laid. Boffing strangers in dark 
corners is a nice little fantasy, but in reality I’m 
a romantic. Probably the last nail in my sexual 
coffin is that I like to kiss, I believe in all-night 
hugs, and I’m the sort to make breakfast (As in 
breakfast in bed. With a rose). So it’s not just 
sex. But it’s something more than rubbing brain 
cells and comparing life philosophies. While I’m 
contemplating the universe or being “so cre¬ 
ative," I’m also thinking of about 101 creative 
ways to engage in sensual activity! 

So maybe all this sounds completely trivial 
in the face of who dissed who in the world of HC 
wax and gigs. But hell, 27 years is a long time 
to be “such a wonderful person” and never feel 
loved. Like I said, I love my friends, and I know 
on a cerebral level that they love me as well. But 
then, somehow that’s not making a dent in how 
alone I feel. I’ve tried to off myself twice (a Iona 
time ago). Stupid, yes, but there you have it. It 
hurts to be thought of as "just a brain" or “just a 
friend" just as much as it hurts to be thought of 
as “just a piece of ass." 

Perhaps the new term could be “brain- 
raping?’ We could all make jokes about 
“brainists”: people who see you just for the grey 
matter. Like I said, it would be funny if it wasn t 
so goddamn depressing. 

Just for the record, I do try reaching out, 
but it always ends up in a big, platonic mess. 
Just when I think of five hundred ways I’d like to 
kiss this person, the adored one compliments 
my mind—or something related to cerebral, not 
sexual, processes. 

I’m not saying that the world should “com¬ 
bat brain-ism: tuck a smart person." I suppose 
I’m just asking the great pool of MRR readers, 
“WHY?" Is there something inherently asexual 
about having a mind and a heart? Must one turn 

into a flaming asshole to get non-platonic atten¬ 

I’m not signing my name to this, because 
I’m pretty well-Known in the punk community. I 
don’t want this to be an "oh guess who isn’t 
getting laid”letter; I’djust like tohear aboutwhat 
others think about this whole thing. 

—A Lonely Punk 

Dig this, 

Hey, I got a letter from Dave Dictor on June 
12. It was a postcard from Wyoming. He said 
he just did a gig at Solar Cafe in Detroit 
(accoustic) and he talked to some friends of 
mine who told him about my situation. My 
situation is, I’m doing 30-50 years in State 
Prison at Southern Michigan-Jackson. I’m try¬ 
ing to appeal my conviction, but due to lack of 
cash, I’m having a hard time. My friends in 
Detroit, especially my brother Darin, did a ben¬ 
efit in Detroit’s own Miami Bar and raised some 
much-needed cash. Dave says he’d be willing 
to do a benefit in Cali. I could use it. 

Why bother? Well, what I’m fighting is a 
trend in American ’just-us’ that ought to scare 
the shit out of everyone who has a brain left. I 
was convicted of armed robbery and attempted 
murder. And- dig this-1 was shown to witnesses 
by the police, who told them I did it. Here were 
people who couldn’t identify the robber, and the 
police had a suspect (me) who they could place 
in the area, but had no other evidence (finger 
prints, etc.,). So in the interest of getting an¬ 
other conviction...You guessed it, I’m it. There’s 
alot more to this story, but a statement of facts 
would take alot of pages... At any rate, let’s cut 
to the heart of the matter... What the police did 
is considered impermissable by our courts, but 
is allowable if the courts see fit. In fact, anything 
is allowable in the eyes of our supreme court- 
warrantless searches, confessions that are 
beaten out of ya, failure to produce fovorable 
evidence- in short, your rights ain’t shit in the 
good ole' USA. Add all this to the crime bill 
Bush wants to pass, with a surprise in it that you 
don’t hear about- (he wants to do away with any 
remaining exclusionary rules, meaning that ille¬ 
gal evidence can be used against you and won’t 
be excluded)- and you get an erosion of free¬ 
dom in this country that is shocking. 

So what if I’m only one in a million convicts 
in America- most in the world, in fact- don’t they 
all say they’re not guilty? Well, tell me how 
murder is attempted^ when no shots are fired 
and no one gets hurt? 

OK-enough of that. If Dave wants to do a 
benefit, cool. I always got along with Dave and 
MDC- we always have a good time when in 
Detroit. I’m glad I could put on the shows- alot 
of bands came. I tried to put shows together, 
and lots of times it was a losing battle, but what 
da fuck... 

By the way, I only got one M ax R+R. I think 
the cops stole the rest out of the mail (6 month 
sub.) Fuck the police. 

Yeah- if you were to publish a letter, I 
would say hey to a lot of people and bands I've 
gotten to know over the years. I made some 
good friends and some enemies, too, overtime. 

Anyway, I’m out of here. Write back or 
whatever. I’m here with the rest of society's 
castoffs until 2025, at least. 

Gary Saferian/ 207905/ PO Box E/ Jackson, 
Michigan 49204 

Dear MRR , 

Wow... 100 issues... what a great jubulee! 
I would like to congratulate all you folks who are 
doing this excellent magazine! Hmm, I think 
other people have worked out here in #100 the 
value ancfthe influence MRR has on the whole 
international alternative scene; therefore, I’m 

going to addsomething more personal to it. I got 
in touch with MRR back in 1983 when I bought 
here in Germany the “Not So Quiet on the 
Western Front” dol-comp. LP. I was absolutely 
impressed by what CRUCIFIX was doing back 
then, so I asked for their address. This was the 
point when I got in touch with Tim Yohannan. 
And since then I’ve been writing scene reports, 
interviews, articles and guest columns for MRR; 
and some of my energy ended up positively in 
the “Welcome to Cruise Country" photozine. 
The most impressive was to stay for a while at 
the MRR headquarters in Frisco. I was really 
impressed by the friendliness & the good atmo¬ 
sphere there. Before I came to Frisco in ’87 I 
have to admit I thought closed-minded about 
the scene. “You have to do this; you better don’t 
do this; if you don’t look punk you don't belong 
to the scene ..." and more stuff like this. The 
short time there really changed my outlook on 
the whole scene. I wish I would have had more 
time to stay there to get to know more interest¬ 
ing people there. 

Another part of the story is that MRR 
showed me that there is a worldwide alternative 
community. Reading MRR got me going, i.e.-l 
started writing to other people worldwide and I 
started doing a small record distribution, I did 
several comp, cassettes (back in’84-’85] and 
later I did my first EP of my first band, the ANTI- 
HEROES. It was the D.I.Y. feeling which influ¬ 
enced me the most. And later I started visiting 
those people whom I met via MRR. So far I’ve 
been 5 times in the US and almost to every 
country here in Europe. The people I met there 
or what had happened are too numerous to 
mention here, but I always tried to help out other 
oversea bands or zines to get their stuff re¬ 
leased or distributed here in Germany. To sum 
it up: MRR was the ignition which got me going! 

I don’t want to miss any second of what had 
happened during the past 9 years since I had 
the luck to read MRR for the first time. I even got 
married once in Chicago... I think no compli¬ 
ment could be better than telling M RR that they 
make people join each other. Thank you & keep 
up with the good work. Love, 

Helge Schreiber/Germany 

Dear MRR, 

Ben Weasel is a_. The only colum¬ 
nist with a head on their shoulders is_. 

The Libido Boyz can go to_and I think 

Kim Coletta is a _. Straight edgers are 

a bunch of_and GG Allin is the human 

equivalent of a_. My scene is so 

_and everywhere else is_. 

The band_should be boycotted be¬ 
cause they_at a show on_. 

Gilman is_and Sub Pop is about as as 

_as_. My new band,_, 

has a new demo out so send $_. Mykel 

Board blah blah sexism blah blah new club blah 
blah and have a nice day. Sincerely, 

Gabe Meline 

Dear MRR and Ann Archist, 

This is in reply to Ann's letter in #99, in 
which she complains about “ageist, youth-bash¬ 
ing magazines." 

Does Ann honestly believe that zine edi¬ 
tors who require age statements hate people 
under 18??!! I haven’t really been keeping 
track, but the only times that I see things that 
require age statements are stupid porn zines 
(like Taste of Latex, and I dunno what else) and 
GG Allin shit. The reason that people ask for 
age statements is because it’s illegal to distrib¬ 
ute such material to minors... those of us who 
are under 18 years of age. I myself am only 17, 
and I respect the right of these people to protect 
themselves from any legal trouble. Granted, the 

chances of these people getting arrested for it 
is practically nil, but with all the censorship 
going on these days, there is reason to worry. 

But obviously that’s not the main point of 
her letter. She thinks that sports magazines 
teach people to be violent so pornographic 
magazines should be made available to chil¬ 
dren... to.teach them how to love? Well, aside 
from the fact that I don’t think Hustler Magazine 
teaches anybody to love (rather, it teaches 
impressionable kids who don’t know much about 
sex how to perform like porn stars), I don’t 
believe that sports and sport magazines teach 
people to be violent and hateful. I’ve got many 
friends who play football, hockey, and wrestle, 
and they’re some of the nicest, most caring 
people I know. I myself was in to sports when I 
was younger (playing them, buying the zines, 
cards, stickers, etc,), and I was never taught to 
be hateful, I was taught to respect my opponent 
and practice hard. I can’t really say much about 
Soldier of Fortune or War Times as I’ve never 
actually read them, but when I was younger I did 
on occasion read those types of magazines, 
and although I thought they were pretty cool, I 
never actually took them seriously. Come to 
think of it, I can’t think of anybody who did. 

The reason why there is an age require¬ 
ment for “adult” magazines is because if a child 
reads it, it could give him/her the wrong idea of 
sex. Let’s say that some kid picks up this ultra 
hardcore pornography zine, and sees some 
pretty fucked up stuff. Is he/she going to talk to 
his/her parents about it, or just accept what he/ 
she sees in the pictures as truth? After all, a dirty 
magazine tends to act as a textbook of sorts to 
naive young children. True, 16 and 17 year-olds 
would understand what they see, but younger 
kids might not, so I can see why pornographic 
materials should be kept from young children. 

And about that anthropological two sides 
of the coin stuff, I don’t buy any of it. I never get 
laid, cos girls don’t like me, therefore, according 
to you and “almost any good anthropologist” I 
should be quite a violent person. Well, I’m not!!! 
In fact, my friends call me Gentle Ben, because 
I’m so mellow. And none of my unwilling absti¬ 
nent friends are violent, either, so that kind of 
proves your theory wrong... or did I just misin¬ 
terpret what you said? 

Anyway, thanks for actually caring about 
the rights of minors, but I honestly can’t see any 
sense in your reasoning. 

Ben/ Nowheresville, NJ 

Maximum Rock n Roll, 

I’ve been following the controversy over 
Point Blank and Nemesis Records and I find the 
whole thing fairly amusing. I’ve decided that 
Point Blank and the Dwarves remind me of 
each other. They’re both generic bands playing 
a shitty style if music that’s been played a 
thousand times before. The only thing that 
differs them from the masses of other bands is 
their lyrics, which are some kind of stupid shit 
lyrics which, in the Dwarves case, are ridicu¬ 
lously sexist, while Point Blank’s are what I’d 
expect from a couple of spoiled little rich subur¬ 
ban white boys. Point Blank should thank Black¬ 
list for refusing to carry their EP. They’ve been 
clinging to that like drowning rats in the vein 
hope that it’ll give them some attention so 
people won't see them as the pathetic pieces of 
shit they are. Calling that censorship is about as 
fucking stupid as you can get. Are Blacklist 
censors for not carrying Skrewdriver stuff? Is 
Maximum Rock n Roll a censor for not printing 
KKK flyers? It’s their money and time and it’s 
their choice as to what they carry. As for the 
Dwarves, I don’t see why Blacklist would want 
to carry their products, but it’s not my distro, so 
I won’t condenm them for it, although it does 

seem kind of funny. Point Blank and the Dwarves 
represent the two extremes of stupidity and 
neither one is worth shit. I’m interested in hear¬ 
ing anyone else’s opinions on my ideas-please 

Michael Mclellan/ Soulless Structures, 550 Pin- 
ewood Dr., Pendleton, SC 29670 

Dear Maximum Rock ‘N’ Roll Readers, 

I've been reading MRR for quite sometime 
now and through the years I’ve read the opin¬ 
ions, views, praises and criticisms of a lot of 
folks throughout the world. I’ve contemplated a 
few, shook my head at others and some I just 
really didn’t understand. In a way though I 
suppose I've respected them all whether I’ve 
agreed with what they’ve said or not because 
wnen it comes down to the bottom line they’re 
all entitled to speak their minds. Right? Re¬ 
cently, I was forced to reconsider the credibility 
of these writings and probably those of future 
issues of MRR since my band, Libido Boyz, has 
been the subject of two letters in the past two 
issues of MRR (#98 and #99). These were both 
quite misleading and in a few spots, flat out lies. 

When I mentioned that maybe we should 
publicly write a response to these two letters, I 
was met with the reply, “Don’t worry about it, 
people aren’t stupid, they'll see through the shit 
and see how silly these letters are." I thought, 
“Fine, cool enough”. Then I got to thinking, how 
many times in the past have I read the opinions 
of someone in MRR and agreed or disagreed 
and didn’t see through the snit? Do I now stand 
or not stand for something I can’t back with true 
solid facts because I was wrongfully mislead? It 
all sounds too much like what’s happening to us 
through the government and media. Why should 
we do the same to ourselves through our own 
publication? The last thing I need is an underly¬ 
ing “bullshit or not” decision while I’m trying to 
respect and understand the thoughts of the 

I’m not writing to set the stories straight, 
that’s not my responsibility and it’s not my right 
to publicly point fingers at this time. It’s your 
choice to believe these letters as they are or to 
take the initiative to investigate deeper for the 

I feel it’s only fair to us all that in the future 
if you plan to write publicly about something or 
someone please make sure you’ve got your 
facts straight because there’s always going to 
be someone who can’t find the strainer for the 

Feel free to channel any of your inquiries, 
comments, criticisms, thoughts, fears or inner¬ 
most secrets about these two letters to me and 
I’ll tell you just what I know for certain. Honest 
Abe! Love, peace, and OPGU to youl 
Chad Sabin, Libido Boyz/1625 Commerce Dr. 
#1/ North Mankato, MN 56003 

Dear Meester Jeff Bale, 

Who are you trying to fool? Some of us 
remember when you were “Jumpin’’ Jeff Bale 
and you wrote that intro thing on “Not So Quite 
On The Western Front." For somebody who 
wrote about how much self-indulgent artistic 
pretension sucked, you’re awful quick to tell us 
about your love of the DWARVES and GAR¬ 
GOYLES (bands with “real attitude”). Didn’t you 
also say something about “the superficial trap¬ 
pings of punk"? Funny how your GARGOYLES 
interview intro mentioned how cool they are 
cauze of their leather jackets and scantily clad 
females - if the “punk image" isn’t a “superficial 
trapping" what is? Oh yeah, what about “the 
cultural resistance to... racism.. .’’ etc. Guess 
the SKREWDRIVER record is on too loud. 



Q. What do America's 50,000 battered women 
have in common? 

A. They just wouldn't fuckin' listen. 

Chicken John tells me that one. He's 
visiting ARTLESS in the studio. We're re¬ 
cording for the Vital Music Records 7 minute 
version of Tommy. One band, one song. For 
some reason they asked us to do "Uncle 

itching _, 

itch. The next day that notorious liberal rag 
The Village Voice scratches the itch. 

The headline Trial By Misogyny. The 
story: a girl accuses some St. John s Univer¬ 
sity lcids of raping her. The press tries and 
convicts those kids. Those jurors refuse to go 
- ‘ Howhor- 


_ liately 

suck the dangling heartstrings of the plain¬ 

Eugene Chadbourne wrote a good 
column on how the press prints names and 
addresses of those accused. Encouraging em¬ 
barrassment, hate mail and other Kinds of 
retaliation this evil makes up only part of 
today's trial by press. If Peewee Herman has 
killed himselfby the time this column comes 
out— only the press will be to blame. Dig 
that column out and read it. Eugene's right. 

I want to talk about two other points 
driven into the witless public by the media. 
Both I've mentioned before in different con¬ 
texts. The Voice headline fits the two to- 

§ ether like a politician and a greasy hundred 
ollar bill. 

The first point: incidents often become 
RACIST or SEXIST by OUTSIDE perception, 
rather than something in the incident itself. 
The second point: laws against rape-as-a- 
sex-crime should not exist. I've written abut 
these things separately, but the St. John's 
case lets me put them together. 

When some folks threaten Bernard 
Goetz on a subway train in New York, he 
shoots them. Is he guilty of something? My 
mom doesn't believe in carrying guns— or 
in the use of violence even to defend your¬ 
self. I disagree with her, but it's a valid 
viewpoint. Other folks say that Goetz is a 
racist. That is bullshit. 

If the attackers had been white (as they 
are in many places) the liberals wouldn t 
have cared. Some small guy shoots some big 
threatening guys. That's all. But because the 
attackers were "black, the incident becomes a 
RACIAL incident. Those bullets aren't anti¬ 
mugger bullets, they 7 re anti-BLACK bullets 
The Rberal politicians and radical newspa¬ 
per salivate at the publicity. The press goes 
wild. Racial stories sell papers. Suddenly 
right wingers, who believe what they read 
make poor Bernie Goetz a hero. The incident 
BECOMES racial. 

More recently, a Queens grocer catches 
a guy stealing. There's a ruckus. The guy 7 s 
black and the grocer's Korean. Suddenly it's 
RACISM. NYC Mayor Dinkins (not a bad 
guy) went to the spot and says, 'This is NOT 

a racial incident." By that time, he s wrong.! 

Only racists see everything in terms oil 
color. Only racists judge right and wrongP 
based on the color of the participants and not 
their actions. Of course, the left— and the 
press— are the most racist groups around 

Let's take this and store it on an uppc. 
:>rainshelf. Now we'll take down the SEXlST 
incidents and look at them. The press andi 
politicos direct most charges of RACISM) 
against whites. In the same way, they direct 
most charges of SEXISM against men. 

This alleged college-rape is special. It 
combines the two. You see, the accused rap 
ists were white. The accuser black. 

I hate to use the NY Times for informa¬ 
tion. For the past decade they've been writ¬ 
ten exclusively by the tri-lateral commis 
sion. But since the CIA probably has no 
involvement with this case, they may verge 
on the accurate. Here's their report from the 
trial. First the white boys testify. According 
to The Times: 

attendance was sparse... But when the 
woman began testifying... the news coverage 
sharply increased, and with the enhanced cover¬ 
age came a bevy of the curious and the committed. 

Why did people come? TheTimes says: 

"I'm here because / want to be sympathetic 
to my fellow sister ," an elderly woman said 
referring to the accuser in the case....Some blackl 
f eople in the audience said they were there be¬ 
cause the case was, as one put it, 'a concern of all 
black people.' Although the woman in the case is 
black and all the accused men are white, the police 
ind the Queens District Attorney's office said 
that they did not consider it a racial incident. But 
on Friday the woman's [accuser's] brother told 
refjorters that the family considered it a 'racial 
case.' I 

Of course, the papers also consider it a) 
racial case. Why else bother reporting the 
races of those involved? Before the sixties, 
newspapers routinely reported the race (es¬ 
pecially if non-white) of those accused of 
crimes. That practice ended through the 
actions of Martin Luther King and others. 
Now the papers focus on the VICTIM'S race. 
Is that any less racist? 

Now, let's look specifically at RAPE. 
We have to see it in the context of the general 
prudism and anti-male propaganda of the 
eighties and nineties. Hollywood and TV 
have been cranking out tear jerkers like The 
Accused and The Burning Bed —both bla 
tantly anti-male. Hardly a day goes by with 
out Ann Landers moaning about "date rape." 
New York University has published a hand¬ 
book about proper "anti-rape" precautions. 
Remember Chicken's joker The reason he 
told it in the first place— and the reason it's 
funny— is the attention the press pays to 
"violence against women." I 

At one time, it was unusual to meet 
someone who was raped. Today "rape vic¬ 
tims" are as plentiful as drooling babies. 
Girls who once thought they got drunk and 
"were taken advantage of. Now turn the 
guilt into self-righteousness and claim, "1 
was raped." 

From the New York Times again: 

...she says, ...[that the defendants] took 
advantage of her helplessness from liquor that one 
issailant pressured her to drink. 

I can picture it: 

She: I said no and you fucked me. 

He: But you took off all my clothes and 
started playing with my penis. 

She: It doesn't matter. You raped me. 

I He: I raped you? You held me on the 
floor and straddled my body! 

She: It was the booze! I drank a beer. 

That did it! You made medrink7You handed 
me a beer. That means you raped me. 

Ole' demon alcohol—this time charged 
with rape. Sometimes people regret what 
they do when they drink. More often, they 
use alcohol as an excuse to do things they'd 
like to do when sober. Alcohol is a fine tool of 
seduction, but seduction isn't rape. 

There are REAL rapes. No one should 
be allowed to physically assault an unwill¬ 
ing victim. People have the right to be sexual 
without being attacked. Teasing does not 
justify violence. That's the key. Violence. 
We should hold accountable a person who 
assaults another— with a penis or with a 
gun. THAT is the crime: the assault. Race, 
gender or the tool of the assault is irrel¬ 
evant— or at least it should be. 

The CONCEPT of rape is sexist. It's the 
only law that biologically limits itself to one 
sex. (Although, with the current court, abor¬ 
tion may soon be another.) Legally, only 
men can rape, although women can ana 
have sexually assaulted men and other 
women. In most places only WOMEN can 
BE raped, even though men force other men 
into unwilling sex by the hundreds. 

Intelligent feminists (usually an oxy¬ 
moron) know that rape is not a SEX crime, 
but a violent crime. Sex crime laws link rape 
with cross dressing or homosexuality. Just 
laws should link rape with mugging and 
murder. I've written that before. But here 
we see it at the end of the newspaper spoon. 

What should we do about rape— and 
assault? The present court system is unfair 
to both the accused and the accuser. The best 
defense is self-defense. "No" shouldn't sim¬ 
ply be a coy ploy to make the boy try harder, 
ft shouldn't be a way to assuage guilt. It 
shouldn't be safe testimony for the DA. "No" 
should mean NO. It should be a screaming 
kick-in-the-balls NO. A karate chop to the 
neck NO. A finger in the eyeball, mace in the 
face NO. A never-to-forget NO. Boys who 
bear the marks of a struggle have a hard time 
telling the court, "She just got drunk and 
said OK" 

Now let's take the other point off the 
shelf. That's the racism and sexism of The 
Village Voice. The racism and sexism of those 
who judged the St. John's boys guilty before 
the trial. iTte racism and sexism of those who 
see race and sex first and humanity second. 
The racism and sexism of those who see 
conflicts between people as racial conflicts 
or gender conflicts. 

It's the news media —especially the 
liberal news media who fan the flames of this 
racism and sexism. Sometimes, people read 
this and believe it. Human incidentsbecome 
RACIAL incidents. Liberals make more rac¬ 
ists than the Klan does. 


—>Thanks to ANTISEEN for the free records 
and their great show at The Knitting Factory. 
These guys are their reputation and more. 
Now ir only I could get the album they 
recorded with GG Allin. Crackers has it at 
Venus Records for 14 bucks! I'd certainly 
trade sexual favors for a copy. (Contact me 
at PO Box 137, Prince Street Sta, NYC 10012) 
That's a deal Crackers wouldn't make. 

—> I also owe a pantsload of thanks to 
SCHL?NK, a howling-good band from 
Canada. The all-girl oand ('cept for the 
drummer) had 2 guitar players, a bassist, 
and a singer who's a boy but dresses like a 
* ’ * " 1 —idles; even if they did 

t in French and 

„„„„ ___ Special thanks 

goes to the extremely sexy guitar player. 



NEW EP - $3 PPD 





^g~j]P.O. Box 1145 
§|||/=^7j Cooper station 
NY, NY 10276 
send SASE for catalog/info 


innoymg nauu ui scrying ^ me 
ite and little" during the day and 
ite and little" during the night. 

■> Speaking of girls, what is it about lesbi¬ 
ans that makes them so arousing? Folks like 
to say it's "the lure of the forbidden" or "it's 
something you can't have." But that's not it. 

I can have neither a tiffany diamond neck¬ 
lace nor a thermo-nuclear device. Neither of 
those arouses me. It must have something to 
do with the self-confidence, the toughness, 
the I-don't-have-to-please-you-scum atti- 

In any case, I was in lesbo heaven for a 
week when G.B. Jones came to New York for 
her "Tom-girl of Finland" art opening. 
Johnny Noxema and his BOYFRIEND added 
erection inducement. Still, it was the tons of 
girls, big, small, butch, butcher, butchest 
who were the main attraction. Genna, GB's 
girlfriend, sent truck drivers running for 
cover with her toughness. Her answer to 
any problem was "Fall 'em— Kill 'em all!" 
Wnere do they hide—these girls? The image 
of one goddess, in a Queer Nation t-shirt, still 
puts me to sleep on those lonely nights. 

They talked aboutopening abackroom 
bar for girls. Before AIDS time, boy backroom 
bars covered the West Village. Quick public 
anonymous sex was just a beer away. In the 
old days, that hot sticky nirvana was just too 
yucky for the flannel shirt cigar smoking 
girls— or the Gloria Steinem stick-up-the- 
butt feminists. But here were some of the 
most beautiful toughgirls I'd ever seen, talk¬ 
ing about the project. If they get it going, I m 
going to Denmark for the operation. 

—> Major Tragedy Dept: You might have 
read last month that Mike Gunderloy called 
it quits for FACTSHEET FIVE. F5 was the 
greatest fanzine ever published. A review of 
music, fanzines, computer programs, BBSes 
and everything else— it was the one you 
couldn't do without. Now we'll have to. 
Mike Gunderloy says he's burned out. Any¬ 
body else want to pick up the pieces? Rumor 
is that some folks are going to try. It doesn't 
dissuade Mike from his 

look like we can--- 

decision, but I think he'll help anyone want¬ 
ing to take over. If you think you're butch 
enough to handle the job, write to him c/o 
Factsneet Five Remains, 6 Arizona Avenue, 
Rennsselaer NY 12144-4502. 

—> Speaking of FACTSHEET FIVE, it was 
from their BBS system that I discovered this 
beautiful incident of ecological sleaze. Scott 
Harbaugh tells the following story: 

The first edition of 100 Ways To Save 
The Planet lists the number one way: stop 
your junk mail. That way you'd save trees 
and tne gas necessary to naul them. In later 
editions, the book lists "Don't use styrofoam" 
in the number one spot. What happened? 
The bigger environmental groups raised holy 
hell because they get most or their money 
through mail solicitations. The ecology cor¬ 
porations told the publishers that they d help 
promote the book if they would just lay off 
their favorite source of income. 

How many times have I written about 
the hypocrisy of leftists, ecologists the rest of 
the PC crew. They think that because their 

^ ...j group, not the goals 

—> I was madder than a pork salesman at a 
Bar Mitzvah. You might have noticed that 
Ben Weasel took some snipes at me as well as 
parodying what I wrote in issue 99 (the GIRL- 
FRIEND issue). Normally, I don't mind 
folks saying bad stuff about me. (I love it!) 

But this was unfair. You see the MRR crew 
showed Ben my column BEFORE they 
printed it. He had the chance to read me in 
advance, without me having the same op 
portunity. A low trick. I'd say. Course, Ben': 
not to blame. I wouldda done the same. Bu 
MRR was pretty creepy to let him. 

—> Confidential to Lenny Goose: You bet! 
It's a deal, as long as you promise not to say 
"It's so cute and little." 

—> I saw another great show here. (New 
York's getting even better!) This one right in 
thebasementbarof mybuilding. SFA played 
with a band fronted by a former skinhead. 1 
wrote about the guy a few years back. The 
main goof, however, was George Tabb's 
IRON PROSTATE— the modern 
supergroup. Writer Charles M. Young plays 
bass, tormer FALSE PROPHET (who isn't?) 
Steve Wishnia'son second guitar and formei 
EDGElN'SCARsinger, Scott Wiess, warbles 
The hit of the night was their cover of THE 
BEATLES' I Saw t ier Standing There. Imagine 
a room full of mohawks and skinheads doin 
the frug and the twist. I love New Yawwk 
—> I should mention CAN OF WORMS agair 
(PO Box 1733, Colma CA 94014-0733) Tha 
zine/book helped me clarify some of th< 
"racial incident" stuff I wrote earlier in thi‘ 

—> Ms. Jennifer is rightfully annoyed with 
me for not reading her NY Press report abou 
the National Organization of Women con 
ference. She went with some folks from 
PONY (Prostitutes of New York— the 
whore's union) and Veronica Vera, the 
pornstar. I hope she writes the details in hei 
column here, fn any case, the National NOW 
didn't passananti-porn/anti-prostitutereso 
lution as they had in the past. That's a mino 
step forward. I think the girls are finall 
beginning to believe their own rhetoric abou 
people being allowed to do what they wan 
with their bodies. 

—> Another good sign. Folks are doing free 
one page zines again— just like Nancy 
Breslow did in the late seventies. The latest 
to reach me (handed out at the IRON PROS 
TATE/SFA show) is called RADIO RIOT 
You can probably get one for a stamp from 
Radio Riot, WRSLi, 126 College Ave, New 
Brunswick NJ 08903. Better yet, start you 

—> Speaking of zines, it was as likely a 
finding semen in an Andrea Dworkin pap 
smear—but there it was. An issue of Anar 
chy magazine (March 89, You can get one fo 
$2.50 from C.A.L., PO Box 1446, Columbi, 
MO 65205-1446) with the brains and the 
gonads to print material about kid's sexual 
ity. They even wrote about women-girl 
love— something that even N A MBL A won'f 
talk about. I heard it got them in trouble with 
the PC crowd. Welcome to the club. 

after all why sh^ld th^ pretend the} 
not. Permanent, serious, or people. So I 
started to walk around Tompkins Square 

Late at night last New Years Eve I was 
walking down Avenue B by the park, with 
my friend Josh and his dog Ralph. I was 
feeling so safe that I could afford to hear a 
thump as a woman was knocked on her face 
by a man she was connected to. Such a loud 
thump for a face to make on concrete to hear 
from across the street, and another thud as 
he kicked her in the stomach while she was 
down. I poked Josh, who has bad hearing. 
The woman was screaming and we started 

11 T ----11^:-~Vwr 0n 


X 1U1 1111,1X1 ll) go 

The boyfriend was starting to walk 
away anyway and the woman got up, face 
already blackblue, wailing ana I realized 
that to her we were just other weird things in 
New York. She wasn't going to go to us for 
help and we might not nave been any. She 
wasn' 4 - ^ 

war^ --- 

The men on patrol were not cops but 
were on patrol, had betterposture and reac¬ 
tion time than most cops. They were how the 
people living in the park were starting to be 
not just the physically defeated and insane, 
they were strong too. Shanty towns seem to 
surfer when they become an issue. There was 
a great one at 9th and C for awhile, built out 
orwood and tents with a steady kitchen, and 
these hippy style organizers came and down 
they went, bulldozed to the ground for a 
building that was a city hallucination to be 
never built. There's a brand new shanty 
town starting up somewhere else and there 
are two guys who sit in front of a wood shack 
they made, which is a few yards away from 
the tents, and it feels like they are doing 

P aurd duty against becoming an issue. The 
ark became an issue and on and on it went. 
People do demonstrate like it s another show 
around here sometimes but you have to re¬ 
member that their shows are not normal. In 
other words they can grow long black finger¬ 
nails and yell "Work and Be FREEE" in Ger¬ 
man at police officers and march every day 
for a month and gesture like an Italian opera 
star but also be actually protesting.The lo¬ 
cals down here think its goofy. "You can't 
just protest every time something goes 
wrong" say the residents of my fixed income 
building. The people down on 7th street 
even look heartened by the new barricades. 
Hundreds of armed police officers have cre¬ 
ated a festive atmosphere around Avenue C 
& 7th. The wealthy on 10th street across from 
the park probably think the demonstrations 
are persecution by their very own blue haired 
kin. It s all very complicated. 

At furtive neighborhood meetings 
people try to figure out how much the hun¬ 
dreds of cops cost a day and what budget is 
actually available for the hallucinatory reno¬ 
vations. They try to get on top of all the 
amounts of money, see it in terms of a miscal¬ 
culated and amoral gross shopping binge. 
But when I see people who nave already 
been beat up screaming at barricades of 
equipment, spotlights, helicopters, and men 
in uniform, I try to imagine wnat the men in 
uniform have been told, what is their bottom 
line and where did it come from. 

Even their programming is probably 
haphazard and apathetic. I wish that some¬ 
body cared for them, these cops, maybe some 
manipulative but loving dictator. Some of 




















25520 CHCIGOJL 60625 USA 



Ji t 

the^cKammg neighborhood show people di 
care about trie people that were living in the 
park, and some of the newer baby show 
people look quizzical, but up. 

Most people already know that a cop is 
not employee but a gang member at times, 
and within an hour everyone's moved on 
but an older man who's been living in the 
park 4 months and working with people 
there. He's got good posture, clear light eyes, 
and a tattered sign with $5 billion something 
on it, an amount he could've gotten from 
anywhere, and he's yelling ana yelling, his 
throat already hoarse, flapping his arms 
around at the uniforms, at the barricades, at 
the spotlight and the equipment and I want 
to cry. I don't know if 1m really that nice, it 
may'be just a question of style. He is beauti¬ 
ful and they are not. 

My pal Kurt Loder from Music 
Television wrote a letter to the Village Voice 

several months back that I kind a whole¬ 
heartedly agreed with, and which got me 
into a heated argument with a couple of the 
dorks I live with. Just to piss them off, I think 
I'll write a column about it. 

Loder's letter concerned "outing" from 
the anti-side, and was responded to by staff 
writer Michael Musto. For those unfamiliar, 
outing is the newly chic practice of anony¬ 
mous individuals or clandestine organiza¬ 
tions (most current being a group called 


tion of celebrities that refuse to publicly ac¬ 
knowledge their own alleged gayness. Out¬ 
post does it through a senes or anonymous 
posters that sprung up overnight in Mianhat- 
tan, posters which my man Kurt refers to a 
bit melodramatically as an "arrogant and 
repugnant new strain ofpolitical megaloma¬ 
nia" /The logic behind these stunts or what¬ 
ever is that oy providing role models - by 
creating role models - or at least proving that 
anyone can be gay, even famous folk - will 
ultimately break down many of society's 
prejudices in the first place. I agree. Sort of. I 
agree that more openness on the part of gay 
celebs will translate into less bashing of gay 
non-celebs. What I disagree on are the meth¬ 
ods used. Outing, at rock bottom, is nothing 
more than vigilanteeism, the placing of the 
rights of a group over the rights of an indi¬ 

The fact remains that we're not being 
presented with facts. What we're being pre¬ 
sented with are blanket accusations presented 
as gospel. Whitney Houstin is "absolutely 
queer the outpost posters - parodies of the 
^absolut vodka" campaign - tell us. So are 
Merv Griffin and the guy who used to play 


Musto responded to Loder's letter with this 
jewel: "their source material is every bit as 
good as that of the scores of reporters who've 
ever told us that some star or other is straight 

- better in many cases. I hese celebritic 
proposition us, sleep with our friends, steal 
our lovers, and reveal themselves to ou 
mutual business contacts. There's documen 
tation on all of them, and it's homophobic to 
call this information shoddy and vicious." 

This is National Enquirer logic with 
ideology. IS Jody Foster a lesbian? What if 
she had several "net"encounters in absolute 
private, what does that make her then? And 
IS Mel Gibson absolutely straight? How the 
fuck does outpost know? More inside 
sources? This seems like the self-inflicted 
tautology, the "knowledge" that comes about 
because everybody says its so. Like, in sixth 
grade everybody "knew", beyond a shadow 
of a doubt, that Rod Stewart had to have hi 
stomach pumped from sucking one too many 
dicks backstage. A couple of years earlier, it 
was the one about Mikey - the life cerial kid 
whose stomach blew up from eating too; 
many pop rocks. Several years later it wa 
the story about Henry Rollins drinking 
pitcher of the aud ience's spi t on stage. "Dude 
I have a friend who saw it!" Must be true 

The point is this: Jodie most likely IS 
queer, along with Merv and Whitney and 
Rock and Malcolm Forbes, rest his soul. But 
I hate the idea that we're supposed to accep 
this just because the correct group tells us so 
and that we might be labeled homophobic i 
we question the sources. What happens when 
a genuinely "het" celeb gets postered in the 
"queer" category, or vice versa? Is i‘ 
homophobic to even discuss false accusa 
tions? "As for privacy rights", Musto contin 
ues, "more and more gay people feel tha 
there is no legitimate reason for public fig 
ures to stay in the closet." Great. 

This same type of argument emerged 
earlier this year after the Kennedy rape case 
when several large newspapers ana tv sta 
tions decided to go public with the name o 
the alleged victim. That time around the 
logic put forth was that by setting a precident 
for making public the identy of rape victims, 
the media was working to break down the 
social stigma attatched to rape. And isn't it 
funny that it was the men in charge of the 
newspapers and tv stations that got to make 
this decision? Isn't it funny how no discus¬ 
sion is given to the idea that the victim migh 
want some input into how her personal an 
guish should be transformed into a tool fo 
reconstructing society? Remember the Cen 
tral Park jogger rape case of last year? At tha 
trial, protesters out front chanted the jogger' 
name at tv cameras, not as an effort to re 
move the stigma attached to rape, but as a 
political tool against what they saw as a case 
of racial bias. Get it? 

Complain, bitch, whine, moan. Sam 
P.O. Box 1145, Cooper Station, NYC, N\ 

Tokyo- Policemen, policemen every¬ 
where. Don't remember this many cops last 
time I was here. Turns out I have arrived the 
same day as Gorbachev, and he is staying in 

the same central district as me. 

Therefore, even at 6 a.m., when I first 
arise to take a walk are two or three foot cops 
on every block. Tney instantly return the 
nod I give them with their own, accompa¬ 
nied by a smile. 

Back home, people love to stare at you, 
but only a few will return any kind of smile 
or gesture. They like to turn away instead, 
creating feelings of hostility, suspicion, dis¬ 
interest. But a nod in Japan is a sign of honor 
and not returning it would be undignified. 

The press is full of questions. Will 
Gorbachev return the four northern islands 
seized from Japan at the end of World War 
II? Will Raise cook the huge salmon pre¬ 
sented to her at the fish market, or will she 
have it served up sashimi style? 

'The questions of the islands is just for 
show," a man who works in his mother's 
vegetable market and professes his hobbies 
are music, mushroom-gathering, printing, 
photography and fishing, tells me before 
admitting he has no plans to vote in the civic 
elections tomorrow. ^Politics important. Very 
important. Too important for politicians." 

While Gorbachev is inspiring yawns 
from people like this with his antics, his rival 
Yeltsin is taking a battering in the French 
parliament, where he is on some kind of fact- 
rucking tour. He may think he has the an¬ 
swers, the French tell him, but Gorbachev 
has a track record for "ending the cold war." 
"Stop moralizing," Yeltsin shot back. 
"You just aren't used to a democratic 

S arliament, people speaking their mind," 
le speaker replies. "It you don't like it, you 
know where the door is." 

It is Yeltsin's plan for a federation of 
loosely connected soviet states with official 
independence for any and all asking that 
appeals to me, not Gorbachev's stubborn¬ 
ness. Still, he compares favorably with 
George Bush in my mind, even though he 
flees japan in the end without giving back 
the islands. He says he likes the idea of 
giving the islands back, but the people of his 
country don't agree with him. 

Thomas Friedman, whose best-seller 
From Beirut to Lebanon is hyped as, "the one 
book you need to read about the mid-East," 
ula no doubt ask the Russians how they 


can live with themselves holding onto a piece 
of ill-gotten turf, as this is the keystone of his 
mid-East solution. Sort of a sudden occur¬ 
rence of conscience within the Israeli citizens 
and government when they realize they can't 
possible be happy living in an apartment 
built by cheap Palestinian labor on land 
swipea from the Palestinians themselves. 
Sort of like the citizens of Arizona telling the 
Pima Indians, "Here's the Phoenix valley— 
its yours, take it back." 

All of this will happen, yes. one day. 
Exactly 24 hours after the Jello Biafra/Kenny 
Rogers duo album is released. 

One of my favorite parts of the Friedman 
book, which I have to say I really didn't like 
that much, is an interview with a young 
America woman who comes to Israel to take 
part in an admirable attempt to bring to¬ 
gether Israeli and Palestinian children, simi¬ 
lar to efforts by organizations such as The 
Fellowship of Reconciliation to foster dia¬ 
logue and friendly interchange between So¬ 
viets and Americans. 

Things are going well for her, kids are 
making friends, then along come the mass 
rebellion amongst the Palestinians and sud¬ 
denly the children find themselves tossing 
rocks at their new friend s and bragging about 

5 morning she describes looking 
a window at the landscape and realizing that 
everyone everywhere is fighting over dirt. 
She tries to shut the door, but the wind keeps 
blowing it open. 

Sitting in my little room at Tokyo's Asia 
Center, I reflected on the knowledge that no 
matter where my travels take me, there will 
be some square of dirt that somebody is 
fighting over. 

It took only about a month from then 
until Yugoslavia would be breaking out into 
civil war. Standing in line at the Amsterdam 
international reservations desk, I would hear 
the woman says "there is no travel in Yugo¬ 

Slovenians can go north, of course. 
Wouldn't want to lose the tourist trade, of 
course. A Llubjana friend who talked to me 
at the recent Moers festival in West Germany 
gave the lo wdown—up till now unreported 
in the western press? — on how countries 
such as Germany and Austria have such a 
keen interest in tne Slovenian independence 

'They want to buy us," he said. 


"Austria. Then they will finally have 
their seashore." 

It's no laugh. The Slovenian economy 
won't be able to stand up to the northern 
neighbors and their tight clique called the 
richest nations in the world. Austria could 
take over Slovenia without a single soldier. 
They've owned it before. 

Fighting over dirt to get to water. An¬ 
other variant on a classic th< 


If people had consciences... well, well, 
wouldn't it be easy. Yet look at people like 
my mother-in-law, high up in the organiza¬ 
tion of the National Council of Jewish 
Women. We were discussing the story of the 
Hama massacre. . . to make a long story 
short, this was a grisly chapter in the history 
of the mid-east in which Syria's murderous 
Assad had a town whose politics he didn't 
care for turned into a parking lot, without 
first asking the citizens to step aside. Among 
other things, it was an attempt to annihilate 
the Palestinians, who Assad doesn't like 
much. Most Americans are ignorant (hey! 
let's end the sentence right there!) of the fact 
that as much of Palestine was stolen by Syria 
as by Israel. 

'Too bad they didn't finish the job," my 
mother-in-law said. 

Reminded me of the drunken German 
punker who had the following charming 
thing to say when the subject or the Israeli 
situation came up: 

'Too bad Hitler didn't finish the job." 

And now, of course, in every print me¬ 
dia there are the reoccurring editorials criti¬ 
cal of the aftermath of Operation Cop A Feel, 
in which new atrocities are credited to 
Saddam Hussein to bolster the following 
exciting argument: 

"Too bad Bush didn't finish the job!" 

Fuck all of you! Too bad God didn't 
finish the job back in Noah's time. 

Poor, poor human race. So much hate, 
so many possible folks to kill. And nobody 
ever finishing the job! 

At 5 a.m., I heard roosters crowing in 
downtown Tokyo, and unable to sleep, raced 
through the rest of the Friedman book, grow¬ 
ing more and more skeptical until I ran into 
a contradiction so ludicrous I couldn't fathom 
why no editor at the publishing company 
had noticed it. 

The subject was Ghaddafi, who seems 
to turn most western political thinkers into 

jelly heads. Although I can't say I really know 
of anything to like about this guy, I've al¬ 
ways been interested in Libya and felt the 
Reagan-Ghaddafi animosity was the usual 
big guy / little guy "size of cock" comparison 
trade off. The bombing of Tripoli, although 

n pari son 

certainly not as devastating as the recent 
Iraqi adventure, is as good an example of 
mean-spirited and ultimately horrifying 
Yankee caca as you are likely to sec in your 

Not to Friedman! He savs actions like 
this are tough and get things done! After all, 
once we bombed Tripoli we heard really 
little from Ghaddafi. That's what Friedman 
says. On one page. 

A few pages later, however, he details 
how Ghaddafi 'bought" a certain American 
hostage off the rack in another country and 
had him murdered as revenge for the afore¬ 
mentioned bombing. This is "shutting up" 
Ghaddafi? Yikes. 

This reading experience clarified once 
igain, for about the billionth time in a few 
weeks, that nobody really cares about the 

The only thing to do was hit the streets, 
looking for an open noodle shop. The only 
drea free of police surveillance—Gorbachev 
himself was quartered only a few blocks 
away — was a Buddhist temple where I 
wondered why in the pair of statues found in 
front of altars and temple entrances one ani¬ 
mal always has his mouth open, the other 
one's mouth shut. For weeks t asked people 
for an explanation and never got one, al¬ 
though if 1 mouth off enough about it in this 
column, perhaps even link it to vegetarian¬ 
ism and/or legal marijuana, someone is 
bound to fire in a diatribe explaining it all 
and telling me off once and for all. 

The first meal of the day was rice with 
tiny shredded bits of tasty beef sprinkled on 
top. Construction workers and students 
[streamed in and out, ordering, receiving and 
eating in a blinding fury. I liked the atmo¬ 
sphere. However, what lurks beneath it all? 
Rudy Hinnant, long one of my favorite 
Greensboro folks (how many black dudes 
have you run across that are willing to dress 
up in KKK outfits onstage in front of hun¬ 
dreds of people?) moved to Nagoya last 
year, where he is, "riding trains around teach¬ 
ing English in a different place every day." A 
few days later, he told me that the Japanese 
support for the Gulf War surprised him. 
"People keep telling me, 'You Americans are 
great! You have preserved freedom!' It makes 
me sick!" 

Sick is kind of a mild word when a 
people that had atomic bombs dropped on it 
For no reason at all other than to fngnten the 
world talks to another race that was brought 
over as slaves about "freedom" glowingly. 

Nonetheless, a U.S. battleship stopping 
at a Japanese port was greeted with both 
protesters and flag-waving patriots. The 
seemingly liberal Japanese English press (I 
liked the banner NEW WORLD ORDER 
WILTING headline) said the reaction of the 
soldiers ranged from agreement with the 
protesters ("We had no business doing what 
we did there..."... I haven't seen anything 
like this quoted from soldiers in America) to 
disgust—'They should leave us alone, we've 
been working so hard!" Poor puppies. The 
latter quote would have been marvelous 
falling from the lips of one of the Manson 
Family girls. 

Part of the Japanese support for Yankee 
imperialism no doubt comes from a sort of 
global detachment. For example, on one of 

my 1st gigs a weirdo sat in, supposedly to 
play the saxophone (which he aid all right) 
but actually to glom the microphone and 
mouth off about topics such as how misun¬ 
derstood Jim Morrison is. (Yawn!) I was 
tiptoeing through my last set of hesitations 
about tossing him offstage when he started 
telling the audience all about how, "wher- 

igh for me, 1 gave him the hook, 
when I tola my drummer friend Shoji Hano 
about what the guy had been saying since he 
't understand t 


me a 

t saying 
ish, Hai 

ano gave 

the English 
irplexed look. 

"What's a Jew?" he asked. 

See what I mean? 

Nonetheless, and you've probably heard 
it all before, here is a culture that finds in¬ 
credible beauty in the smallest, subtlest things 
and then delights in sharing these experi¬ 
ences with bom friends ana strangers. Ev- 
is a pleasure — walking, looking, 
especially eating. Laughter shook my in¬ 
sides when 30 minutes before boarding my 
flight home, I was served a dandelion in a 
small blue plate, dabbed with soy sauce. 

"This is delicious!" Hano said, as if it 
was the final delicacy in what had been 

away to ms neart's content, but BYUB soy 
sauce. The dandelion tasted great—I had to 
eat it, didn't want to offend the host — but 
although I have been making a lot of Japa¬ 
nese food since I got home, I have yet to serve 
up dandelions. 

Actually, the most incredible dish was 
placed before me in Morioka, a charming 
Northern city. I looked down into a bowl of 
soy-colored broth and little translucent 
wormlike fish were wriggling around mer¬ 
rily. I starred and starred. \ 

'This to eat, not look at," my host 
laughed. He had two of the little fellers 
smushed between his chopstickes. As they 
are removed from their broth they die within 
seconds, thrashing about anxiously. 

It is quite tasty, as just about everything 
lis country is, including fish stomachs, 
ielions, quail's eggs, baby eels and what- 
i-you. My host explains that if you suck 
the guys down fast enough, they will live 
briefly in your stomach. 

"You feel them swimming around in¬ 
side you," he says. 

At this juncture in came a woman wear¬ 
ing a surgical mask over her face. No, she 
was not there to remove the live fish from 
our stomachs, she was one of on the average 
three people you see each day wearing such 
an accouterment as a defense against air 
] pollution. 

There it was in a nutshell, your typical 
Zen experience in which our past — swim¬ 
ming around inside a stomach — is brought 
face to face with our future—destruction by 

But I will leave you with a happy ending 
— I'm back home in North Carolina now, 
and it's a news flash. The Tweetsie railroad, 
one of the top attractions at a garish, tacky 
amusement parkin the mountains, has come 
to a momentous decision regarding the pas- 

speaking < 

boys and Indians. For years, the Indians 
have been chasing the cowboys, then getting 
wiped out in the ensuing gun battle. Now 
the script has been rewritten. From here on 
in, the battle will be a draw. Park spokesman 

saysmisisnotachange due to pressure froi 
Indian groups. Park planners themselves 
have had an attack of conscience/' 

Well, all right. Jello Biafra, check your 
answering machine. There's a message from 
Kenny Rogers! Something about a recording 

When it comes to matters ot feminine 
hygiene. I'm pretty filthy. I've never douched, 
or used one of those FDS sprays. I was 
tempted to douche, once, when a boyfriend 
told me maybe I should. I couldn't under¬ 
stand why he felt I needed to all of a sudden, 
until he explained what had happened. 
Seems he and his buddies were sitting 
around, as well as their girlfriends, and the 
topic of feminine hygiene came up (don't ask 
me how, I wasn't there). They were discuss¬ 
ing douching, I guess, because my boyfriend 
said, "Gee, Idon't think Katy douches." 

Shocked silence descended upon the 
room. Everyone looked at him funny, then 
they let loose with a chorus of 
"EEEEUUUU W W W W!!!!" and "Gross, 
man!" The girlfriends shook their heads sadly 
as they answered him that each of them 
douched on a regular and frequent basis. 

"Please," my boyfriend asked me, 
"could you start douching?" 

I tried to explain to nim that not only 
do not all women douche, it is really an 
unhealthy practice that any good doctor 
would recommend against. 

He was unconvinced. "All my friends' 
girlfriends douche", said he. 

I told him that that was a pity indeed, 
and that I would not be sharing the Summer's 
Eve experience with them any time soon. 
"Besides," I said, "You've certainly never 
complained about any odor or uncleanliness 
before. Has it been bothering you?" 

He admitted that it haa not, which I 
think was part of his concern. He was prob¬ 
ably worried that maybe there was some¬ 
thing perverted about liking the smell of 
female genitalia. 

I thought hard and fast. How could I 
convince him that not only is douching inef¬ 
fective and unhealthy, but also not the great 
American past-time he thought it was. I came 
up with a solution, and vowed to put it into 
effect at the first opportunity. 

The next day we stopped in a drug¬ 
store to purchase sundries, t took him by tne 
hand, and led him back to the aisle marked 
'Feminine Hygiene' (Which was not next to 
an aisle respectively titled 'Masculine Hy¬ 
giene' as you might expect). 

"Look at this," I said. "Here we have 
shelves of tampons and sanitary napkins. 
Now, for the most part, all women menstru¬ 
ate. Every month they have to buy these 
products. Notice how many brand names 
and varieties of these products there are, 
dozens of them. Enough to fill up four com¬ 
plete shelves!" 

My boyfriend squirmed in embarrass¬ 
ment. Not to be deterred, I took his hand in 
a firmer grasp and pointed to the shelf of 
those feminine hygiene products meant to 
banish odor and other indelicacies. 

"Now, how many brands of douche 

are there? Two or three, and not that many 
varieties of them, either. The whole selection 
of douches takes up only about two feet of 
one shelf. Don't you think that if all women 
douched, there would be a bigger selection 
in response to a bigger market for the obnox 
ious stuff?" 

I can't say my boyfriend was entirely 
convinced, but he did see my point and 
never mentioned it again. 

It's hard to ignore the pressures to 
participate in the feminine hygiene rituals 
We are taught that there is something shame 
ful and dirty about our bodies in their natu¬ 
ral state, and that a virtuous woman cleanses 
and shaves and anoints her body with mask 
ing scents to rectify the situation. 

A friend of mine told me today that 
. ecause she doesn't shave her legs or under 
her arms, her mother won't permit her to 
swim in her parent's pool. My friend was 
amused really, when sne asked her mother 
for a rational reason for this and her mother 
said, "Because it's just dirty." 

The fact that her father and brothers 
were far hairier than her did not matter, it is 
the woman whose body is inherently filthy 

That's the kind of mentality behind thi 
old wives tales that said the touch of a men 
struating woman would wilt a flower 
Women at their best are "unclean" and in 
danger of being ostracized as social lepers 
should they fail to comply with the conven¬ 
tions of modern hygiene and grooming. 

Any girl can identify with the shame 
and embarrassment associated with men¬ 
struation. It is our "curse", our punishment 
for being wanton, sexual, adult women 
Maturity is not desirable in the female gen 
der. Innocence and youth are the ideal, and 
to a degree, childishness is considered sexy. 
That is why we are encouraged to remove 
the hair under our arms that appears at 
puberty, and that is why many men like the 
look of a clean-shaven pubis. Basically, the 
only physical sign of maturity that is favored 
is tne appearance of breasts and curves. 
These, of course, signal our maternal capaci 

To the early developer, however, even 
areasts are a source of shame. A girlfriend of 
mine who wore a 'C' cup in the sixth grade 
told me that she came under constant fire 
from classmates and adults who assumed 
she was a slut, and that in the seventh grade 
i group of boys chased her around the play¬ 
ground, trying to grab her breasts, until she 
ell and broke ner leg. (The teacher on duty, 
as well as the school nurse, reprimanded her 
for having teased the boys and encouraging 
the attack.) 

My own agony stemmed from my small 
bust line. I assumed that a female without 
breasts was incomplete and not sexy. In time, 

I learned that many men like small breasts, 
and I stopped worrying about it. I even went 
so far as to be relievea that I don't have to 
wear a bra. But there are still times I feel I've 
failed at being a woman, particubrly now 
that I'm a stripper and I am constantly on 
display to a critical audience. 

I doubt there is a woman alive who is 
completely satisfied with her body. Oh, I 
know there are some who honestly don't 
care, and I envy them. But I can't see how any 
woman who has been fed the line of femi¬ 
nine bullshit since day one, like most of us 
have, doesn't feel the pressure to correct her 
natural abominations. 

It's easy to rail against society for hav 
ing placed these restrictive and contradic 
tory demands on us, but much harder to iron 

out the co ndition in g wi t hinustnat has made 
us generally willing prisoners of the femi¬ 
nine charade. The first step is recognizing 
the conditioning for what it is, and then 
trying to see ourselves as being OK without 
the cosmetics, clothing and mannerisms at¬ 
tributed to desirable females. There's a great 
book on this topic by Susan Brownmiller 
called "Femininity". It goes over every physi¬ 
cal aspect of femininity; hair, body, face, 
voice, motion, etc., and discusses their im¬ 
pact on our behavior and self-image. She 
seems to see women as being enslaved by the 
demands placed upon our physical selves 
from the days of foot-binding and corsets to 
modern anorexia and tanning beds. I can't 
help but think she's right. 

Well, I was supposed to keep a tour 
diary for a certain fanzine, but I just never 
really felt like it so I guess the best! can do is 
to clue you in to somewhat interesting tour 

MINNEAPOLIS: Nothing interesting 
happened. , , 

SIOUX FALLS, SD: Three kids came 
up to me before the show to chat. When they 
discovered that I'm 23 years old, they almost 
passed out. According to them, 21 is over the 
hill. I wonder what they'll do with the pre- 
is five years they have left. Sioux Fans is 
home of a disgusting little establishment 
id Gigglebees. My band ventured there 
1U1 dinner with Lariy Livermore. It's kinda 
one of those Showbiz Pizza places; lotsa 
video games and what have you. It also has 
a mechanical animal (either a rat or a coyote) 
that rides a bicycle around a train track serv¬ 
ing your food and making stupid jokes. I got 
tired of the fucking thing sol told it to go 
away. It spent the next 20 minutes hassling 
me while I tried to consume the gummy 
pizza. When I got back to the club, several 
>eople informed me that the rat had been 
jeheaded several times by angry patrons. I 
don't blame them. 

RAPID CITY, SD: The name is rather 
misleading. Upon arriving in town, we at¬ 
tempted to find Mt. Rushmore. Every match 
book, billboard, bus stop bench and toilet 
seat in the state has an advertising reference 
to it but we could not find the fucking thing. 
We played at some sort of fairgrounds on a 

_ i 11 l J o t of o 

__ president' 

carved in rock. 

BILLINGS, MT: The second scariest 
town I've ever set foot in. Paint me black and 
stick me in the Louisiana swamplands be¬ 
fore you ever send me back there again. Half 
the people who showed ^ 

___ r _o showed up at the gig sported 

Doors and Led-Zeppelin t-shirts. Got a break 

and stayed at a girl's mom's house. Very 
clean, very quiet and very pleasant. But I was 
still quite glad to leave redneck central be¬ 
hind until we reached the scariest town I've 
ever set foot in - 

MISSOULA, MT: The show was won¬ 
derful. The people who set up the show were 
wonderful. Dome of the people who came to 

'V 1 ' ; ' : 




On tour September thru October, East and 
West coasts only supporting their recent 
album release, 'Revenge Fantasies Of The 
impotent* (LP/CS/CD - Virus 91), and their 
current 12* £P, The Biggest Ass’* See 'em to 
believe ’em, and then some. 

On nationwide tour with Jonestown October 
thru November to support their debut Alter¬ 
native Tentacles album release, 'I.A.B.F.* (LP/ 
CS/CD - Virus 93). Probably France's finest 
power punk band. Experience the Interna¬ 
tional Anti-Bordom Front, 

On nationwide spoken word tour mid- 
October thru mid-November to support 
and expand upon his latest release, 'l Blow 
Minds Par A Living' (double LP/CS/CD - 
Virus 94). ft's time to monkey wrench the 
New World Order. 

! 7": $3.50 ir |P: $6.50 U»/CS: $7.50 
CD: $ 12.00 Double LP/CS: $9.00 Double CD: $ 15.00 

All price* ore postpaid within the U.S. Other countries 
write for detoils. California state residents please add 

A 1 C°/. 




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tYmks'i {test with w mains fat dbm 
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MORBIO ANGEL-7" (rad Wax) 

....1lalt«d..Curoprass....(1st «p)..$4.00 
SL0BBER-7"(CAL.) P as shit grlndln blasts.S3.50 

ACTIVE MINOS-7".."Capital Isa" ap 
..(U.K.) ..bIurr/poIItlcal/thrash..$4.00 

LAST CASP-"Happ11y" 7" 

axcallant aarly NAPALM sounding_$4.00 

C AN C E R-"To the Cory End" Ip 

fett/thr«sh/aet«l 1 y /good/.$4.00 


» oun * to POISON IDEA..$4.00 
RAP«.D TEENAGERS FLEX I (3 song s ) . . 2 for$3.00 


W.Ceraan/nolty/thraih/ainy songs...$4.00 

raally graat harsch thrash.$4.00 

ER-lp. .fine yrI nd/1egendi.$8.00 

ERCHINT-7" ..haavy sick thrash.$4.00 

S1C-"MI story" CASSETTE 

Jap grind a 11 ack . . . wa 11 s...$5.50 

CARCASS-7"IIve Maxl-prassad(UK).$4.00 

0 IRC£-"Sou1ft tore" 1p(NJ) . .aata 1 thrash$4.00 
EMTOMBEO-LIva 7"..(Curopreited) 

original I ln«-gp. .$2 00 

MUL E-2nd 7" 

colorad wax/x-P0 1 SON IDEA.$3.50 

RIN JYU ZAMC E-"Tha Founder" 7"(JAPANj$2.50 

LIBIDO BOYZ-7".. ..aa1odIc shit.S2.50 

WHITE PI6S-1s t 7".•cI ass Ic. .raw.$5.00 

IMPULSE MAN S LAUG H T E R-"Le gleal" LP...S7 00 
MlSERY-"ChIIdran of War" 7" 

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INCANTATl0 N-"E vIl"7"..dark/daath_$4.50 

HAITUS-7"(Balgula) * 

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• •a*****************************.^^^^ 


COWBOY KILLERS T-SNIRTS. .2 sty1 as..$ 4.00 
6.C.ALLIN T-SNIRTS..."MlC up ASS"..$10.00 

» THE WAR’S OVER! " -GeorgeBush 

And If You Believe That We Have 
Some Records to Sell Ya! 

Mint 1/1o - Situated Chaos "Nobody Home" 12"/CA 

Produced by Tom Lyle - OUT NOW it>o.uu 

Mint 2 - The Functional Idiots 7" COMING SOON $3.00 

Mint 3 - Disemboweled Corpse 7 ' c g“'^ s s J5oN CO | l 3.0°0 f H6 " 

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_ iv; / . / ■■ ‘ ^ 




‘ • <v 

getting impatient 

the show were wonderful. Everybody eli 
was a complete asshole. Standing outside 
the club, I saw two jock type fellows walk out 
the door. As they walked past me, one of 
them stared me up and down a few times. 
Curious, I asked / *WHAT?" The guy sez "I 
was looldng at your clothes ." His buady sez, 
"What the fuck are you saying WHAT to my 
friend for?" I say, ''Cause he was looking at 
my clothes." Then he starts the usual 
schoolyard shit about, hey are you looking 
for a fight? I told him I thought HE was 
looking for a fight. He asked me if I wanted 
to start shit. I told him NO. They walked 
slowly to their car with the license plates that 
read BOZE MAN. They stared me down for 
a few minutes and left. I took a walk around 
the block and slipped into the club for a few 
minutes. A maa mosher slammed into my 
bass player who was standing at the edge of 
the crowd. Dave gently nudged the guy 
away. He crouched down and started scream¬ 
ing ^C'mon motherfucker!" I went back out¬ 
side. Huey and Louie the punx were there. 
Huey asked me if I was just in the club. I told 
him yes. 

"Where?" asks Huey. 

"All around." I'm ge 
with this goof. 

" Wdl," barks Huey, "you look like the 
guy who stole my frienci's wallet." 

Oh I do, do I? I've had it with this shit. 
My frustrations start pouring out and Huey 
looks confused. He puts his hands up ana 
sez, "No, man, I just thought you kinda 
looked like the guy, that's all." 

We agonize for a while after the gig 
and finally decide to cut out to the next town 
that night. I must mention that there were 
plenty of great people at the gig, most nota¬ 
bly Charlie ana his fellow band members, 
but the environment was a little too harsh for 
me and I wanted to move on to our next stop 
which was... 

OLYMPIA, WA: All I can say is that 
this is about the punkest town I've ever been 

CORVALLIS, OR: We played in a cof¬ 
fee house to about thirty people and it was 
one of the best shows of the tour. There were 
cjuite a few burnt out hippie types wander¬ 
ing around but most of the people were 
swell. Almost everyone in attendance came 
up and personally thanked us for playing 
afterwards. I think they're in dire need of 
more entertainment in Corvallis. 

BERKELEY, CA: People's Park was a 
riot. Figuratively. People's Park is a dirt lot 
that the hippies staked out back in the 60's. 
It's owned by the University of California 
but the hippies call it their own. The Univer¬ 
sity is always threatening to turn it into a 
volleyball court and the hippies are always 
trying to turn it into a communist day care 
center. No compromise is ever reached so 
People's Park is basically a small patch of 
land with a few acid dealers and misguided 
deadheads from out town lurking around. 
We played a Save People's Park extrava¬ 
ganza. The hippies began by taunting the 
few cops that were milling around, basically 
begging them to arrest them. Lame folk sing¬ 
ers ana stoned poets rambled. A ridiculous 
lady stood up and preached to the crowd 
about fireworks. She told them that they had 
to make an "inner choice" about the use of 
firecrackers. My personal "inner choice" was 
to bean her with a tomato but I refrained. 

We played three songs. In the middle 
of the fourth song, a skinhead looking guy 
jumped on stage and dove into my 
drummer's kit. I helped him off stage with 

thebusinessend ofthe mike stand and bailed 
People didn't understand why. They alsc 
don v t understand why they can't keep their 
fucking park. I didn't feel like spelling oul 
for them that if they sit around watching one 
asshole fucking with our shit like they're 
watchingTV,irsno wonder they can't handle 
500 feet of grass. 

SANFRANCISCO: I've been stayin 
at Tim's house. Tim lives in a nice, 'safe 
yuppie neighborhood. Fine with me. I'n 
sick of "being punk" and staying in shi 
neighborhoods where people scowl and 
your shit. We played tne Epcotcenter record 
store which was great. My band member 
told me how bored they were getting sitting 
around in this nowhere town. Unfortunately 
we can't leave quite yet because the van i? 
totally fucked and needs work. If we're ver\ 
lucky and don't eat, we may be able to afford 
to make it back home. 

Tour is pretty boring. I'm not 
and roll kinda guy. 1 see a lot of bands on tou 
who seem to be having the time of their live 
and God love 'em if it gets 'em hot. For me 
however, I quickly tire of playing a gig 
sleeping, getting up and driving ana playin^ 
another gig to start the cycle over. It burn 
me out. I'm much more comfortable wit! 
going out to see a movie, sitting down tc 
waten theballgame with a hot dog and a bee 
or staying up all night writing stupid shi 
that nobody will ever read. If you're intc 
touring, have fun. As for me. I'm sick of it 

Eve been thinking about never playin 
out of town again. This is sheer laziness, bu 
think of what fun it could be. People whe 
really wanted to see us would have to com< 
to our town. If they were intelligent, they 
could work out a schedule where they would 
go on tour. A different town every day, < 
different band every night. The main prob 
lem with that idea is that for most people it': 
not financially feasible. That's where frugal 
ity and communism meet. 

We need a benefactor before we go an 
further. Someone with access to a lot of cas 
who can afford to buy a few buses (wit 
toilets). I suggest MRR. Secondly, we get a 
many punx as possible to sign up for the 
punk summer tour, putting a lia of 100 peoul 
on the deal. For the entire summer, the 
express drives these punx around to predes 
tined punk gigs. Admission is free and the 
participants get paid a total of a S500.0C 
guarantee (supplied by charging the townie? 
admission).Tnis gives each person fivebuck? 
a day to eat on (this is supposed to be like i 
real tour as much as possible). Accommoda 
tions are entirely up to the participants; hop 
fully you can find a place to stay, just like 
band tour. I'll personally start the ball rolling 
jby offering a 500 dollar guarantee to the 
happy MRR Readers Express next summe 
|to see my band in Chicago. 

If you haven't figured it out by yet (and 
I'm sure most of you dummies haven't), I'm 
joking. I've been feeling pretty fucking alien¬ 
ated lately. I don't understand this whole 
rock star trip that every other person at 
show wants to put you on, I don't under 
stand this veganism womyn shit in whicl 
i nstead of a ttem pti ng to ed ucate people abou 
our favorite issues, we alienate the fuck ou. 
of them and foster even more hostility and I 
definitely don't understand what's alterna 
tive about a punk scene in which the mos 
intelligent dialogue between audience an 

’ and is "Dude, you guys were really fukki 
reat" or theeverpopular "PLAY FASTER! ‘ ‘ 
t could very well be that I'm just getting old 
Or it could be that I'm getting tired of th 

increasing amount of people turning up to 
see my band that remind me so much of the 
people who I would have liked to kill when 
I was in highschool. 

I'm one guy in one band who doesn't 
want to play your fucking games. I am not 
interested in doing an interview for your 
fanzine dude and no I don't think I'd like to 
go to the party after the show and thanks but 
no thanks on the fucking autograph. 

Well, I'll get over it. Just remind me to leave 
my brain at home next time I show up to play 
your town. 

The ideology of rock—the arguments 
about what records mean, what rock is for— 
has always been articulated more clearly by 
fans than by musicians (or businessmen.) In 
a sense, rock matters more to fans—rock as 
fun and pleasure is a more difficult idea to 
negotiate than rock a, career or business. The 
paradox is that rock, for all its emphasis 
community and culture, is for most of its 
fans, most of the time, a personal experi¬ 
ence—people listen to their records at home, 
develope private fantasies about their stars— 
and they need all the help they a get. Hence, 
the importance ofthe professional rock fans— 
the rock writers. Music paper, indeed, are 
important even for those people who don't 
buy them—their readers act as the opinion 
leaders, the rock interpreters, the ideological 
gate-keepers for everyone else. 

-Simon Firth, from "Sound Effects," Pan¬ 
theon Books, N.Y. 1981 

When I first came up with the idea of 
starting a record label, I sat down and drew 
up a prospectus, where I outlined estimated 
costs, profits and a plan of attack in order 
that I wouldn't lose my shirt the first week 
out. The cornerstone of my plan operated on 
the assumption thal local record stores would 
pay cash upfront for my records, and hence 
save themselves the distributors fees on 
records which they knew would sell. I could 
then use the cash to pay for postage, and 
advertising in order to get the stuff out to the 
rest ofthe country, and then I could afford to 
sit on my ass and wait the 60+ days for 
distributors to pay me. The plan worked 
O.K. for the most part, while stores are used 
to dealing with local merchandise on con¬ 
signment. I explained to them that I wasn't 
in any of the bands, and I was a "Record 
Label," —they were merely dealing direct 
with a company. Since most of the bands I 
worked with are well known locally, no¬ 
body really had a problem with this set up, 
after all the stuff aid sell, and with the dis¬ 
tributors cut taken out, the stores made even 
more money than they normaly would have. 

I am sure most of us have experienced 
the cold shoulder from snobby record store 
employees at alternative record stores. Just 
because someone is lucky enough to have 
landed themself a job at a "Cool"- record 
store, they think they walk on water and shit 
gold, (i.e. your typical overheard conversa¬ 
tion, from your typical snotty record store 

wiiun i am uHuiumtu . . — Jr 

snobby, elitist atitude I make piggy noises at 
the clerk, give him a hearty fuck-you- 
prickhead, and go spend my money at a 
shop where friendly people work. Since as 1 
said before I am toying to sell record s directly 
to stores, I figurea I'd give everybody at least 
one fair shake O' the stick before I discount 
them as either Capitalist assholes trying to 
live off of the scene, or snobby trendoids 
more concerned with having everything 
"Option," and "Forced Exposure, claim is 
the next big thing in stock, instead of actu- 
ally running a record store. I am sorry but 1 
feel regional stores should stock records by 
local bands with no questions asked. 

Hoboken. A town whose only charms 
are derived from it's close proximity to New 
York (which gives it one of the largest Yup¬ 
pie populations in the country,) it s Post- 
Victorian architecture, a half a million res¬ 
taurants, and one of the coolest clubs in the 
country. I know Jim Testa's gonna kick my 
ass for this, but I can't think ofone good band 
that ever came outta that fucking town. Yet, | 
everyone involved in the "Hoboken music ; 
scene," walks around like the most stuck-up, 
pretentious, assholes I've ever seen in my 
Fife. I went to the world famous alternative | 
record store in Hoboken, (I won't mention ' 
any name! but I am sure everybody on the 
East Coast knows the store, it's the one with 
all those cool out of print 7 inch punk records 
on the wall priced From $20 to $100+,) and 
they fucking laughed at me, and insulted my 

llidNC my i/wmi * * —---. ' 

I think that it's an obligation of regional 
alternative record stores to carry records by 

■ i • i_1 l_- oHomnfc fn 

their local heros. Despite their attempts to 
ceede from the rest of the state and become 
part of Greenwich village, Hoboken to my 
knowledge is still part of New Jersey. I 
brought aNew Jersey alternative record store, 
records by well known alternative bands 
from their area, bands that play clubs down 
the block from their shitty little store, and 
they refused to buy them, those bastards. 
"Never heard of em" said the trendy snob 
cashier as he flipped over the lattest Sub-Pop 
single. 'They all played here last week, 250 
people showed up, and your no * 
stock this just because YOU never heard of 
em?" "Yup," he chuckled at me as he turned 
back to the conversation he was caijying on 
with a well known N.Y.C. alternative noise 
act." Your loss," I shouted at him on my way 
out the door. "Yeah, I guess it's my loss , Ha, 
ha,Ha..." I heard trailing off behind me. Be¬ 
fore I continue, the point of this story is not 
money, its principal, that said, I will r 
continue. , 

The biggest problem with Hard-core, 
Maximum Rock and Roll, and the whole 
alternative scene, is YOUR FUCKING 
STUCK UP ATTITUDES. I don't care that 
"Snobby-Stuck-Up-Records" in Hoboken 
didn't buy records from me, I care that they 
are such a snide bunch of stuck-up, hypo¬ 
critical assholes. They, and many other al 
ternative" record stores are as underground 
as my asshole. Only the most "Visible, and 
the most banal ot releases ever find there 
way into the shelves, and even that's not as 
big of an insult as the attitude of the people 

no _ 

outT their records, and as long as I still like 
their music the rest of you stuck up dicks can 
go to hell. A lot of people like anything that 
Dischord puts out, or hate anything on Sub¬ 
pop and accuse them of being capitalist rip- 
offartists, or think Lookout records is can do 
no wrong. What this says to me is that inde¬ 
pendent labels 1 
than another cli 
of, or 

pushing the stuff. Just because somebody 
working at a store that sells Sub-pop, Touch 
and Go, or Amphetamine Reptile records 
(and 1 have nothing whatsover against these 
labels mind you,) they think they are so 
much better than the rest of us who are 
merely the Joe Shmooe record buyers. And 
these people go out of their way to make you 
feel uncomfortable when you enter into their 
own little realm. 

The same holds true for most clubs, 
fanzines, and bands. If you don't follow their 
party-line, on flavor of the month tastes, and 
political views, you are instantly an out¬ 
sider. I love Maximum Rockn'Roll, I've been 
reading the magazine from day one, and I 
can honestly say that having my own col¬ 
umn here is one of the greatest honors l ve 
ever been awarded from the "Scene." So 
here on the magazines 100th aniversarv is¬ 
sue, and my fifth+ year as a contributor, 1 am 
asked by Tim to point out what I feel are the 
major problems with the magazine) which 
because of my laziness will no doubt be in 
long after the aniversary issue.) Well folks, 
sometimes I see Max R n'R, as kinda being 
like that snotty monolith of Hoboken—you 
know kinda too cool and exclusionary. 

A lot of people come up to me these 
days and say, "Gee Sam, however did you 
get your own column?" And I say, "Shit 
man, all I did was ask." ’’Well if it's that easy 
aren't you blowing your own major gripe to 
shit?" you are all probably saying. Well, 
can't tell you why my voice of authority is 
deemed more important to Tim Yohannan 
than yours. Just like I can't tell you why some 
>ands who I think are shit get good reviewr 
while the stuff I really dig always gets panned 
Those of you with few years of college under 
your belt could probably chalk the whole 
thing up to semiotics (i.e. picking apart the 
construction of each record, from the art¬ 
work down to typeface, and placement of 
and photos.) The rest of you probably don't 
even think about the subtleties of consumer 
manipulation—you just know if something 
looks cool, or else a friend, magazine or 
radio station turned you on to the m usic. But, 
then again to even get good press, or radio 
airplay you are still at tnc mercy of the indi 
vicfual who is in charge of the decision mak 
ing process of what will reap the rewards of 
his expertise. 

Here in New Jersey 1 myself write 
record reviews for a local music publication. 
Because I know what it's like to get unfair 
treatment I try to give the benefit of the 
doubt to as many strugling people as pos- 
sible—but then again 1 also have to walk the 
tight-rope of being true to myself (i.e. my 
own tastes and views,) and to anyone silly 

enough to take my opinion seriously. Awhile 
back I got a recora to review fron a label 
which nad released material from my own 
band P.E.D., and whose mastermind I both 
liked and respected. Because I didn't 
particulally like the music of the release they 
sent me, I tried to extol the virtuses of the 
labels other releases and the commitment of 
the man doing all the shitwork to get this 
crappy record out (and believe me, while I 
did come across some fairly warm reviews 
of the record, most were far more brutal than 
I ever could be.) Anyhow, my former friend 
the record label head called me up following 
the release of the paper, and accused me or 
promoting myself (because by promotin 
his former releases I was promoting my ban 
which had been discontinued for 3 years 
running,) and also using my review to pro-1 
mote my own label. "Goddamn, I thought,^ 

how can people be so tucking petty and 
paranoid. Not even in my wildest dreams 
could I come up with a plan that fucking 
stupid-.I tried to explain tne ridiculousness 
of the whole thing to him, but I guess passion 
once again won over logic—oh well, another 
former friend who no w think I'am an asshole. 
How the hell do you explain to someone all 
the things which were going through your 
head when you wrote something point by 
point, and make them understand that you 
really did only have their best interest at 

STORY- „ . . 

Nobodies getting rich off the scene. I 
don't give a shit about all your stupid ideal- 
istic arguments about sell-outs, capitalists, 
vegans etc, etc. The most important thing 
about Punk rock, alternative music, and life 
in general, is the sence of belonging and 
community which it brings to allorus. If 
your favorite underground heros turn 
around and sign to Warner Bros, Megaforce, 
or Lookout, if s none of your fucking busi¬ 
ness. Two of the bands I've worked with 
have signed to the majors, their still my 
friends, they still play Knights of Columbus 
halls for 5 bucks, they still hang\ 

1 licit Uiro liiv. iw -- 

>endentlabels have become nothing more 

JIlUUlUll l UlC muai will 

the music, the ideals of the bands expressed, 
your own personal enjoyment which you 
derive from the experience? Why do people 
let the political grandstanding, and self 
engrandising of third parties affect their re¬ 
lationship to music? Are we cows? Are we all 
snotty record store employees with a fuck¬ 
ing cnip on our chnnlners? * 

Eers? Think about it! 

column is going to be on record production. 
Next column will be on record distribution. 

I'll start off by saying that I am not a 
musician, and I don't have a very good ear 
for a lot of the audio technological things 
that I should have (or would like to have), so 
I can't be exact on a lot of this. Sorry. 

The first thing I'd recommend to a 
band who's ready to go into the studio to 
record an EP or an Lr (or even a demo) is: 
once you decide what format you're going to 
use (live 2-track, 8-track, 16-track, 32-track), 
go to a few different studios and ask a lot of 
questions. Talk to the engineers, and try to 



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PO BOY 655 






« 4 



find out exactly what's going on. Before you 
decide to record at a particular studio, talk to 
the person you're going to have to deal with. 
Have they ever worked with a hardcore 
band? Do they know what hardcore is? If 
you have a demo, give them a copy. If you 
want to sound like BSD, bring a tape of SSD 
and play it for them. Talk. Ask. Find an 
engineer you feel comfortable with. Know 
what you want to sound like, what audible 
results you want from the finished product, 
or you're likely to get a sound you don't like. 

Plan your time. A 7" EP can take from 
5-15 hours, or more or less It depends on 
where you are, how well you're practiced, 
how good the studio's equipment is (and 
your equipment, as well), what speed the 
engineer is used to working at, etc. Don't 
rush, but be aware of time, as you're paying 
for it-or someone is-and studio time isnT 

After it's recorded, from my experi¬ 
ence, it's mixed down onto a 2 track tape (1 / 
4 M ). That'll be some money, as will your 
original 1/2” master you originally recorded 
on, but not much, buy brand name tapes. 
Ask for a reputable brand at the store. If you 
think saving $10 is cool, just wait till you hear 
the final mix! Then you can transfer the mix 
onto a DAT (Digital Analog Technology, or 
something like that) tape if you want, al¬ 
though it's not entirely necessary. Once again, 
this is something to talk to your engineer 
about. DAT is sometimes easier to deal with, 
sometimes not. 

Now you have a tape. You need to get 
it mastered. Here you have a choice. Most 
record pressing plants have a package rate 
where they handle the mastering as well as 
the pressing, the labels, etc. Sometimes it 
works out OK, sometimes it adversely af¬ 
fects the sound quality. I usually get my stuff 
mastered at Frankford-Wayne mastering labs 
in NY, which is a very popular place, and 
they usually do a good job (as far as I know). 
It really depends on what pressing plant you 
use. Its good to try and find out as much 
about a particular plant as possible from 
people who have used it before. Ask around, 
bee where people have gone, what problems 
they've had there. 

Anyway, if you do get your tape mas¬ 
tered elsewhere, the mastering lab will ship 
the mastered package off to the pressing 
plant, who by now should have vour de¬ 
posit, your laoelsfcameraready, of course), 
and should know who you are due to your 
keeping in contact with them. 
Remember:you're paying lots of money for 
all this to happen. You're the customer. Be 
informed and aware about what is happen¬ 
ing. Get catalogs and compare prices. Speak 
to the people involved. Don't just shut up 
and hope for the best because that's not what 
you're going to get. 

At this point, you have the option of 
getting a reference acetate (if you go to an 
outside mastering lab, you would get it from 
them). I've never really found them useful, 
but other people have. Speak to your engi¬ 
neer. They are a bit of money, but they might 
let you know if your tape sounds bad. 

If you donT get a reference acetate, you 
won't hear the processed sound until you get 
the test pressings. The test pressings are like 
the finished product. They're stamped off 
the stampers that will be used to press your 
record. Listen to them well. Check for skips, 
pops, weird things, sound fluctuations, if it's 
all in stereo-things happen along the way. 

have their own distinctive flavors and you 
can radically change the feeling of a song by 
changing the rhythm. 

When I first started getting good at figur¬ 
ing out songs off of records I began to realize 


that without some method for writing down 
rhythms my tablature system was really in¬ 
complete. Rhythm is really a crucial aspect of 
making a song, solo or bass line sound just 
right. Fve always had a hard time trying to 
read clasical rhythm notation so I endecrup 
developing a simplified sort of rhythmical 
shorthand. ***Before I go any further, I need 
to say that a lot of the following was ex¬ 
plained in my August column: Tablature 
part 1. Without repeating myself too much, 
tablature shows you which fret to play on 
which string. If you don't follow this, read 
my August column.*** 

Most music that we listen to can be di¬ 
vided into "measures" (or "bars") of 4 beats 
each. My system tells you when, amongst 
these 4 beats to pick or strum; on the down- 
beats as you tap your foot or on the upbeats 
as your foot comes up. 

Let me give you some examples: Say I 
want you to play an "F" chord 4 times, 
evenly spaced in l measure. I would write it 
down like this: 

| / / / / | 

coov>t -*r t •z. J> ’j 

VrjLv; ^ V i' 

Each diagonal slash represents one strum. 
As you strum, tap your foot steadily (with 
the strum) and count 1,2,3,4. You have just 
played the first, second, third and fourth 
downbeats of a measure. 

The spaces in between these downbeats 
(as your foot comes up between taps) are the 
upbeats. If I wanted you-to play 4 down- 
beats with 4 upbeats in between I would 
write it like this: 

/*/**/*/ K J 

Covjwr-f f + z + 3 •*- 

'•nun+i t 

I think of this as 
You're still just tapping 1,2,3,4 and the mea¬ 
sure is the same length but you are playing 
twice as many notes within the same 4 beats, 
by strumming up each time your foot comes 
up from each tap as well as strumming down 
on each tap. 

Now lets talk about "rests". Rests are 
beats in a measure where you don't want to 
strum. For example, a typical reggae rhythm 
can be thought of as strumming on just the 
2nd and 4th beats of a measure but resting on 
(not playing) the 1st and 3rd beats. I would 
write this down like so: 

•fcH'iTWl-* I / / / / ( 

CO wur-t / 2. 3 S 

ST ^ ^ 

Analysis: A diagonal slash means play the beat. A broken slash means don't play the beat. For the above example you would tap your 
foot 4 times but only strum on the 2nd and 4th taps. Here are the chords to the chorus of the Clash's version of "Police and Thieves : 









' / ' 



CO uwiT 

1 1. ** M 

1 i- "S M 

l ^ 

V ^ ^ S 

Here's an old fave of mine/ 

'Louie Louie": 

C A 




TKbtAjvef- 3 * f 


P-MVTWv - -7- 

Coopt -- >t 

$TR.<*- "* 



I 2. * S 
ir i- vj. 




/ t / 
a. 3 M 
V 4* 

/ / / / I 1 t ! 

, -2. % H • *-*S H 

4 H- I b 

Analysis: Tap your foot 4X (X means times) for each measure. Only strum on the solid slashes. Don't strum (rest) on the broken slashes. 
Now lets combine rests and upbeats. 1 think the best Way to illustrate this would be by thinking about ska. This might be oversimplified 
but you can think about ska as being all upbeats. Here's how I'd write down a typical ska rhytnm: 


I /*'*/*'* I 

| / / / / 1 

Coopt— y t + z. ♦* 3 T H ■+• 

VtAOh— y f T ^ +■ 

Analysis: You're tapping 1,2,3,4 but only strumming on the upbeats, between taps. When playing ska on the guitar you actually strum 
upon the upbeats; think about your picking hand as being connected to your tapping toe. Every time your foot comes up between taps your 
pick comes up to strum. (This is actually a good overall rule: strum down on the downbeats/strum up on the upbeafs. This will actually 
help you get the correct rhythms, believe it or not!) If you're playing the ska rhythm correctly you should end up with something that feels 
like:..AND...AND... AND...AND. Here's the verse to the Specww "Concrete Jungle".. 



Couur-*7 I ^ -v vj -t- 

--r t r T t- 

Okay, now that you have the concept of downbeats, upbeats and rests we can combine them to get millions of basic rhythms. Here's 
the intro and chorus to the Ramones' "Commando": 

Krtfr+^tv7 / /*/*/* 

Coo*/i-T < «•■*•'*■«'ll- 


It reall 


ally does help to get the the rhythm by strnmming down on the downbeats and up on the upbeats. (Keep your foot and picking hand 
:ea.) Here's the Exploiter's "Alternative": 

Here's part of Eddie Cochran's "C'mon Everybody", as played by the Sex Pistols: 



3 A 

THuAW D"f:—-- 




SJ t--x. 


Z Z. A (5 

7 q ^ 

■-* / / V * / 9 / ( / ✓ / / 

-*7 i 2 «»- ■> ♦ S 1 “X * H 1 Z. ^ ^ 

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 

o 4 

/ / * ; * / 

\ -2 + 7 -r M 

V- f- TV 

Hopefully most of you have been able to follow most of this. If not, don't despair, it's fuckin' hard to learn a new language. If ya just 
don't get it, try playing along with the records these songs are on, this might help to make things a bit clearer. Even if ya can^t relate to all 
the rhythm shit at leastyou now know the chords to a few more tunes.If you did understand everything in this column, good for you! I hope 
it helped you out. 

Okay, I'm gonna end with Black Flag's "Nervous Breakdown", written out in the style that I usually write stuff out in. (Not so 
overexplained!) I hope you get it 'cause this'll be how I write stuff out in future columns. 

t> A 


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Regarding mail...I really enjoy receiving all your letters; I find them real encouraging and helpful. However, I've realized that it's just 
not in me to answer them all. I just don't have enough free time...So I just wanted to say: write me with advice and ideas for what you'd 
like to see in the column but please don't expect a reply, okay? Sorry about that! Advice, comments, requests, feedback to: 

Bill Collins c/o Contra Costa Alternative High School/ 10 Irwin Way/ Orinda CA, 94563 

So there I was sitting in the departure 
lounge at London Airport bummine heavily 
about having to go back to the USA and all 
the loudmouthed yahoos who think being a 
good American requires one to not only he 
phenomenally ignorant, but also to constantly 
remind everyone within shouting distance of 
that fact. 

In fact I was already surrounded with 
my fellow countrymen doing their best to let 
the English know that Americans can do 
anything bigger, faster, louder, more taste¬ 
lessly, and with less sensitivity than anyone 
else in the world. Anything, that is, except 
shut up. 

In an attempt to drown out the ca- 

Dallas while tripping on LSD, I slapped on 
my super heavy duty Walkman headphones 
(no thanks to Lance "Anarchy 7 ' Hahn, who 
displayed his commitment to abolishing pri¬ 
vate property by confiscating and destroying 
my oid Walkman, which he would have paid 
for except that being an anarchist, he of course 
had to quit his job). 

* I listened to the BBC for awhile trying 
to catch up on the news about the attempted 
coup in the Soviet Union (couldn't happen in 
the USA, of course, where the former head of 
the secret police is already the president and 
the army can do whatever the fuck it wants 
and the people will just wave yellow ribbons 
and have orgasms at the sight of babies get¬ 
ting their heads blown off). 

This girl sat down a couple rows over. 
The first thing I noticed was her hat, which 
reminded me of the one my friend Julia used 
to wear around Berkeley before she broke 

, . , , -<-/-r> — ps j e 

- lege 

vine same unc wncic j«nt »iuiu Yeastie 
Girlz first went off the rails, so Julia's parents 
may be getting more than they bargained 

Then I saw she had like serious 
piercings, ears, nose, lip — thankfully she'd 
left her eyelids alone, though that may have 
changed oy the time you read this. As some 
of you may know. I'm not the biggest fan of 
piercings, but she looked nice (that's prob¬ 
ably not the right word) and more interesting 
by far than anyone else in the room. 

I noticed that she was staring at me. I 
thought it was because my headphones 
(they re the kind you usually use with your 
stereo at home) looked funny sitting on top of 
my head, or just because I looked like a dork 
who doesn't nave any piercings. But then she 
started to say something, so I took off the 
headphones and heard her ask (loudly 
enough so I thought everyone was going to 
turn and stare at me) "Is that Lawrence 

Uh-oh, I think, and start looking for an 
escape route, but my back's against the wall 
and anyway, once you've entered this room 
the only way out is to get on the plane, which 
wasn't loading yet. 

But it was all right; she wasn't from the 

pierced punx hit squad come to silence im 
for saying those terrible things a couph 
issues ago. She wasn't even a fan who recog 
nized me from my incredible likeness up 
there at the top of this column. She actually- 
had met me a couple years ago at the famous 
San Francisco anarchy convention. Of course 
I didn't remember meeting anyone then be¬ 
cause I was too busy thinking everyone 
hated me for having a shaved head (i.e., no 
tylish crusty dreads or multicolored 

So we got to sit together on the plane 
ay tricking the sourpuss lady who was sup¬ 
posed to sit next to me into thinking that 
he'd get an aisle seat if she traded with us. 
She came grumping back that it wasn't an 
aisle seat, but too late. Then we set about 
figuring how to scam drinks for her. See, on 

international flights you get all youcan drink 

for free, but because we were headed back to 
the idiotic USA, the only country in the 
fucking world (except, 1 think, for Northern 
Ireland) where you nave to be 21 to drink, 
and Tracie was still two months short of that 
(I went into bars in Berlin with my friend 
Rebecca who's 15 and small for her age and 
nobody batted an eye), I had to reduce my 
self to the role of a common thief, skulking 
around the drink cart and the kitchen until 
the stewardesses weren't looking and then 
pocketing bottles of wine, just like I used to 
nave to oo when I was 13. 

The brighter among you might say 
why didn't you just order twice as many 
drinks for yourself and share them with her? 
But no, thanks to being exposed to some sort 
of cultural depravity at an impressionable 
age, Tracie won't drink beer. And I won't 
drink anything else. Somebody's got to stick 
up for their principles. 

I haven't done any real shoplifting 
since I was 16, but I guess I haven't lost the 
knack. Pretty soon we were having a jolly 
time, amusing ourselves with intelligent 
pursuits like dropping a hunk of Brie (the 
French yuppie cheese that looks like runny 
yellow snot and smells like old sweat socks) 
onto the seat of the fat jock in front of us who 
kept ramming the seat back into my knees. 
I'd like to be able to tell you that it got 
squished all over his enormous butt; unfor¬ 
tunately it rolled off onto the floor and we 
had to content ourselves with watching to 
see who would be the first passenger to step 
in it. 

She showed me her belly button pierce 
and her tattoos, and then I decided to ask her 
the question that got me in trouble with the 
last pierced punk 1 asked it of: how are you 
supposed to kiss anyone with that ring go 
ing through your lip? 

Well, sne showed me, and it was a lot 
lessproblem than I would have thought, but 
I still don't think I'd want one of them 
through my lip. I was going to ask her to 
pierce my ear (she carries a piercing gun in 
her bag) but then I drank some more beer 
and forgot about it. It was the best ten and a 
half hour plane ride I can remember. I al 
most didn't mind coming back to America 
Even the US Customs agents, who normally 
turn all my luggage inside out and dump it 
on the ground while making rude remarks 
about my mama's sexuality just smiled and 
said "Welcome home, boy," and waved me 
through without a glance. Shit, that ten kilos 
of heroin I jettisoned could have fetched me 
some mcgabucks. 

The only bad part of the trip was that 
I was supposed to be writing my Maximum 

Rocknroll column (yeah, this one) and of 
course I never touched a piece of paper the 
whole way. Now I've got Uncle Tim breath¬ 
ing down my neck on deadline day, and I 
haven't even said a word yet about what I 
was planning on writing about. Never mind. 
I'll squeeze S in here. 

So as all you hipsters know, a big thing 
in England these last couple years has been 
acid house and/or rave parties, where thou¬ 
sands of people get together and take hell of 
drugs (mostly LSD and Ecstasy) and dance 
to weird electronic music (some might call it 
disco; I would, but I like it anyway) accentu¬ 
ated by the usual colored lights and other 
psychedelic sideshow paraphernalia. 

But because of the deep, abiding fear of 
the British government (of governments ev¬ 
erywhere) that somebody, somewhere, might 
be having a good time, the police began 
regularly ousting up these parties until the 
only ones allowed were in fancy clubs that 
cost £15-£20 ($25-$35) which leaves out most 
people I know. So what started happening is 
that people would get together with a gen¬ 
erator, some turntables, some colored lights 
and banners, and set up in the middle of 
some field or forest miles from anywhere. 
The police would still manage to turn up, 
usually, but you might get several hours of 
good dancing in before they did. 

I was curious about this stuff, so on my 

_ i -_ Cm T rr»\7_ 

last Saturday night in England, I found my¬ 
self being shunted around the godawful 
northern suburbs that come just before Lon¬ 
don turns into a cow pasture. It was like 

__TArifVt nmnlp 

and speakers and beer and food supplies. 
Nobody knew where we were going until 
the last minute (in our particular case, it was 
quite past the last minute because of our 
ariver, another Lawrence who has a habit of 
being even way later than this one). 

We walked for almost a mile into the 
forest with no light except when Aidan kept 
nervously flicking his lighter which sparked 
but never lit. Aiaan was just starting to get 
off on his half tab of Ecstasy, as were about 
half the other people (not me; I'm not against 
it or anything, but that shit costs $25 a hit). 

After a lot of stumbling around in the 
dark, we finally heard music in the distance, 
but before we could get there, we had to turn 
onto an almost nonexistent path and thread 
our way through a thicket of low hanging 
pines. When we emerged into the clearing, 
we saw that all the secrecy had paid off, in a 
way. The cops would never find this place, 
we figured, since way less than the expected 
1000 people had. In fact it was closer to 100. 

I was kind of disappointed that it wasn't 
going to be massive, but there was plenty of 
beer and dope and the music was cool ana so 
were the people. I was really starting to get 
into it. Aidan took the other half tab of Ec¬ 
stasy and I danced around for a while until 
he called me over to him. 

He was sitting off in the dark and asked 
me to sit down next to him. He started telling 
me about all these feelings he was having, 
and he kept snuggling closer and closer. 
Soon he had his arm around me, and was 
rubbing my neck and shoulders while he 
told me howgreat it had been spending time 
with me the last few weeks. 

'There's a lot about me you don't 
know," he offered, and then started talking 
about that column I wrote last year about 
being in love with a guy but being afraid to 

God is it's author and not man; he laid The Key note of all harmonies; he 
planned All perfect combinations, and he made Us so that we could hear and 




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My Defense Of Cuba by Iosu Perales 

We’ve just returned from a brief visit to Cuba. My response to those who 
ask me questions depends on their tone and the ideas contained in them. Either 
I reply that things aren’t going so badly, or I say that there are serious 

I avoid black-and-white definitions and I reiterate time after time that 
the Cuban revolution, like life, is in reality a variety of colors and shades which 
deserves to be seen as it is, not as we would like to see it in our imagination. 

In general I find myself speaking with three kinds of people on the left: 
those who think that all is well in Cuba; those who see the positive side and 
make an effort to get to know its weak points, all done with a spirit of solidarity; 
and those who think that there is a dictatorship there, and who I suspect are 
waiting for the revolution to follow the course of the Eastern bloc countries. 

I really get on best with the second group, try to persuade the first group 
and clash outright with the third. 

After the fall of the Eastern bloc regimes, the western ideologues said; 
well, now it’s Cuba’s turn, Fidel’s next. Of course, they omit the fact that Cuba 
had a revolution whereas Poland and Hungary didin’t. 

They don’t realize that economic references for the Cubans aren’t West 
Germany but thoroughly wrecked Latin America, and they don’t bear in mind 
that the parlamentary democracies in the Caribbean and Latin America in 
general, far from constituting attractive models, are tragic democracies, or just 
jokes, depending on how you look at it. 

In terms of how they see Cuba, as with the Third World in general, the 
European media and governments, and even many intellectuals, show abso¬ 
lute ignorance when it comes to concrete realities. They are only interested in 
the self-important ideological debate which continually attacks revolution, 
whether it be in Cuban, Nicaraguan or Salvadoranan. But what worries me is 
that people on the left are being influenced by the spokesmen of capitalism and 
that they take a distant and equally aggressive position towards Cuba. They 
reproach the leaders of the revolution for the rationing and the queues, wishing 
to ignore that economic problems in Cuba are basically a cause of imperialist 
aggression; naturally if they believe they know how to find solutions outside of 
the market economy, they should make them known as soon as possible. 

They denounce the existence of a bureaucracy as amortal sin and they are 
right; I only say that they should understand that for an underdeveloped 
country which has a revolution it’s very difficult to avoid this phenomenon, 
which the Cubans fight with all their strength. 

They complain thet Cuba has a authoritarian leadership; let’s not forget 
that authoritarianism forms a large part of this weakened, mad and magical 
America, never far from being a colony. But authoritarianist regimes exist and 
are very close to ourseves, sometimes in disguise. Let’s not forget that, we the 
smartarses. Fidel’s plus-point is that he’s never ripped off his own people. 

The danger of evaluating the course of the Cuban revolution outside of the 
Latin American context, where the U.S. influence is terrible, is great. And we 
have to be careful if we don’t want to end up thinking that revolutions in 
underdeveloped countries can’t be anything other than despotic republics. 

That would be a very grotesque and European way of looking at the world. 
Almost as grotesque as the reaction of some tourists to the queues, being used 
to having everything at hand, and quickly, and the point is that these ideas are 
to do with the standard of living in Europe. 

I don’t know if it’s worth mentioning it, but at times, seeing the 
inconvenience of living in the Thirld World, I ask myself how many revolution¬ 
aries here would change their life in the capitalist system for anotiier in an 
underdeveloped country, even it it was in revoltuion? Please forgive me for 
those who feel under attack. 

Confronting this wave of anti-Fidel feeling is another group of people 
enterenched in a critical defense of the Cuban revolution. And many of those 
who before worshipped the USSR now take refuge in Cuba, because deep down 
they can’t live out in the open and they need a shelter which gives them security 
and permits them to carry on living in the world of angels and demons. 

Really their intentions are good and their mysticism admirable. The 
problem is that they help the Cuban revolution, which needs friends who 
analyse and criticise constructively, very little, and they help themselves very 
little too by shutting themselves off in a restricted and dogmatic view of the 

Cuba needs changes, they need true democraticization of the country. So- 
called popular power isn’t popular and it should be. Individual freedoms should 

be integrated into collective ones. The bureaucracy should be 
fought to death and executives and experts removed from their 

The habitual ideological unanimity should be substi¬ 
tuted by cricitism and new unity. The party should stop being 
the State and the State the Party. The media should make 
accusations whenever necessary and leave behind the self¬ 
censorship they practice... 

People like Gabriel Garcia Marquez and Eduardo 
Galeano say the same thing without stopping being allies of 
Cuba. Exactly the opposite, with their opinions they show true 
love for the Cuban revolution. 

But I want to say the following; a lot of Cuban leaders are 
aware of the need for these changes. The process of rectifica¬ 
tion which will conclude in the IV Congress of the Cuban 
Communist Party, isn’t just for decoration, it’s a serious move 
which will make way for political changes. 

The struggle against bureaucracy and mediocre leader¬ 
ship, against opportunism and falsification of reality, and in 
favor of popular participation in small, medium and large 
matters, is to a great degree sincere. 

There are and will be resistence from the old guard who 
live better under a vertical system of order and control. But 
sooner or later the resistance will have to yield to the pressure 
of reality, especially in regard to the youth. 

Cuban youth doesn’t have their parent’s past as a reference, but a future 
they want to construct. It’s no good telling the young about the horrors of the 
Battista regime in order to justify the inadequacies of the present. And to a. 
great extent they are right. So change is imperative. And besided, Fidel isn’t 

It’s not at all strange that Cuba hasn’t advanced in terms of democratic 
politics. Just like in any economically underdeveloped country, the Cuban 
revolution tended from the beginning towards a hierarchical relationship 
between the State and the people. The imperialst persecution, far from 
lessening this contradiction, has narrowed the canals to power. 

The revolutionary leaders have for many years had to take in tasks of 
great magnitude: ensuring the working of social machinery and setting up a 
powerful state sector; and if that wasn’t enough, run the national defense 
against an imerialist aggressor. 

As in any underdeveloped country which has had or tried to have a 
revolution, it wasn’t a horizontal mass who took the power in Cuba, but a 
hierarchical conglomerate. If Cuba hadn’t had, as it has, a savage blockade, it’s 
very probable that the politcal democracy would be at the same level as the 
economic democracy in the country. 

I don’t understand why some or a lot of people on the left obstinately 
ignore that the limitations in political liberty that they refer to have to do with 
the rigidness of the international blockade. I think it’s important not to lose 
sight of this fact if we don’t want to end up thinking, with the luxury of 
Eurocentric thinking, that model revolutions can only happen in the developed 
countries, with organised societies and a high level of culture. Are they even 
possible here? 

It would also be a good idea to deal with those who in the debate about 
political liberty limit themselves to reciting the economic and social 
achivements in Cuba. It’s true that the successes have given the Cuban people 
the highest level of social services in Latin America- take note those critics who 
talk of queues, rations, etcetera.... 

But these advances can’t substitute in anv way other needs. Revolutions 
are meant to let men and women enjoy life and freedom. They aren’t something 
which ends with better distribution of wealth and attention to education and 
health. You don’t need to be simple to confuse these things. 

We saw in the streets of Havana the effects of the economic difficulties, 
a product of the crisis is the Eastern bloc countries and the North American 
blockade. People complain and talk freely about things being badly run. 

But they don’t criticise the system, nor the party, nor Fidel. They criticise 
the mediocre administrators and inefficent managemnet. They criticise those 
bureaucrats who blame the bad management for the crisis, when the fault is 
theirs. The Cuban people are a rebellious people. They don’t shut up. And they 
are clear about some tnings; first of all that the Cubans will resolve their own 
problems; secondof all, that North American imperialism is the biggest enemy; 
and thirdly that things have to improve. 

It’s true that they don’t use the party mechanism to express their 
criticisms, which has to do with the rigid inertias of the past and the pressure 
of mediocre leaders who don’t like people to question. And it’s true that the 
grassroots organizations represent the State and the Party to the people and 
not the other way round. So there is a lot to change and that’s what’s happening. 
We’ll talk about the results later, but I have confidence in this rectification 

Cuba represents something great in Latin America. It’s an active symbol 
of anti-imperialism. It’s a banner for millions of poor people. It’s an enclave of 
true solidarity with revolutionary movements. It is not, of course, a perfect 
society, as Pablo Milanes said. But underdeveloped Cuba, combative, imper¬ 
fect, deserves solidarity against the aggression it suffers; and it should be able 
to count on support for the political changes it needs. Cuba has the virtue of 
having defied a Latin American history of repression and humiliation. 

Translated by Paul Ross. This is an article which appeared in the Basque 
Country newspaper Egin and was written by Iosu Perales, a well-know Basque 
writer on Latin American affairs, and an activist in the Basque solidarity 
movement which has done so much to increase Basque awareness of what is 
happening in Latin America. The Jesuits murdered by the army in El Salvador 
were part of that fine tradition of Basque solidarity, and the desire to under¬ 
stand the reality of Latin America, both its positive and negative aspects, is the 
background to this article, which was written in anticipation of the imminent 
Cuban Communist Party Congress. 

tell him. Oh boy, I thought, this is getting 
really dramatic. 

Then he says, "You know, Lawrence, 
I've sometimes gotten the feeling that you're, 
well, that you might be attracted to me." 

Anal had to admit that I was, even if he 
does look like a skinny owl and smokes way 
too much. But being the gentleman that 1 
waste too much time trying to be, I assured 
him that I wasn't 

him, at least not i 
bit more encouragement. 

"Actually, Fm quite flattered," he told 
me (Aidan's from England, remember; he 
speaks more elegantly than us American 
yokels). By this time he's practically all over 
me, and I'm wondering whether it;s just the 
drug, or if this is his real personality coming 
out. Not that I care that much; I'm enjoying 
myself either way. 

"I do love women, though," he contin¬ 
ues. Yeah, yeah, I think, so do I; what's that 
got to do with this? But as luck would have 
it, two women that we know come strolling 
by just then. "Come and sit with me," calls 
Aiaan. "Did I tell you about the show we 
(he's in a band called Juice; there's your plug, 
OK guys?) played last week that got broken 
up by the police?" 

Aidan being cute as a button and sweet 
as all get out, of course the girls were inter¬ 
ested, and faster than I could say 'alienation 
of affections,' they were snuggled around 
Aidan while he told them about his band and 
all his innermost feelings. I went back to 
dancejust as the police snowed up. 

Tnere were only two of them at first, 
and as English police don't carry guns, I 
suggested it might be a good idea to simply 
kill and eat them and then carry on with the 
party. But soon the woods were alive with 
constables, some nice and some not so nice, 
all of whom had trekked a mile or more 
through the forest to make sure that no Brit¬ 
ish subject (or suspicious alien like myself) 
would go on dancing illicitly in the moon¬ 
light (that's a figure ot speech; actually there 
was no moon at all). God, what might hap¬ 
pen if people started dancing any old time or 
place they felt like it? 

Nice one anyways, you guys and girls 
who put the thing on, especially Kev (who 
used to be in Conflict and Visions of Change, 
so sod off, anyone who thinks there's some¬ 
thing unpunk about an acid rave). And I 
forgive you, Aidan; thanks for going to the 
airport with me and I ended up getting a 
Guardian on the plane for free—an all around 
excellent day. So far I don't even mind being 
back in the USA, as long as I know I can leave 
again before too long. 

That leaves only one thing: yet another 
Bad Religion controversy. Our mega-punk 
stars left some pretty bad feelings on their 
one-stop tour of England. They at first re¬ 
fused to pay even the expenses (they later 
paid some of them) of the woman who'd set 
up the London show because they allegedly 
lost money on the gig (if I'm not mistaken, 
they were paid £1500, about $2500) and can¬ 
celled their Birmingham show because, de¬ 
pending on who you believe, they had a 
better paying show elsewhere, or "because 
they weren't sure it had been confirmed. 

According to Christy, they also made a 
fuss because 
towels at the f 
either r 

handle a "major" tour. Not "professional" 
enough, I think the word was. 

It puts me in kind of a weird position 
because a) I like Bad Religion's music a lot, a 
real lot b) I met and talked with Brett, Greg, 
and Jay last year and liked them a lot as 
people c) David Pollack, the German pro¬ 
moter who organizes Bad Religion's Euro¬ 
pean tours is an old friend who I've known 
almost since before there was punk rock. 

On top of that, I really like what Bad 
Religion did on the split 7” with Noam 
Chomsky. But I'm getting tired of defending 
them when I hear stories like the one I heard 
from Christy (and backed up by a number ot 
people). I've heard similar stories enough 
times to think there must be something to it. 
And what it boils down to is: what the fuck? 
Look, I know enough about the business ot 
selling records and playing shows to know 
that Bad Religion is making plenty of money. 
If they keep putting out a record every year 
or two, they'll never have to do anything but 
play music the rest of their lives. 

And they'll almost certainly get more, 
not less popular in the future. Money 
shouldn't even be an issue for them any¬ 
more. They've got it made, if you define 
success, as I do, as being able to make a living 
doing something you love to do, something 
vou'd be doing anyway whether you were 
paid or not. Maybe they're not rich, at least 
not compared to mainstream rock stars, but 
so what. Nobody needs more than about 
$50,000 a year, even if they're supporting a 
family with a couple of kids. I've got friends 
who get by on one tenth of that. 

it boils down to this: the two biggest 
bands in punk rock today are Fugazi and 
Bad Religion. Fugazi sells about tne same 
number of records, maybe more, but they 
still play shows with a top door price of $5 or 
$6, and" I have yet to hear a promoter com¬ 
plain about feeling ripped off or taken ad¬ 
vantage of by Fugazi. Bad Religion are con¬ 
stantly playing snows for $lr> and $17.50, 
md even if not all thecomplaints about them 
ire justified, I don't think we would hear so 
many if there wasn't something to it. 

I still like Bad Religion's music, better, 
to be honest, than I do Fugazi's. And I like the 
people in the band as well. I'd prefer to think 
that their mistakes tend to be due more to 
carelessness rather than true greed or insen¬ 
sitivity. I guess they've got to decide for 
themselves what they want. They could be 
as big as the Rolling Stones someday, though 
look what a buncn of sad sacks that band 
ended up as. But look at it this way: they've 
made it this far by not playing the normal 
rock music game, by literally doing it all 
themselves, right down to running their own 
recording studio and record company. Now 
that they've attained some well-earned suc¬ 
cess, what sense docs it make to switch the 
rules and start acting like any run of the mill 
major label act sponsored by any run of the 
mill multi-national corporation/ Not much 
fucking sense at all. 


line from the Bad Religion campus that 
Christy is a nice girl, but just not equipped to 



I feel like fucking screaming! Sure it’s 
great that "people power" stopped "tank 

power” back in the USSR, but it fucking 
makes me ill to see all these fuckwad conser¬ 
vative American politicians feeling so good 
about the idea. 

What I’m saying is that all the Senators, 
Congressmen, media personnel and their 
’experts’ would fucking puke if ’’people 
power” actually got used to bring down the 
government and institutions in this country. 
How convenient for them! George Bush was 
up to his ears in coups when he worked as 
head of the CIA, let alone all the dirty shit he 
participated in as Vice-President and as Presi¬ 
dent. Yet there he is applauding the forces of 
reform and resistance. 

It galls me even more that, for all in¬ 
tents and purposes, we’ve already had our 
coup in this country, and not only aid no one 
really resist, but hardly anyone even noticed 
or cared. For the last 21 years we’ve had our 
civil rights taken away bit by bit. When 
protests serve the reactionary forces govern¬ 
ing, the President coddles them (Operation 
Rescue in Wichita), but when the demon¬ 
strations oppose the ruling elite, they are met 
with night sticks, tear gas, and rubber bul¬ 

The "people power” of the sixties that 
resisted America’s murderous foreign and 
domestic policies were attacked overtly and 
covertly. Organizations were infiltrated by 
police agents, who often were the most ac¬ 
tive in trying to get people to be violent. 
Resistors were murdered in bed, dragged off 
to jail, bound and gagged in court.Thou- 
sands of lives were ruined by the merciless 
and inhumane actions of the ’authorities’. 

Which brings me back to Russia. The 
crude actions of the coup plotters made their 
whole effort very transparent and insured 
popular resistance. The methods used by 
*our” forces of reaction are much more subtle, 
but are equally illegal and inhumane. The 
whole electoral process guarantees that only 
the rich, or their figureheads, can even ad¬ 
vance through the primaries to even get to 
the election stage. And even then, the winner 
is elected by a mere 18% of the population. 
Talked about rigged! And once elected, the 
average national politician remains in office 
much longer than the average chump 
’’elected” to the Soviet Politboro. Talk about 
concentration of power in the hands of a few! 

There’s a great song by Art Objects, an 
English punk band circa 1980, that spits out 
the following angry summation: 

The nuclear bomb is a blunt instrument in the 
hands of disturbed children playing for marbles 
The law is a blunt instrument for the use as 
they so wish of those in a position of authority 
The mass media is a blunt instrument in the 
hands of men whose sole desire is to rob a bank 
The economy is a blunt instrument with which 
the politically wealthy can have the poor or 
subservient systematically beaten to ensure the 
minimum resistance 

Desire and affection are blunt instruments 
effectively employed by professional journalists 
whose hands are permanently stained by the 
hypocrisy of printer's ink 
Education is a two-way treadmill which after a 
certain point those in power want to keep for 
their exclusive use 

And the voice of protest and dissent is the only 
weapon possessed by the majority of victims 
and is lying unused, at the feet of people who 
are too busy living and dying to bother to pick 
it up 

If the starving and hassled Soviet 
people could think and act their way out of 
their snowjob, why can’t we?! 


MR^EW^elcomesyou^ontribiitionnrUh^ra^foriginal articles, newspaper clippings, or hot tip reporting 

A Report From The Barricades in Moscow 

A Very Russian point of view from Max and Sasha of Naive on the Soviet Coup 

Max: Okay, so the whole thing happened on the 

19th. I was sleeping at home. And then suddenly 
Sasha dropped into my place and said, “Our 
government nas been overthrown and Gorbachev 
& hidden somewhere arrested and hidden in the 
south." I didn’t believe it so I fell asleep again. 
Then he came back a second time and said, 
“Max, are you crazy?" I said, “Uhh, You’re 
kidding. You must be kidding." Then I turned on 
the television. We have these two central stations 
and have a couple of local stations also. All those 
TV programs had the same thing going on with 
some classical music. This went on for hours 
and hours and hours. Everbodv was astonished 
as to what was happening. Nobody had any 
source of information. All the radio stations 
were jammed. They started to do some radio 
blocking. Some kind of wave to block the radio 
stations. Like BBC, Voice of America and all this 
kind of stuff where you can usually hear the 
news. But then some guy on the television 
appeared and said we had a government meeting 
and then they had a couple hours of press 
conference with those guys when they were 
saying,"Yeah, yeah. Let’s stop the bullshit that’s 

B on in the country, don’t trust the 
crats." It was just like in the old Brezhnev 
times. They were talking in the same speeches. 
Everybody was so fucking afraid. All my friends 
called with whatever information they had from 
theirparents and their friends. They said, "Yeah, 
yeah, yeah. Don’t go out in the streets. Don’t do 
this, don’t do that." That kind of shit. Then 
Ruslan came over here to Sasha’s place and 
said, "I want to take a gun and put bullets in their 

bellies. So, all three of us went over 

there. To that white house, the 
name they call the Russian parliament building. 

We heard about the barricades on the 
BBC and a couple of independent stations over 
here in Moscow. But they were all blocked 
except one called “The Echo Of Moscow." They 
said Yeltsin is in the White House and the Yeltsin 
government and the people that support him 
are outside. They were just asking all the people 
that don’t want tne army to rule to go over there 
and fight for democracy and all this shit. So we 
just went there and there were a lot of barricades 
over there. That was about nine o’clock in the 
evening. We stayed there until two A.M. There 
were a lot of people but nothing happened. They 
said they were going to have a demonstration 
the next day near Red Square, with Yeltsin 
talking. So we went there but the whole area 
was circled by tanks. There were people in 
uniforms. It all started happening. They tried to 
block the demonstration. But there were so 
many people over there that they headed for the 
central place in Moscow. It’s like Broadway in 
New York, called Gorky Street. There were like 
50,000 people over there. They had Yeltsin 
talking and some other people. They threw the 
flyers everywhere and shouted things through 
megaphones. Then the whole demonstration 
started moving towards the White House. I 
thought, very calmly, "Oh what they heck, the 
coup will be over-thrown in a couple of hours." 
Because at first I got very frightened. But I went 
to the meeting ana I saw all those people and felt 
very calm and comfortable. Then I went back 

and turned on the radio and the TV again. There 
were just the same people saying the same old 
stupid things because the democrats and Yeltsin 
ana the democratic people didn’t have access to 
television because it was all blocked. Then we 
went to the barricades for the second time. We 
had some friends that were organizing things 
over here in Moscow. So I went over there in the 
evening just to see what was happening at the 
White House and met Ruslan by accident there. 
He ran up to me and said they had the equipment 
over there. So we took a taxi cab over to Mike’s 
place, our drummer, picked him up, got our 
equipment and just went there. There were a lot 
of people now. Like 150,000 all around the 
White House. They had Molotov cocktails and 
sticks in their hands. Pieces of metal. We stayed 
there until six o’clock in the morning because the 
official government said they were going to 
control the streets from 11 PM 'til 5AM. People 
were not supposed to be on the streets then. 
But there were taxi cabs going all around the city 
that would take from one place to another for 
free. If you were going to tne White House they 
said “Don’t bother about the money we’ll bring 
ou there." It was really frightening at first and 
guess about 10 o’clock or 11 aclock in the 
evening we heard gun fire and all that stuff. 
When our band played, we would play one song 
and then give some information about what was 
happening. Then another song and someone 

MOSCOW Continued Page 3 Col 1 

OCTOBER, 1991 
Page 2 

Allin described the jury as “a bunch of narrow¬ 
minded, robotic puppets of society” who looked 
like his “dead grandmother.” _ 

G.G. Allin 

Associated Press 

A rock singer who defecated on stage and 
tossed excrement at his audience was convicted 
Thursday by a jury that rejected his argument of 
artistic freedom. 

Kevin Michael Allin, known as G.G. Allin, 
lead singer of the defunct group Toilet Rockers, 
was convicted of provoking a disturbance during 
the incident two years aao at a nightclub. He 
could be sentenced to 90 days in jail and fined 
$ 1 , 000 . 

"My body is a rock 'n' roll temple," Allin said 
Thursday in an interview. "It's like a communion 
to my people." 

Defense attorney Peter Goldberg said the 
verdict, which followed a four^day trial at 
Milwaukee County Circuit Court, would be 

Allin described the jury as “a bunch of 
narrow-minded, robotic puppets of society" who 
looked like his "dead grandmother." 

"They’re trying to kill rock and roll, but they 
can't do it becausel'm the king of underground 
rock 'n' roll." 

Goldberg had argued that Allin, 34, of Ann 
Arbor, Mich., was a serious performer whose 
Feb. 28,1989, performance nad artistic value. 
He said other avant-garde artists have 
incorporated scatology into their work. 

Defense witness Jeffrey A. Halley, an 
assistant professor of sociology at the University 
of Texas at San Antonio, testified that Allin’s 
performance was “definitely acceptable" to an 
audience that paid to see it and knew what to 

“You can’t judge art by standards of it 
being offensive," Halley said. “Much of today’s 
art is offensive." 

Assistant District Attorney Michael 
Steinhafel argued the First Amenament isn’t 
unlimited and the performance "clearly crosses 
the line." 

The criminal complaint against Allin said 
he threw excrement into the crowd, simulated 
sex acts and dragged a female fan on stage and 
jumped on her. Most of the 50 people who had 
paid to get into the cafe immediately left, and 
police arrived and arrested Allin, the complaint 

Panama’s Continuing Drug 

Problem fa of Drugs Through Country list Han Site U.S. Invasion 

By Joel Wing 

The United States invaded Panama in 
December 1990 to overthrow General Manuel 
Noriega and stop the flow of cocaine through the 
country. Almost two years after the invasion, 
however,s more drug related activity is being 
carried out in Panama than during the Noriega 
period. Rather than slowing the drug flow, it 
appears that the U.S. invasion precipitated a 
major increase in drug trafficking through the 

As early as 1971, the United Stats had 
identified Panama as a major center in the Latin 
American narcotics trade. Under the government 
of General Manuel Noriega, Colombian cocaine 
cartels were able to use the country as a 
transshipment point for drugs destined for 
America and Europe, and to launder their drug 
profits in the 
banks. With 
t h e 
overthrow of 
Noriega this 
govern ment- 
alliance was 

M o r I e y , 

“Bush’s Drug 
Our s', " 

Nation, 8/ 


In the 
wake of the 
invasion, the 
drug trade in 
Panama was 
o longer 
were drug 
under the 
control of 
officials but 
rather were 
placed in the 
hands of 
hundreds of 
small drug 

As one 
diplomat in 

P r 



Despite the U.S. 
invasion and the 
removal of 
Noriega from 

drugs continue 
to flow through 

stated, "The cartels . . . privatized the drug 
trade. They . . . [took] it out of government 
control ana put it in the free market, and [it did] 
better than ever." The breakdown of strong 
central control under the U.S.-installed 
government of President Guillermo Endara also 
allowed these smugglers greater access to 
Panama than ever before. As the Los Angeles 
Times reported, drug traffickers became so 
confident after the U.S. invasion that their ships 
could often be seen docked in Panama City’s 
municipal fishing wharf alongside boats used by 
the police. As a July report by the U.S. General 
Accounting Office found, more drugs were 
coming through Panama in 1991 than before 

the U.S. invasion. (Kenneth Freed, "Drug Scene 
In Panama Worse Than Ever Before," S.F. 
Chronicle, 5/1/91; Time, "The Flow Goes On," 
8/26/91; Mark A. Uhlig, "Drugs still flow 
through Panama," Sacramento Bee, 8/21/ 

The privatisation of the drug trade in 
Panama also seems to have increased the 
roduction of cocaine itself in the country. 
Jnder General Noriega, there were strict rules 
banning the production of drugs in the country. 
After tne U.S. invasion, drug labs sprung up 
throughout the countryside. Today, cocaine is 
produced in as many as 20 different labs in 
Panama. (Freed, S.F. Chronicle, 5/1/91) 

Launder of drug profits by Colombia’s 
cocaine cartels also continues in Panama. 
Despite a treaty signed between the U.S. and 
Panama which gives U.S. officials access to the 

records of 
banks and 
tightens rules on 
cash deposits, 
large amounts of 
drug money 
continue to be 
laundered in 
foreign banks 
residing in the 
country. These 
operations are 
facilitated by 
corrupt officials in 
the new Endara 
Allegations of 
complicity in 
money laundering 
go as high as 
friends and 
associates of the 
president and 
attorney general. 
(Freed, S.F. 
Chronicle, 5/1/ 

The U.S. 
invasion of 
Panama was 
hailed as a great 
victory in the war 
against drugs. 
General Manuel 
Noriega was 
deposed from 
power and 
brought back to 
the United States 
to stand trial for drug trafficking. The fact that 
the general’s removal had no discernible effect 
on the drug trade was passed over in the 
euphoria following the invasion. As Professor 
Alfred W. McCoy pointed out in his book, The 
Politics of Heroin, the drug trade is based on 
commodities that “operate on fluid laws of 
supply and demand not susceptible to simple 
repression. ’’ The capture of prominent individuals 
such as Noriega, therefore, cannot effect a 
system that is controlled by invisible market 
forces, not humans. General Noriega may stand 
trial in the U.S. but the flow of drugs through 
Panama will only increase. (Alfred W. McCoy, 
The Politics of Heroin, 1991, p.2) 

(Formerly American Standard) 



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OCTOBER, 1991 
Page 3 


From Page 1 Col 3 

would give some information about what was 
going on around the White House. So the people 
were informed about what was going on over 

There was one barricade that had the 
black flag on it with a red @, you know, anarchist 
symbol on it. I guess there were about 100 or 
200 punks 

at that 
just manned 
by the punks 
and the 
It was very 
for me ana 
for everyone 
else to see 
that. People 
said they 
didn’t expect 
people to go 
over there 
before that 
they were all 
rsi o b o d y 

about politics. But now it was very different. So 
when we played they came from tne barricades 
right to the steps of the White House 
played on the first night and there were 

bands: Naive and some other band which'_ 

rock n’ roll. Then the next day, there were a lot 
more bands... not very good ones (laughter). It 
was just some kind of commercial thing for 
them. The first day was the crucial moment for 
everyone, but for ail the bands that | 
other days, it was much more fun 
people were more calm, and nobody thought 
anything was going to happen. 

Bands played from the 20th to the 21st, 
then it was at midnight. It all started at midnight. 
And the next day, they played from the 21st to 
the 22nd at the White House. But the next day 
was very, very shitty because everybody knew 
that nothing was going to happen. So they played 
and shouted these really crazy things, like 
"We’re for democracy." It was really funny. 
Where were they before that? Now the TV was 

was so that I could be one of the first fifty, 
(laughs). I have these newspaper clippings that 
show all these blank forms signed by millitary 
guys, saying “according to the ninth article of the 
constitution, this person (then there’s a blank 
space) will be arrested for thirty days for 
unconstitutional behavior.* That’s pretty scary. 

A lot of people are happy, because before... 
there were governments overthrown in Poland 
and Czechoslovakia and nobody knew what was 
going to happen here. I guess the coup failed 
iecause people are not the same now. Because 

they’ve had so 
much access to 
freedom in the 
past five or six 
years, since 
started. Before 
that, people 
everything the 
said and 
everything the 
said. But once 
pe restroika 
started, we got 
access to all the 
information that 
was hidden 
before. So 
people are 
much more 
suspicious now. 
them believe 

somebody’s trying to make 
something, they think a lot more about what 

shooting the whole thing and there were a lot of 
reporters and a lot of photographers and I think 
they played for publicity. 

Now, a lot of people are still concerned 
about the communists. But they don’t want to 
start a witch hunt. Every second or every third 
person in the Soviet Union is communist. I don’t 



like him, Yeltsin, a lot. I didn’t like the previous 
government, and I don’t like the government 
right now. He is very nationalistic and I don’t 
think he’s very good. I don’t like any type of 
government. But lot of people like him. He’s 
much more popular right now than Gorbachev 
over here. When they talk sometimes together, 

Yeltzin says to Gorbachev, “Just stop talking." 
and Gorbachev says "Yeah, yeah...". It’s really I had 

I don’t know what’s going to happen, 
because things are smooth, then bumpy, then 
bumpy... I’m sick and tired of all the information 
that’s being stuffed into me. I don’t know if you 
heard, but the previous government, the one 
before Yeltsin that overthrew Gorbachev, had 
ganned to arrest from 250,000 to 300,000. 

from the 

ioviet Union, the better, because it’s the only 
empire left over here. A lot of people feel that 
if the Ukraine wants to be independent and 
loment for govern itself, then why not? The same goes for 
played the the Baltic republics and everybody else, 
i, because Has anything really changed? Is there any 
more food in the stores? It’s the same. But 
people are a little more comfortable now in the 

The craziest stuff I saw? I saw brains on 
the ground where they smashed this guy with a 
tank... I saw lots of blood over there.... some 
woman and some man holding a piece of cloth 
in their hands and people had written with 
blood...from the ground, "On this wall you see 
the blood of a murdered boy." 

Sasha: I think that’s it’s awful, all the struggle 
between democracy and communists because, 
to tell the truth, I hate all kinds of power, all 
forms of government. I am an anarchist. When 
I was on the barricades, I was like, “Fuck off all 
democrats, fuck off all communists!" All the 
fucking people people cry, “Oh, Yeltsin, he’s our 
metal god, he’s our hero, he’s our national hero, 
he’s the best!" I cried out, "Oh, he’s a fucking 
awful person!" On the second day, we played, 

‘ the whole concert because or c 
ormance. A little too 


ey stopped 

irformance. A little too much freedom of 
speech. The people who defended the White 
House were a bunch of rednecks! 

The army tried to draft me on the first day 
when we heard about the coup d’etat because 
1 1 1 served in a unit that was somehow 

d the reason I went over there to the barricades 

connected with the KGB. They called me up on 
the telephone at home, and I was supposed to 
report at some place to fight for the junta in 45 
minutes with all my clothes. I said “Fuck you!" I 
was home and Max and Ruslan were with me 
saying: “OK let’s go to the barricades to fight 
against the junta!" And I said: “Oh no! If you want 
you can go there, fine, but you know by going 
over there you will be supporting the democrats, 

but at the same time supporting Yeltsin. It was 
a really crazy thing, because we nave only three 
choices: the first is communist rule, the second 
choice is democratic rule, and the third choice 
is anarchy. 

I think that real anarchy can’t be organized. 
It’s personal... there can be no “anarchist 
party". I think that all parties of anarchists 
eventually turn into communists or fascists. It’s 
impossible to be anarchist in a party. Anarchy is 
against all the parties, all the movements, all 
ideologies. And I am. as an anarchist, against 
this reality around me. This is the first point for 
me, because I hate this kind of reality. I hate 
history, because in so many periods in history 
there nas been so much injustice. I just dislike 
it. (laughter). 

Minneapolis Solidarity 

Rally in support of People's Park, Tompkins Sq 

Park, and with local homeless/poverty strugg les 

^ On Friday, August 9, about fifty punks, 

hippie, metalheads, anarchists, homeless and 
liberals assembled at Loring Park in Minneapolis 
to demonstrate in solidarity with the people 
struggling against police brutality homelessness 
and gentrification in Berkeley’s People's Park 
and New York City’s Tompkins Square Park. We 
also gathered to show support for 1118 Harmon 
Place in Minneapolis, an abandoned apartment 
building occupied bv ACT-UP and Up & Out of 
Poverty on July 15 for the purpose of creating 
housing for homeless youth. 

We met for a small rally and speaker at 
Loring Park, near downtown Minneapolis. From 
the park the continaer marched a couple blocks 
to 1118 Harmon Race, chanting “More homes 
less [no] cops!," "No blood for doughnuts "No 
blood for volleyballs" (referring to People's Park), 
etc. Literature about PP and TSP was handed 
out to almost 400 passersby. Once we reached 
the abandoned building representatives from 
ACT-UP and Up & Out ofPoverty spoke about the 
history of the takeover, the police brutality 
suffered by those who were arrested, and the 
need for nousing for homeless youth. From 
there we marched through downtown to the 
Minneapolis Star Tribune, the local paper, 
chanting "No more media suppression of cop 
aggression." After a short stop in their lobby we 
continued to City Hall and then we made a 
spirited return to the park through the financial 
shopping district during rush-hour traffic. 
Unfortunately, we were prevented from taking 
the march through the shopping malls but we 
had fun nevertheless. 

Overall, the protest was not as radical and 
spirited and well-attended as we hoped, but we 
still had fun and we definitely showed oursolidarity 
with the homeless and those fighting the pigs in 
Berkeley and New York. We reel the need for 
solidarity actions is vital to building local resistance 
and we encourage more solidarity actions in the 
future. Onward! 

* NOTE: This action was not necessarily 
organized or endorsed by any particular group, 
including Profane Existence. However, this action 
was planned on short notice by angry individuals. 
Some groups represented in the demonstration 
included Act-Up, House Youth Now, Minnesota 
Up and Out ot Poverty, RABI. and AWOL. 

The intention of this communique is to 
inform those struggling and others concerned 
of our local solidarity action. If it is reproduced 
in any fashion or posted in a public place then its 
purpose will be best served. We would like to 
:rade any information available concerning 
updates on the situation in both Tomkins Square 
Park and People’s Park. —Fuck Shit Up! Profane 




LongShot invites you to witness the 
Hardcore equivelent of Summer Slam al¬ 
ready in progress throughout the pages of 

LongShot #5: Vegan Reich & Ray of Today 
“Ray is the great deceiver, presenting illusions to 
those naive kids in order to further his religions evil 

—Sean/Vegan Reich Int. 

“Everybody should kill Sean Vegan Reich." 

—Ray of Today Int. 

LongShot #6: Chain of Strength & No Escape 
“Straight-edge kids should worry about Ray of 
Today before they worry about a guy who has an 
occasional beer. That guy is obsessed with religion. 
Religion is controlling his whole life. I think that’s 
more abusive than alcoholism." 

—Curtis/Chain of Strength Int. 

“Krishna is the straight-edge of the ‘90’s and 
Hardline is the skinheads of the ‘90’s.’ 

—Steve/No Escape Int 

LongShot #7: Born Against & Raid 

(A steel cage match available Oct. 7) 

Zines are 75c ppd. each. Send to: 

LongShot Fanzine 

P.O. Box 546 
Furlong, PA 18925 


ziNES, «j£f in touch. 

jjgftgfe. . 

DOM DAR • “Skrattar Bast So*n._” 12 M EP 

Holy cow! Sweden has been erupting with great thrash and this is no 
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m maintaining tightness and catchiness. They latch oa to your ears Uke meat 
5 ho oks and don’t cut y ou loose ‘til the ride is over. “ Enco re, encore” I sez._(CD) 

... m *WT "" 

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Due to the permanent closing of the 
Anthrax, things in CT have been somewhat 
slow. But the people who really want it to 

work make it work. So.DISMAY just 

headlined a scorching fest of frenzied youth at 
the Nightbreed in Norwalk. Along with 
and CHANGE, DISMAY put together a really 
fun show. All bands have demos available at 
Trash American Style. 

Yes, hardcore still lives, breathes and 
festers in CT but there is also a noisier 
alternative of music equally living, breathing 
and festering. The noisy pop sensation known 
as MONSTERLAND has signed to Rockville 
Records and a T is due in August. The second 
release following their Threshold/TPOS 7". 
MONSTERLAND will hopefully be on tour the 
second to last week of August. The thrashy 
psychedelic punk rock explosion called HED 
has iust released 300 red vinyl and 700 plum, 
vinyl singles with Mondo Psychotic Records. 
“Drool" is a scarier adventure in comparison 
to the last semi pop 7” “Zonk Screech Yowl 
Vavoom Crunch." HED will be playing in 
Danbury, CT and some shows in NYC. They 
are also planning some shows from D.C. up. 
See them. ONION has a dual release with 
CRISIS on Mondo Psychotic Records. The 
CRISIS single was pressed on purple vinyl 
and some on black too. ONION will be touring 
in August travelling to Boston, Rhode Island 
then down to D.C. and Georgia. ONION 

SIDE and 


Death metal rockers from the Danbury 
area, PROFANATIC A, have just released a 
deadly 7" on After World Records and will 
soon be doing a split flexi with CREAMATION 
who are from New Jersey. ST. JOHNNY has a 
debut 7” with TOTC and from what I’ve been 
told it has a bitchin cover. The music is really 

New bands include fuzzy acoustic band 
GNU FUX and loud power tno FREAKBABY 

-— -- 'eggp 



gf ■ , 

k* »> ] i. 

* i i r 




Rochester- Hello! I figured it was about 
ime for a Rochester scene report. Unfortu 
lately, the scene here seems to be at a low 

point right now. This is a shame since there 
are a lot of talented people here as shown by 
past and present bands. Many of you may 
recognize the names of now defunct Roches¬ 
ter bands such as HUNGER ARTIST, SOLU 
fortunately, the current lack of consistent 
shows and general apathy discourages many 
people from keeping bands going. Anyway, 
there are people here who are doing things 
and they deserve your support. Write to them, 
interview them, get their demos and records, 
and check them out when they come to your 
town. You won’t be disappointed. 

Well, let’s start off with t he bands. BENT! 
have been around since 1988. They play a 
very powerful style of music that defies easy 
classification. Whatever you want to call it, it 
is great. A few comparisons that come to mind 
arc Rudimentary Peni, Neurosis and old Black 
Sabbath. You may have heard them on that 
double 7" compilation that came out on 
I lippycore a while back. BENT! have a new EP 
out on Criminal Records that is mandatory 
listening. They have some old demos that you 
might still be able to get, so write to them. PO 
Box 18277/ Rochester, NY 14620. 

BIG HAIR play insane funk-jazz-acid - 
thrash. They seem to be the only band that 
plays out regularly around here. Pretty in¬ 
tense and interesting stuff. They have a demo 
out that you can probably still get. PO Box 
18277/ Rochester, NY 14618. 

FUNK-U plav a mix of funk, reggae, and 
punk. They have been around about a year 
and recently played a bene lit gig on the beach. 
They might be in the studio and might be 
releasing some material someday. Maybe. 
Sorry, I don’t have an address. Maybe next 

play guitar in. We play mega-fast hardcore/ 
thrash influenced by Void, Siege, Larm, etc. 
We have only played live once as of this 
writing, but we really want to play shows, 
parties, basements, garages, etc. in Buffalo 
and Rochester. Write us if you can help us 
out. We have released a 19 song demo and a 
split EP with the Celibate Commandos on 
Criminal Records. We are currently working 
on new, more powerful material. We might 
have another aemo out this fall sometime. 
Write to us care of me or Criminal Records. 

Zines: There seem to be a few here and 
there. I have no idea if another issue of the 
great Chicken McFanzinc is going to come 
out. What’s the story, Eric? Patrick, the vocal¬ 
ist from BENT!, had a zine called Pssst! (or 
something similar) a while back. I hear he’s 
working on a new one, but I don’t know the 
name, laid one issue of Cops Without Badges 
that completely sold out. I’m currently work¬ 
ing on a new zine with my friend Rogervarela. 

and the almost all female hardcore type band 
called BAD DREAMHOUSE. All three bands 
will be releasing 7"s with Mondo Psychotic 
Records by the iall. 

The notable performance aware goes to 
local masters of the visual: theBUNNYBRAINS. 
They’ve had a string of incredible shows. And 
might even have some vinyl soon. 

All demos and records mentioned can 
be obtained through the mail from the great¬ 
est record store anywhere Trash American 
Style at 12 Mill Plain Kd., Danbury, CT06811. 

sszne reports 

It is probably going to be called letters Front 
Prison . Look for it in the fall. 

Shows: Not very many these days. 
Jazzberry’s has punk shows every 6 months 
or so, it seems. There used to be shows in 
Rochester quite often, but things have 

Labels: The only one I know of is Crimi¬ 
nal Records. They have released the BENT! 
EP, the TWISTED CRY FOR I lELP/Celibate 
Commandos split EP, and a bunch of tapes by 
the likes of Soekeve, Platypus Scourge, and 
others. Criminal Records is run by Gary, the 
singer for TWISTED CRY FOR HELP. Make 
his day a happy one and send him a 29c 
stamp for a list of stuff he is selling. The two 
EPsare S3.00 each ppd. in the US/S4.00 ppd. 
world. 1131 Howard Rd. /Rochester, NY 

Well, thats it. I know I probably left 
some stuff out. I’m very sorry. Don’t get mad, 
just write me and let me know. Or write your 
own scene report. Feel free to keep me posted 
on what you are doing so maybe I can do 
another scene report. Rochester doesn’t de¬ 
serve to be overlooked in Punkland because 
we have a lot to offer. Take care and thanks for 
reading. Mike Gifford/109 Westland Ave./ 
Rochester, NY 14618. Thanks alot to Roger 
for his valuable help in putting this together. 

Greetings from the city of brotherly love 
(ha-ha), probably the oldest intro-line in the 
book. Anyway my name is Brian and this is 
the first time I’ve ever written a scene report 
but since so much has happened here in the 
last eight to ten months that hasn’t been 
mentioned, I figured I’d stop to tell everyone 
else about it. Especially since Philadelphia, 

for the past couple years, has _ 

been known for its lame ,if 
not totally dead 
scene. However 
there has been 
a renewed in¬ 
terest here 
in music 
o f 

in the Philadel¬ 
phia area in- 
c 1 u d i n 




R E 
T O 
ETS (now de¬ 
TRASHED and many 
bands now starting to 

g lay out like DOUBLE 
SCENT. Plus the 
bands that have 
been around 
for awhile like 
and LINES 
SION. There 
have also 
been doz¬ 
ens of 

In November NAUSEA, 
F.O.D., and AT ALL 
COSTS played at Re¬ 
vival on third street I 
heard it was a great 
show. Also in No- 
v e m b e r 
CREW, and 
DEFY were 
to play at 
Revival but 
only DARE 
showed so 
with them. 

In De- 
c e m b e r 
(who recently 
have been 
staying in the 
area) played 
with LINES OF 
warehouse show. 
supposed to play this 
show but when the two 
other bands found out 
that if DIZ¬ 
play, they 
would not 
make as 


i n 

T h e r e^ 
has been 
an explosion^ 
of new bands 

turing lo¬ 
cal names 
with some 
of the big¬ 
ger names. 
back in Octo¬ 
and MAD PLAN- 

rs playec 
the Olae City ar¬ 
cade. This was one 
of the first shows fea¬ 
turing some of the new 
bands in Philly. 

pics: Brian Sokel 

off the 
bill. How¬ 
ever, that is 
so I can’t say for 
sure that that is what 

In January KICKSTART T. V. hosted 
a benefit bash at the Climax Theatre on South 
played this show. This was the first all local 
show in Philly for awhile and it really brought 
people together for aj*ood time. Also TOKEN 
ENTRY, DIRGE and 170.C. played at Revival. 

In February J.C. Dobbs on South Street, 
which really is the only place in Philly one can 
put on a decent show without dealing with 
asshole promoters, hosted Washington DC’s 
own Jawbox, with DIZRYTHMIA, and RAN¬ 

In March the “storm" hit. Drexel Uni¬ 
versity put on a benefit show for a conscien- 




^ 5 A 
CA. ' 



\ M/UL 
Mo Wo\^f 

three new 7” s 




P.O.BOX 8623 


£very two months of 1991 The Ex release 
a 7” record in a series of 6. All issues 
have a (social / political / musical) theme, 
and come with extras (posters, booklets, 
thingies) and surprises. 

* Issue 6.1 (February) contains “Slimy 
toad” and “Jake's cake” by The Ex, a real 
Amsterdam scumbag, leaflets, and the 
cardboard singles box for the whole 

* Issue 6.2 (April) contains the Kurdish 
songs “Millitan” and “Cem& Ryne” by 
Brader Musiki and The Ex, plus leaflets 
and a 24 page booklet about Kurdistan. 

* Issue 6.3 (June) contains “She said” 
and our version of the Hungarian folk¬ 
song “Hidegen fujnak a szelek”, leaflets 
about the Steunpunt Zetten (a support 
group against power-abuse in the relief 
work), and a poster. 

Issue 6.4 will be out end of August, issue 
6.5 lh October, issue 6.6 in December. 

Further on in the series there’s gonna be 
collaborations with the Belgian come¬ 
dians Kamagurka and Herr Seele, and 
possible themes such as the women’s 
epuggle, the Canadian natives, the Euro- 

t ean unification, is art art, the dance 
ausse, improvised jazz... 


All six issues home-sent for US$25 / £12 / 
DM38 / 700BF (including p&p). Pay by 
postal International Money Order (made 
payable in Dutch guilders!), or send well- 
concealed cash in an envelope (prefer¬ 
ably registered) to the RALBoR address 
below. (Sorry, but it’s far too expensive 
for us to accept giro- or bank-cheques.) 
Already bought some issues, and want 
to subscribe to the rest? Then pay the 
proportional amount of money. Don't 
forget to mention which issues you want! 
In the shops they cost US$4 / DM6 / £2.50 
each. (Stray copies can be obtained by 
mail too, for the same price, incl. p&p.) 


LOCK, a new album by The Ex & Tom 
Cora (cello-player in a.o. Skeleton Crew, 
Nimal, Curlew), containing 12 songs, will 
be released via RecRec Switzerland and 
Ex Records, on LP and CD. Available by 
mail from Ralbor for US$11 / DM20 / £6 / 
400BF / /23 (incl. p&p). 

Also still available: Joggers & Smog- 
gers DLP, Dead Fish 10”, Stonestampers 
7”, Aural Guerrilla LP, and more. 

Ask for our current catalogue (please 
include an IRC, thank you). 

P.O.Box 14767 
1001 LG Amsterdam 

write to me. 

Brian Sokel/ RANDOM CHILDREN/ Elbohead 
Records/ 206 Montgomeiy Ave/ Oreland PA, 

Greetings from Louisville, Kentucky. 
The River City continues to be a hotbed ol 
solid bands, covering a wide spectrum ol 
styles and sounds. This comprehensive look 
at Summer 1991 should provide readers with 
an idea of what to look for from the best of the 

First of all, the club situation continues 
to be consistently inconsistent. The Zodiac' 
closed late this past winter, and C.D. Graffiti’s 
hasn’t been doing shows the past few months. 
However, stalwart scene spot Tewligan’s, now 
known as Snagilwet, has come to the rescue 
with a steady diet of matinees and all ages 
shows. If you come to Louisville to play, this 
.vill most likely be your best bet. for direct 
booking at Snagilwet, call Paul Curry at (502) 

Now, on to the bands. All addresses, 
unless otherwise indicated, are in Louisville, 
Kentucky; all phone numbers are area code 
502. Use these for correspondence and/or 
potential booking. 

As you read this, KINGHORSE is Liking their 
show on the road throughout the East, Mid¬ 
west, and Southeast— from NY and FL toTX 
and Canada— so look for them in your area 
through early September. West coast dates 
are planned for the fall. The band is also 
currently writing new material for a second 
LP on Caroline Records. Expect a more 
straightforward, underproduced sound next 
time around. KINGHORSE/ 1029 Bardstown 
lid./ zip code 40205/phone 458-1711. 

BUSI1 LEAGUE is currently looking for 
a new drummer in order to support their just 
released 7" on Better Days Records. Another 
7", also on BDR, is scheduled for sometime 
this fall. BUSH LEAGUE/ 2939 Grinstead 
Dr./ 40206 / 894-0716. 

ENDPOINT has added bass player Kyle 
Noltemeyer to the lineup. Their debut cas¬ 
sette and a fairly recently released END 
POINT/SUNSPRING split 7 are still available 
from Slamdek/ PO Box 43551/40253). The 
Conversion Records “In a Time of I late” LP is 
out as well. ENDPOINT will also appear on a 
vegetarian compilation from Smorgasbord 
Records, which will be out soon. U)ok for a 
new album in the coming months. Ixiok for 
the band in New Zealand sometime in Decem¬ 
ber. ENDPOINT/ PO Box 6345/ 40206/ 451 - 

SUNSPRING has added former END¬ 
POINT bassist Jason Hayden, and are plan¬ 
ning to record a 7" for Slamdek sometime this 
September. They will be in the Midwest (KY to 
NE and KS) in August, and are planning on 
doing dates in the Southeast around Thanks¬ 
giving. A widespread, 20 day trek is in the 
works for around Christmas. Don’t miss this 
energetic, powerful trio in your town. 
SUNSPRING/ PO Box 43551/ 40253/ 473- 

SUNT, which broke up in January, has 

playing any 
“Spiderlana”, material. They are hoping to 
record (on Touch & Go ?) a new record by 
summer’s end. Band members tell me the 
new record will be comparable to “Spiderland” 
in style. SUNT/ 5007 Old Federal Rd/ 

tious objector group. Washington DC’s Fugazi 
played with RANDOM CHILDREN, and Youth 
Tsunami from New York. The band has ex¬ 
members of TOKEN ENTRY. 1600 people 
showed up, and things got pretty wild, at least 
no one died, (I use that loosely) All and all it 
was a success. 

A show was put on in Frankfurt at the 
Knights of Columbus Hall. I missed it but I 
heard it was a lot of fun. DIZRYTHMIA, INVID, 
and REFLECTOR HEAD played this one. 

In May Youth Tsunami, and 
STARKWEATHER played at J.C. Dobbs. 

FRACTURE, and BOXING DAY (which con¬ 
tains ex-members of SHADES APART) played 
a show at J.C. Dobbs. 

In July Elbohead Records held a benefit 
show at J.C. Dobbs. INVID, DIZRYTHMIA, 
Guttersnipes from New Jersey played. Also 
CHUCH TREECE played at Revival to boost 
his new solo album. THE ACCUSED played at 

Revival, and ANTI-SEEN are playing at the 
RAVE RECORDS warehouse. Also Jawbox, 
and HELMET are playing at Rave. 

Elbohead Records was formed in No¬ 
vember by members of RANDOM CHILDREN. 
A split seven-inch of RANDOM CHILDREN 
ana MAD PLANETS was released first. 
cently released a split seven-inch as well. 
will be released on seven-inch format in the 
near future, and then a twelve-inch 
Philadelphia sampler will be released. 

Also two new Philly ‘zines have shown 
up. Icky and Disaarav . f can only hope that 
they will be around for a long time to come. 

Well, that’s all I’ve got to say. However 
that does not mean that that is all that has 
been happening here. There is a “hard" scene 
here as well, a scene report which focuses on 
that scene was included in the 99 issue of 
MRR Thanks a lot and for more information, 
or if bands are intrested In playing Philly, 

limited quantities, so move quickly to get a 
copy. A new 7" is in the works for October 
199*1. Those who enjoy hard-edged melodic 
stuff may find DYBBOKto their liking. Yeah,it 
is pronounced “dibbick"; lord knows it has 
been butchered in the past. DYBBUK/ 2402 
Hayward Rd./ 40242/ 426-6424. 

The INDIGNANT FEW have just fin¬ 
ished recording a 7" for Better Days Records. 
A recently formed outfit with a late 70’s-early 
80’s punk rock sound, the FEW are looking to 
season their sound by playing out a lot this 
summer and fall. INDIGNANT FEW/ 268 Penn- 



CRAIN is gearing up for the fall, 
hopiiig to record and release an LP. A four 
song 7" on Automatic Wreckords is still avail¬ 
able from the band address. CRAINs textured 
sound produces a powerful experience live, so 

playing their bruising straightforward 
hardcore to raucous in-town audiences. The 
first SDR 7" is sold out for now and the “MY 
Wire” 7" is going fast— I’d hurry if you arc 
interested. The band is preparing to record an 
LP on Self Destruct in August or September, 
so watch for it. UNDERMINE has already 
done weekend shows as far away as Wiscon¬ 
sin, and are interested in doing more as soon 
as possible. UNDERMINE/ 6906 Heatherwood 
Ct./ 40291/ 239-9549. 

ERCHINT, a Sabbath-influenced 
hardcore outfit, has just added incredible 
new drummer Chico Godfrey. Their debut 7”, 
a Self Destruct/Split records collaboration, is 
still available. A follow-up 7" on Self Destruct 
will be out this fall. ERCHINT is also looking 
to do some dates this fall throughout the East 
and Midwest. ERCIIINT/ 2103 Camargo Rd./ 
40207/ 897-2856. SPLIT records— same 

young hardcore outfit, SHUT OUT is still 
trying to gain live experience before making 
any recording plans. SHUT OUT/ 1336 Rufer 
Ave./ 40204/589-3278. 

RAWHIDE, composed of ex-CEREBEL- 
LUM guitarist Breck and ex-SISTER SHAN¬ 
NON members Greta Ritchcr and Dave Ernst, 
are hoping to record, once they locate a 


EVIL TWIN THP:ORY, a loud and eclec¬ 
tic pop outfit, is playing in New York City or 

August 1/th 

They are sched¬ 
uled to record 
with Kramer 


while they are 
there. Expect a 
7" on Self De¬ 
struct in the 
fall. EVIL TWIN 
1435 Rufer 
Ave./ 40204/ 

added ex-SO¬ 
KNOWN singer 

Reengage . Issue #5 with Nation Of Ulysses 
and Burn will be out in September (6853 
Green Meadow Circle/ 40207). And When 
There’s Darkness #6, featuring Fugazi, 
Samiam, and Sunspring is now available (S2 

Eric Schmidt 
on vocals, and 
are currently 
preparing for a 
September de¬ 
but of their re¬ 
vamped sound. 

A '7" C,, 1 { 

and correspondence. For further information 
about anything in Louisville, contact me. I 
will getyou in touch with the kind of band you 
are looKing for, the club to play at, people to 
trade flyers with, etc. See you next report. Eric 
Schmidt/ 3906 Benje Way/ Louisville, KY 

Memphis, the birthplace of blues, rock 
and roll and rockabilly. The home of Elvis 
Presley, Stax, and Sun Studio. Unfortunately. 
Elvis is dead, Charlie Feathers is dying and 
Stax has been tom down in the name of 
progress. However, our floundering under¬ 
ground scene is still managing to Keep its 
head above water. It’s been awhile since we’ve 
touched base with anyone, so here’s the 
lowdown for summer ’91: 

edly played their last show May 18. I’m con¬ 
fident however, that we’ll be nearing more 
from these boys, by Oct if no t sooner (for those 
of you who haven't attended a Memphis Hal¬ 
loween party, Oct 31 lust isn’t the same 
without SOBERING headlining a show). Their 
second 7" EP is still available from Truant 
Records (PO Box 42185/ Memphis TN 
38104)... Punk rock band FAUSTdisappeared 
after putting out a few demos. I’m not too into 
what they were doing, but I did enjoy the 
uniqueness of the band- two singers, metal 
guitar, and heavy Crass influenced vocals 
made for an interesting show. Female vocalist 
Melanie is now fronting THE UNEMPLOYED. 
Not much has been heard from RAID since 
they released their “Words of War" EP (avail¬ 
able from Hardline Records) last fall. They’ve 
been playing almost exclusively hardline 
shows with other local straightedge bands 
COIL. RAID and PURE BLOOD also opened 
up for Danzig proteges Kinghorse this spring. 
The SE/Hardline groups have become vocal 
in local animal rights and pro-life groups. 
Although I don’t agree with some of their 

ideals, I respect these guys for their willing¬ 
ness to get involved. I just wish they were as 
dedicated to human rights as they are animal 
rights... MAN WITH GUN LIVES HERE (for¬ 
merly DIE CAST SYSTEM) have played a few 
good shows, mainly at the Edge skateboard 
park and at Psychoskate III... PEZZ, a great 
mix of melodic HC, punk, and ska have a 
demo out on their own ’’Day Late and a Dollar 
Short’’ label (available thru’ Truant) that’s 
definitely worth checking out... The 
TAINTSKINS (formerly PR1VATEWAR) released 
a demo last year and nave since gone through 
two vocalists. With or without lyrics they still 
sound great! Their tape is available from Paul 
Macintosh (562 S. Edgewood, Memphis 
38104)...The GRIFTERS are one of my favor¬ 
ite bands this year. Under the name A BAND 
CALLED BUD they’v e rele ased a demo and 
flexi, then as the GRIFTERS two 7" EPs. All 
are available from Doink Records (1572 
Overton Park #11, Memphis 38112). Check 
'em outl Other news- The PAINKILLERS have 
recorded material for a 7” which should be 
released thru SFTRI this summer... The PAN¬ 
THER BURNS have relocated to Europe... 
Lydia Lunch just finished recording a new LP 
here at Easley Studios... Little Rock’s 
TRUSTY have an LP out on Truant 
Clubwise, it’s the same old sob story. The 
Antenna Club (1588 Madison, call Fletcher at 
(901)-323-5443 for booking, (901)-276-4052 
for a weekly schedule) is still going strong. 
Fugazi played to a capacity (400) crowd in 
May, most all ages shows draw 30-100. Ru¬ 
mor has it though, that all ages shows will end 
if those crazy punk rock kids don’t quit defac¬ 
ing that all too pretty exterior of the club with 
spraypaint. Isn’t that a little harsh? I thought 
that s what punk rock is all about- funny 
haircuts ana bad grafitti. Since MGT up¬ 
graded the club with new toilet seats in the 
ladies room they’ve got this new image to 
maintain... The New Daisy Theater (300 Beale 
St, 901-525-8979) has been bringing in acts 
like Sonic Youth and the Replacements. ..616 
(600 Marshall, 901-526-6552) is a bad place 
to play or even see a band. It’s a disco, “as 
close to NY as you can get in Memphis”. No 

my favorite bar. It’s in a cool part of down¬ 
town, is about the size of my livingroom, and 
r of beer on hand. Always a 
g out Fri-Sat nite... Buddy 

_ : Sheep z ine has been booking 

shows at Eurodisco Zot (338 S Front, 901- 
521-1377). I like the bartenders there, but I 
don’t dance to Depeche Mode, so... Suppos¬ 
edly Tippitina’s of New Orleans are opening a 
Memphis branch on Beale St. I hope there’s 
truth to the rumor- this town could use new 

There are four fanzines that I know of 
currently operating out of Memphis. Nation of 
Sheep is put out by Buddy of Decadence 
Manor (1655 Madison Ave, Memphis 38104), 
it’s an anarchist zine of sorts and I believe is 
on #3... A new issue of Kreature Comforts 
should be available soon from Sherman 
Willmott (1916 Madison Ave, Memphis 38104). 
KC is always a cool blend of the finer side of 
the 70’s and 90’s, and Sherm and Eric’s 
commentaries on the, not always happening 
Memphis scene are well worth reading... Eric 
Friedl’s Wipeout (1916 Madison Ave, Mem¬ 
phis 38104) has a great Jesus Lizard review 
and includes tons of info on the Memphis and 
Boston scenes... The latest Truant (available 
from Nic and Marv at PO Box 42185, Mem- 
plete with a flexi of 

just about everything alternative available in 
vinyl or cd format... I still work at Memphis 
Comics (665 S Highland, 901-452-1304). We 
carry all mainstream and most underground 
comix and have a decent amount of used 
vinyl. Stop by if you’re in town. 

If anyone’s planning to play here or just 
drive thru, feel free to contact me at 1861 
Poplar #3, Memphis 38104. Also thanx to 
Alec Mooney for help with this report. 
Destroy Reality! Andria Lisle 

I li, it’s Craig again! First off I have to 
clarify a mistake I made in my last scene 
report. In the VA scene report in the July 1991 
issue of MRR (#98) I made a false statement 
and may have given the impression that the 
record store called Skinnies was out of busi¬ 
ness. Skinnies is very much still in business 
and going strong, their past problems are 
behind them and they are growing better than 
ever. Local bands with music, as well as 
record distributors, I urge you to get in con¬ 
tact with Steve at Skinnies, their address is 
814 West 21st Street/ Norfolk, VA 23517. 
Since the last scene report no one has written 
to tell me about new things or to complain 
that I left something out, so either I covered 
things well or most people just don’t give a 
fuck (which would not surprise me at all!). On 
with what’s happening: 

Lifeline Records is a new label being 
started by Justin, the bass player of CASE 
CLOSED (who have just changed their name 
to SI IADOWMAN). The first release will be a 7" 
compilation of VA bands. Also watch out fora 
7” compilation on New Direction Records 
which will have a VA band featured on it. 
TRIAL BY JURY, who I mentioned in the last 
report now have t-shirts available, they are 
50, and their demo is still available for $3, 
this is also a good band to interview for all you 
doing zincs out there. Write to Craig M. at: 15 

_ t serve 

as a great Introduction to the Memphis scene, 
so ifyou’re curious order now! 

Store-wise, Ron at Cheapskates (1576 
Getwell, 901-744-1312] carries a great as¬ 
sortment of skateboards. He also stocks a 
good selection of hardcore on vinyl... Shansri- 
La (1916 Madison, 901-274-1916) is the de¬ 
finitive record shop in town. Sherm stocks 

doing zincs out there. Write to Craig M. at: lb 
Ilatteras Landing/ Hampton VA 23669. 

1IGUAL from Mannasas, VA have an LP com¬ 
ing out on Skene! Records and they are look¬ 
ing to play out every where, so get in touch 
with them at: Jahn S./ 7503 Campbell Ct./ 
Mannasas, VA 22110. They are planning to 
relocate to Richmond in late August so I will 
try and have their new address soon. A new 
recording only band around is MAYDAY, they 
are like Ministry gone hardcore, with cool 
lyrics on veganism, etc. They have already 
recorded their first demo, write to Lance to see 
how much it is: 4444 Chesapeake Street/ 
N.W. Washington D.C. 20016. By the time 
you read this, the FOURWALLS FALLING 12 
EP will be out, this is an excellent release and 
I urge you all to pick it up. THINK is a new 
band out of Richmond, that is made up oi 
members of OPPOSITION and TAKEDOWN. 
They should be playing their first show very 

A new band from Newport News is 
SPOON, which features members of AS ITj 
described by their guitar player as emo/ 
funk/hardcore, they should be interesting. 
Contrary to what I said last time, FALSE 
SACRAMENT has recorded a demo, it has 8 
songs of mind -shattering madness. They are 
beginning to play out, so watch for them on 
the east coast, they are one of the more 
original bands going nowadays. The hardcore 
club in Hampton closed, but I’ve heard that 
the same group of people is trying to get a club 
going in Newport News, good luck guys! A new 
zine being done by Mike McCan should be out 


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in the near future, it is called The Underlying 
Truth and will have interviews with EDGE¬ 
TERY. I’ll give you the address next time when 
it is closer to coming out. The Peppermint 
Beach Club had Fugazi not long ago, hope¬ 
fully they will do more hardcore shows in the 
future. One of VA’s best bands finally has 

women from joining. Local politicians and 
planners are beginning to unveil plans on 
now to keep the peace in the labor day 
Laborfest 91. The cops on every corner and 
overbearing security last year didn’t go over 
with me or the other 50,000 or so people that 
attended the “festival.” Norfolk State Univer¬ 
sity is taking a bigger role in things this year 
which should be a step in the right direction. 
Oh yeah, Chesapeake police chief Ian Shipley 
is spearheading the local “war on drugs. 

fully they will do 

future. One of \--- 

some vinyl out. AVAIL has recorded a 7 
featuring the old line-up that is ou* 

Sunspot Records, the new line up 
vinyl out soon. Sunspot is ~ A//v 
that has put out the AVAL- 
DEAL 7", their next release is a SHADES 
APART 12". Their address is: P.O. Box 7453/ 
Arlington, VA 22207. In the last.bit of 'band 

out now, and it is excellent, check it out! 

In more political news, VA Governor 
Wilder and Senator Robb are having many 
public arguments involving accusations oi 
taping of each other’s phone conversations. 
Another blow to the Democrats in ’92. Re¬ 
cently, the VA military academy won a court 

_p will have 

a VA record label 
L 7" and the OR 


VA 22207. In the last bit of band 
[news, I can tell you that the STEP ASIDE 7" is 

VA Governor 

Hello From the Coast of Georgia/South 

Carolina. , , _ ,,, 

My name is Scott Corkem and I did 
bookings in a place called Pheobie’s in Savan¬ 
nah. Its been almost two years since there 
has been a scene report from down this way. 
ON. Recently there has been some 
murmurings as if something is about to bust 
loose and turbo charge the old scene. I am 
writing this to let you know who the new 
bands are and where they are taking the 

’ First a brief history from when 
Pheobie’s blew up, then I’ll get into the turbo 
happening. It was after the Agnostic Front 
show, all of the toilets in the place smashed by 
Skinheads (the Venue already sold to the 
Moose lodge), in a desperate attempt to keep 
the scene together we started throwing shows 
in the old Victorian house where the now 
defunct HIS BOY ELROY lived. We did about 
four shows (it’s a big house), with BAZOOKA 
HIS BOY ELROY. We didn’t have any problem 
from the police due to the ethnic nature of the 
neighborhood. Eventually everything that 
could be stolen was stolen. People even clawed 
their way through sheet rock walls to get to 
areas of the house that were locked up. This 
and the friction that was developing among 
everyone made it more trouble than it was 
worth to continue. 

Then HIS BOY got the Korean owners 
of a strip club on Bay street to let the band 
come in and play. They let all the art students 

g aint on the wall ana called it the Gallery. 

Very one missed having shows so much that 
there were over three hundred people in the 
club (capacity 75) for the first two or three 
weekenas.The trouble was that the moron 
Merv that was booking put in all of these 
iangle pop and hippy bands (with only an 
SKIN POPS, and ANTISEEN). As it developed 
they only had these lame hippy bands and the 
only people hanging out were south Georgia 
Nazi Skinheads. It’s not like you could come 
for the crowd and the music sucked , or come 
for the music but the crowd was kemo-kiddies 
(that’s spelled MO-RON). It just sucked It all 
sucked. Then, not even the skinheads would 
come in because they hated the Koreans who 
ran the place. The last show really sucked. It 
was my old band BIFF BOGUS AND THE 
FUCKUPS. We were playing free for tips and 
got drunk, slammin beer from all our tip 
money. I got my left orbit broken (skull frac¬ 
ture city) by a mag light- wielding bouncer 
from the reclneck disco Hollywood’s next door 
and then the Savannah Police Department 
(S.P.u D.s) roughed me up for messing with 
their tipping customers. 

Enough history. The bands that are 
active now are ROY G BIV. They formed out of 
the car wreck of a band that was HIS BOY 
ELROY. I think they are the second band to 
use this name (the first having been from 
somewhere else and broken up) .They do their 
own brand of punk edge, early eighties, new 
wave with angst-o-plenty. ROl/GEo GALLERY 
has got to be the best Gothic skater-core band 
in all south Georgia. Contact Andrew (912) 
233-3591 or Victoria (912) 355-7314. Pre¬ 
miering with ROGUES GALLERY was DEAD 
MONSTERS. They had a droning Cocteau 
Twins like sound but I think they will < 

1 eventu- 


ally be better man that. As of now they are not 
playing around but may be back in another 
form later this year. SNOUT is the Savannah 
hillbilly rockabilly punk-a-billy funk-a-billy 
thang. They do a wonderful cover version of 
King Tut. Contact Dino (912)-354-6965. 
EROCK TRIO basic blues based music. They 
play real often as a Blues cover band but their 
original gigs are as funky as white boys can 
get. I like it. Plus, Erock Eric (912) 232-7036) 
is the person responsible for sneaking SPO- 
ITs into the Crossroads Blues bar for their 
Savannah bar Premier (and he lost his job 
over the gig). The big noise in the Painted 
Corpse city is SPO-ITS. The name is a con¬ 
traction oi Serial Poets. We played the Savan¬ 
nah Drunk Fest St. Patricks day March 17th 
on the streets acoustically. Noting that it was 
also the birthday of that great AmericanJohn 
nade up the 
brawls pace < 

legendary Crossroads gig. 
We packed the dump with more beer swilling 
“future Alcoholics ofAmerica" than morons at 
an R.E.M. show. The owner was screaming at 
Eric to unplug us during E. Jason’s fine 
rendition of “his friends call him Rock" a 
happy little piece of theater/music about a 
security guard who comes home, rapes, kills 
his wife and little daughter then sodomizes 
his wife’s corpse f“‘bout the same . Never was 
much of a lay") before suicide. Well, I was 
doing * “ ' 

issue will be out Aug. 23rd. We fill up the 
issue with free ads for underground records/ 
’zines, etc. Send in some promo stuff and if we 
have the space at press time we will print it 
Today there are three venues which do 
shows. I wouldn’t tiy to get a gig at any of them 
bv being “hardercore than thoiT’ in your demo. 
The best one is Veracruz. Contact Laura Were 
(912) 233-6873. They had Dirt play from 
Atlanta. The second in descending order is 
the Sun. Fugazi played there recently. Its 
more like a corrugated wine-sip pin’, suit- 
wearin' place than a real persons club but 
they do event shows on occasion. The contact 
is Ivan (Halcyon days) at Standard Records 
(912) 234-0223. The thiid and the long shot 
is Congress Street Station (912) 233-2259. 


whole w __ 

tape 5$, Scott Corkem/ Box 5340/ Hilton 
Head Island, SC 29938. We're going to be 
playing the Lofty Aspirations Experimental 
Music Festival in Pittsburgh August 13th , 
day two with Carolina Rainbow, and the 
Haters. After that we are going to be touring 
to New York. Call or write if you can help us 
with bookings. Myself, I am doing Turbo 
Video Zine. I am interested in your 8mm 
Video or VHS stories of sex and violence 
which occurred in your life, real sex or vio- 

* type stuff. I 
;and I pay 

„ _,_m Culture 

on the Skids, Hazel Adkins, GG Allen’s first 
interview out of prison. Plus much much 
more. Issue #2 will be out soon with SPO-ITS, 
(with dexter false suicide alert arrest), GG 

ay the locals 
rst god 



Scott Corkem/ Box 5340 / Hilton Head Is 
land, SC 29938 






genre music. A SASE will ge_ 
og and neat stickers + other free 

you a cat 

Also, myself and E. Jason are doing a 
free music ana literature mag. called Kultur. 
It is regional for the Savannah areabut we will 
do reviews of anything that we are sent. First 

Hey Folx! Before I go onto the musie, 
I’d like to hit on a little local politics. 
The anti-war effort here was weak 
and unstable. There were a lot ol 
well intentioned individuals, but not 
enough was actually done. This also 
seemed to be the ease with the new 
abortion law. Louisiana Legislature 
just banned abortions throughout 
the state, except to save the life of 
the mother or to end pregnancies 
resulting from rape or incest. And 
,as if that isn’t enough, the rape 
victim must have consulted a doctor 
within five days of the rape and 
report to the police within seven 
days. Anyone performing the abor- 

FIDDLEHEAD is a brand new band 
who’ve been hiding out in a garage practicing 
lately. I’m not sure what to expect, but from 
what I’ve overheard they should be a band to 
watch. No address on these guvs either, sorry. 
started playing out again with a set that, 
reminds me of early eighties straight-forward 
punk. REVAL are an alternative band with a 
real interest in the D.I.Y. ethic. They help 
keep a little diversity in the music scene here. 

The SUBTONICS are a blast from the 
past. They play late seventies punk with an 
attitude. They ve been playing out a lot re-j 
eently and hopefully will continue to do so. In 
case you’re wondering, SQUINT has broken 
up after a brief yet magical burst of activity 

\ i I* 1 aI i I . A , 

srcne reports 

We will be reforming under the name FURNI¬ 
TURE with some new members. You can 
contact us through my address at the end ol 
this thing. 

There are two places of interest in the 
city. The first is a cool record store called 
Underground Sounds that deals strictly with 
[independent labels. They have weird hours 
but can be contacted through Reed (735 
Octavia St./New Orleans, LA 70115/ (504) 
897-9030). Another hella punk landmark is 
the Abstract Bookstore and Cafe. This is 
where we’ve been booking most of our upcom¬ 
ing shows. It’s always all-ages and usually 
lots of fun. During the summer months 
bands can get in touch with Tom Hopkins/ 
320 E. William David/ Metairie, LA 70005), 
Ed Goyette/ 4119 Dryades St. #A/ New Or¬ 
leans, LA 70115), or myself for booking. The 
addresses may change so we’ll try to keep you 

Uist but not least is our ‘zine, Vienna 
Sausage . The first issue is sold out but the 
second one should be out soon. Orders or 
contributions can be sent to Robert 
Nemeth(1621 Newport Pi. Apt. 17/ Kenner, 
UK 70065). That’s about it for now, sorry if I 
excluded anyone. I’ll try to chum these things 
out regularly to keep everyone posted. Feel 
free to communicate with any^ one of us 
anytime. Love, strength, hope. Erick furni¬ 
ture/ 3453 W. lx>yol Dr./ Kenner, LA 70065/ 

Last minute realization: a large portion 
of the hardcore community will have left by 
the end of the summer, leaving a handful of us 
to fend for ourselves. The above addresses 
will definitely have changed by the end ol 
August. Keep an eye open for a new booking 
address in the Book Your Own Tour section o 
this here fine publication. Thanx. 

Hello from San Diego. There’s only one 
place that does all ages shows, it’s called The 
Che Cafe. The rest are held in garages, back¬ 
yards and parties. Any other shows are held 
at clubs such as Soma, Casbah and Spirit 
who are all in it for the money. Especially 
Soma, taking advantage of the bands and 

_ _ — _ _ •> L «t 4" Ac tni ipn 

of DOGBOY. It was all a blur. SLUG made up 
some songs and recorded for a split flexi with 
BRAIN TOURNIQUET, but they said the word 
“fuck" and Evatone won’t press it. Chris Squire 
of UNIT-UNIT now plays for them. LOADER is 
a truly fucking wonderful new band and 
everyone else can just give up now. Dustin 
(clown) can be seen singing for them as he did 
me pregnant, but KNUCKLE HEAD got me an 
abortion. Upon recording a new song for a 
Very Small Records compilation. 'TIT WRENCH 
were drawn into the love of light (violet), they 
now live in the island of Mota and do nothing, 
POBox 8623/ Chula Vista/ CA 92012. You 
can also get some wonderful records off that 
address Rke Cringer’s, both of AMENITY^, 
BARNEY LOVE, etc. OUTWARD surfaces for 
one last and Ron stepped in some dog shit, 
they were good as always. DISFUNCTION has 
changed their name to FLEE and will con¬ 
tinue too, it seems that every time they have 

a sin -"-^-- ™ 


nCW M.M. VTAA*. 

brothers (both in---, * 

BLIND JUSTICE just came out with a 7 , 
what a bunch of goofs, 4359 Cherokee Ave 
#C/ San Diego, CA 92104. Their drummer 
also took over JFS production. Notice: If Joel 
Wing is ever seen in San Diego again, he’s to 
be tarred and feathered, then fucked. HEROIN 
is trying to set up a little tour with BRAIN T. 
in August, but not having too much success. 
They also have a new 7” on Downside Records, 
it’s about personal history and nothingness. 
CAGED is a fairly new band with the Nelson 
look-alike twins of DRIFT fame, they’re rads 
though. EXCELLENT COVERS plays excel¬ 
lent covers, all straight edge though. 
STRUGGLE is recording Tor their Vinyl Com¬ 
munications 7’, they’ll also be on an Ebulli¬ 
tion compilation that’s coming soon, (619) 
581- 0127, call them for surgery. The new 
arsonist, END OF THE LINE, cant get shows 
in San Diego because they just torched the 
Spirit a month ago. Their junkie singer (new 
one) stabbed two people in the parking lot 
after they played in San Jose. Call them (619) 
270-5031 or write them at 4562 Sauk Ave/ 
San Diego, can also ask them 
about addresses and phone numbers of other 

bands. BLOOD LAKE has been on a rampage. 
These bands are the only one worth mention¬ 
ing in San Diego, they all have the DIY spirit, 
all the others can get lost, since everything is 
handed to them on a silver platter. Oh, before 
I forget, someone mentioned the greatest 
thing that happened in San Diego.THE 
SPRUNG MONKEYS, they are most influen¬ 
tial according to a friend. They’ve got the 
biggest dicks and the raddest girlfriends. 

Zines, there’s not much, except for the 
old ones like Bat’zine and JFS . I heard the 
Bat’zine is going all out on its last issue, with 
a flexi and all interviews with all Diego bands. 
Another zine called Hindered is one that 
works. Oh yeah, there’s the Pit Patrol s Jour¬ 
nal . it teaches you about moshing and pit 
consciousness, I heard they even teach you 
how to cook rice, the punk rock way. I think 
their address is PO Box 711962/ San Diego, 
CA 92171. Besides all that, San Diego has 
nothing else to offer, people only hang out at 
friend’s houses. Touring bands, if you’ve never 
been to Seaworld, nows your chance, hey, 
we’ll even help you sneak in. If you want to 
play down here contact the Pit Patrol, I heard 
the makers have some connections on shows. 
Well, that’s about all I got to say, ifyou didn’t 
like this report, you can just fuck off, because 
this is the real scene we got down here. Adios, 
Lam le of Clairemont/ San Diego, CA. 

Well, starting from the north of Yugo 
slavia, the republie of Slovenia seemed to be 
leading the Punk/UC movement lrom the 
beginning, but at the moment is finding itseli 

ing to do with the DIY spir--- 

is HOUSE OF SUFFEFdNG, with three ex¬ 
members of AMENITY.Thev have a new hard 
moshing singer, they rock it. H.O.S/ 1266 
Finch Place/Chula Vista, CA 92011. BRAIN 
TOURNIQUET played some shows and then 
the singer took a shit on me. Cory got his ass 
brutally bodyslammed at one show and no 
one did anything about it. They also have a 
split tape with SLUG for $2.50. HESCHER 
broke up and that’s too bad because they 
used to make us happy. Their singer is in a 
new band called NAPO, some more tasty shit. 
SHORT LIVED kicked their drummer out of 
the band, the bastard did put out their 12”, 
what a payback. DRIVE LIKE JEHU don’t spit 
at you, but they make your eyes blink, they 
have ex- members of FIRST OFFENSE ana 
planning on recording their 7" soon, they 
nave a aemo.They are Taster than a madman 
beating off. Reach them at Box 2812/ 
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^ *1^ I f 

• * 

be described as industrial post punk/I 1C and 
could be reached on two 7”s and one 12 
PHONE BOX VANADAI.S are a hard and 
powerful post-hardcore, with mini LP out 
entitled Damned Die Hard , published for 
Blind Dog Records from Zagreb. SMOKE 57 is 
a very new and young band which plays 
grind-core and has a lew songs on various 
compilation tapes. Finally, one of the long 

i a crisis. The scene is not any more concern 
rated in Lubiana (the capital of Slovenia), but 
i the province. POLSKA MALCA is a 11C 
rossover band who released an LP last year, 
low the voices say they quarelled within the 
and and they split up, but this rumor doesn’t 
eem too much reliable to me as they’ve been 
oing on for quite a long time and now they 
inally reached the status they always de¬ 
creed. Another band with growing popular¬ 
ly is STRELMI KOFF.They have 12" and 7 
ingles and are very Big Black influenced, 
•urelv, they’re one ofthe mostpowerful bands 
round. IT’S NOT FOR SALE is a melodic 
and .Their first vinyl release Nikdar Nazai EP 
/hich brings their melodic, Ami HC style to 
he audience.The band is actually working on 
s another group with such a long histoiy. 
'hey’re around since ’84, though bands’ 
nembers were playing in other punk bands 
luring the early eighties.Their music might 

infinity of 7 m 

bands I mentioned, but still 
worth attention. MOTUS plays 
melodic HC and has its first LP 
out on Sacro F3goismo Records, 
aside the appearance on a com¬ 
pilation LP ZG Noise_Forccs. 
SKOLis another old punk band 
which reformed a few years ago 
and published an LP for Listen 
Louaest Records.Their style is 
very complex and depressive 
punk-core with strange lyrics. 
GREGOR SAMSA are playing 
garage punk.They released sev¬ 
eral demo tapes and self-fi¬ 
nanced their own EP which 
came out this winter,with the 

years spent in madhouse. APATR1DI is band 
from a small town in province.Anarcho/old- 
punk should be the definition of their music 
style.Very original and authentic punk band 
with two demo tapes released in 1990. Their 
fellow-citizens MARRIED BODY are much 
harder and somehow alike more popular SEXA 
I mentioned before.They should have a 12" 
out soon. LET 3 comes from Rijeka and its 
bassist is one of the protagonists of the first 
punk wave in Yugoslavia. They have an excel 
lent LP with the second in the way. Probably 
the most popular punk band within the coun¬ 
try is K.U.D. IDIJOTI with their emotional, 
energetic and raw punk rock sound and 
funny lyrics. Their releases include 3 EP’s, 2 
LP’s and several tapes.Surely the best live 

RUMPL1STINK1 is quite new and prom 
ising band oriented to new wave .They have 
very tight sound and two demo tapes on their 
back, momentarily waiting for the release ol 
EP. BEZ OGRANICENJA is to me the best 
punk band for miles around. They include the 
singer of some legendary punk formations 
and also play some of the old songs by his 
previous band S.D.K. Strong punk sound 
with very critical lyrics. WITCHES are playing 
very strange rhythmic music and have totally 
queer attitude .Their shows are unforgettable 
events as well as the music itself. Republic ol 
Serbia:it seems that the best bands there are 
situated in the northern (more developed) 
parts of the country. One of them is BO YE, 
initially an all-girl band what has changed as 
years were passing. Very melodic and inter¬ 
esting style in the middle of rock, punk and 
new wave. New LP is out these days. VRISAK 
GENERACIJE is the oldest 11C band in those 
parts .They still have no vinyl releases, but 
appeared on a few cassette compilations, as 
well as on video. The style is melodic I IC/Oi 
which brought ’em quite large following. 
OBOJEN1 PROGRAM is one of the most origi 
nal bands absolutely. It’s hard to describe 
their music, but they re about emotional new 
wave with male/female vocals combination + 
lots of energy as well. FLOUREL TACK AS are 
playing very melodic punk rock and arc an 
excellent band, though their popularity is not 
that great. DEAD IDEAS is very young band, 
grew up on the ashes of LOBOiOMIIA. Their 
music is melodic hardcore with no vinyl re¬ 
leases to date. Another young band EX CESS 
(oi/punk) is going to publish an EP soon, 
aside demo and compilation tapes they fea¬ 
tured. LIBERATORS come from a smalf town 
in the province, but have a real long story oi 
existance—they finally released an El 1 last 
year.The style is punk rock with queer lyrics. 
The favorite band to most of punks there 
around is KBOl They’re playing since ’82. and 
after few line up changes they found them¬ 
selves as a trio.The first LP came out for Wipe 
Out Records from Greece, while the second 
and third (forthcoming) one are published for 
Start Today Recorde (new Yugoslavian 
label).Don’t miss their emotional & melodic 
punk/I IC stuff MIZANTROPIJA (crossover/ 
HC), formerly ETIOPIA, are developing 
themselvelves in a really nice manner and 
seems they finally grown up. In their lyrics is 
present a criticism towards politics and prob¬ 
lems we’re surrounded with in this perfect 
world. NAPRED U PROSLOSTis post punk/ 
hardcore band with interesting texts and 
curious song struetures.They have numer¬ 
ous demo tapes out and two LPs published 
during the last two years. Other bands out 
there worth mention are: MARSHAL’S KIDS 
(HC), HOGARI (fun-punk), ANTI-CIA (punk 
rock), POGIBIJA (grind-core), UDRI’N’RAZBI 
(noise), SAHT (old punk/oi) and TALAS 1 
MRZNJE (oi/punk). Republic of Bosnia and 
Herzegovina. This year saw the reform ol 
DISSIDENTS, initiall a thrashy hardcore 
band which became much more melodic and 
much closer to the ears of audience S.C.II. are 
total underground with insane music and 
dubious texts. Their first LP came out two 
years ago, but they’re still quite unknown to 


af.stBHfe r#por« 

Yugoslavian audiences. From the south-west 
of the republic comes ZENEVSKI DEKRET 
which changed its music style, too. Now they’re 
hardcore with metal influences. FOBIA is a 
new band from Sarajevo which plays some¬ 
thing in between Baunausand Godfathers. No 
recordings for the moment. Republicsoi 
Macedonia and Montenegro. Unfortunately, 
t he scene in these republics doesn’t exist. The 
bands are very few and almost all of them 
enjoy only local popularity, mainly because 
ofvery hard conditions for playing there.Some 
(1C bands to be mentioned are BLOODY 
GEORGE and SANTATORUM (both from 

The ‘zinc scene stagnates at the mo¬ 
ment . Some of the best ‘ zincs there have quit 
recently, e.g. Bolii Zivot . Plat fuzz . Epitaph .... 
The oldest ‘ zinc still running is Vrnitev 
Odpisanih . though the last nuriber got out 
more than two years ago (but there’s chance 
to see the new issue soon) It covered mainly 
American hardcore bands, had lots of scene 
reports, letters, stories, gig reports,... Also 
Twenty Four Hours which continues its exist¬ 
ence in England (naturally it’s written in 
English) is one of the oldest there (23 issues). 
Features mostly European punk/hardcore 
bands, numerous gig reports, recipes, letters, 
informations and other cool stuff. Then there 
is still U Moiim Ocina ‘zine with its irregular 
appearance, but strong personality.Punk/ 
hardcore bands, infos, opinions,...Cool. Other 
two zincs that appeared in the same time are 
Warhead and Zips And Chains .Since late 
'87./carIy’88. They both released 7 issues 
each. The first one is about punk/hardcore 
bands, scene and gig reports, reviews... the 
latter one features mainly melodic punk/HC 
bands, reviews, polls, competitions, comics,... 
and it's written in English. Oprcm Dobrol is 
little ‘zine/newsletter with suen informations 
on the scene there, poems, interviews, 
infos.. 47 issues till now. There’s also T.S.O.M. 
(local punk/I IC bands, gig reports, reviews,...) 
with issue 9 on the way, ana Dree Drito with 
its number 4. During the last few years ap¬ 
peared also some new ‘zincs, like ITiks . Ci Ci 
iuj, Gians Penissis . Suliev Zabavnik and No' 
Name , just to name a few. Mini ‘zine Phantom 
has changed its name and now is getting 
published, together with Yefimia Destruction 
under the name of Odabrani . That’s all.l 
admit that some bands are missing, but 1 
really couldn’t reach all the underground 
bands that play in Yugoslavia. So, don’t con¬ 
sider this in an absolute way, but just as a 
help to find out what’s happening in those 
parts. I’d like to encourage anyone to write 
me, especially bands and ‘zines who would 


' I , v .. 

■ -i ■*» \ / y [yi |' | 

maybe like to be included into one of the 
forfheoming issues of my ‘zine. The address 
is: Dario Adamic/ Via Arrigo Roito 78/D/ 
00052 Valcanneto, Cerveteri/ Italy, or during 
the summer: Dario Adamic/ NarodnihZrtava 
1 /IV/ 58000 Split/ Yugoslavia, 
f’OI^SKA MALCA c/o Gianni Kovac/I lumekova 
15/68270 Krsko 

STRELNIKOFF c/o Vasja Ocvirk/ Cesta 
Kozjanskega Odrcda 8/ 63220 Store 
IT’S FT FOR SALE c/o Miloa Radosavljevic/ 
Rimska Cesta 4/ 63270 Disko 
i ledl/ Livadna 46/ 62000 Maribor 
Records/ p.p. 60/ 41020 Novi Zagreb 
SEXAc/o Idle Valley / Palmoticava 29/ 41000 

MOTUS c/o Rade Preradovic/ XI Novoselski 
Odvojak 5/ 41040 Zagreb 
SKOL c/o Goran Pradegan/ Trg Marsala Tita 
3/ 41000 Zagreb 

GREGOR SAMSA c/o Sime Cengic/ Che 
Guevare 5/ 41000 Zagreb 
APATRIDI c/o Goran Ivanovic/Stjepana 
Radica 62/ 55300 Slavonska Pozega 
K.U.D. IDIJOTI c/o Sasa Milovanovic/ 
Kamenjak 3/ 52000 Pula 
RUMPLSTINSKI c/o Nikola Radman/ 
Smodlakina 17/ 58000 Split 
WITCHES c/o Mladen Jurieic/ Tomislavov 
IYg 19/ 41000 Zagreb 

BEZ OGRANICEISUA c/o Nikola Radman/ 

Smodlakina 17/ 58000 Split 

VRISAK GENERACIJE c/o Predrag Jandric/ 

Caki Lajosa 37/ 21000 Novi Sad 

OBOJEWI PROGRAM c/o Digi4al Recording/ 

p.p. 72/ 41020 Novi Zagreb 

DEAD IDEAS c/o Darko Markovic/29. 

Novembra 126/ 11000 Beograd 

EX-CESS c/o Sasa Maksimovic/ Nehruova 

78/58/ 11070 Novi Beograd 

EBO! c/o Sasa Vujic/ Svetozara Markovica 

47/ 34000 Kragujevac 

MIZANTROPIJA c/o Dejan Arsic/ Gavrila 

IMncipa 11 / 35000 Svetozarevo 

POGIBIJA c/o Sasa Bogdanovic/ 27. Mart 

16/ 11420 Smederevska Palanka 

UDRI’N’RABZI c/o Milan Djuric/ M. Velikog 

16/10/ 1 1300 Smederevo 

S.C.H. c/o Senad Hadzimusic/ Novakovica 

10/ 71000 Sarajevo 

ZENEVSI DEKRET c/o Nenad Golubic/ 
Stiepana Radica 116/ 88000 Mostar 
FOBIA c/o Goran Perisic/Vahide Maglajlic 8- 
1/71000 Sarajevo 

BLOODY GEORGIE c/o Darko Janevski, 
Blazo Orlandic 4-B/ 91000 Skopje 
Listen Loudest Records c/o Zdenko Franjic/ 
Samoborska 107/ 41000 Zagreb 



Start Today Records c/o Voja Zugic/ 
Mokraniceva 12/ 21000 Novi Sad 
PATARENI c/o Davor Kodzoman/ Tuskanova 
26/ 41000 Zagreb. 

Vrnitev Odpisanih c/o David Krzisnik/ 
MarinkovTrg 14/ 61000 Ljubljana. 

Twenty Four Hours c/o Guido Obradovic/ 63 
Pollard Lane/ Bradford, BD2 4RN/ West York¬ 
shire, England. 

U Moiim Ocima c/o Oliver Paunovic/ Dz. 
Bijediea 18/ 49, 34000 Kragujevac 
Warhead c/o Goran Ivanovic/ Stiepana Radica 
62/ 55300 Slavonska Pozega. 

Zips & Chains c/o Dario Adamic/ Narodnih 
Zrtava 1 /IV/ 58000 Split or Dario Adamic/ 
Via Arrigo Boito 78/D/ 00052 Valcanneto, 
Cerveteri/ Italy. 

Oprcm Dob to f c/o Vasa Radovanovic/ Vase 
Carapica 74/ 1 1223 Beli Potok 
r.S.O.M. c/o Kreso Golubic/ Bogoviccva 4/ 
41000 Zagreb 

Udarac Drito c/o Boris Milakovic/ D. Germana 
30/ 55300 Slavonska. 

D’iks c/o Aleksij Skrinjar/ Trubarjeva 9/ 
65000 Nova Gorica or Simon /Ales Markie/ 
Pi. Strukelj 70/a/ 65000 Nova Gorica. 

Ci Ci Fui c/o Dejan Acimovic/ Turjaskal6/ 
61330 Koccvje or JasminaZcgarac/ Kidrieeva 
14/ 61330 Koccvje 

Gians Penissis c/o Zlatko Vukovic/ 
l’itogradska 6/ 59000 Sibenik or Vedran 
Meniga/ Ive Lole Ribara 1 / 59000 Sibenik 
SulievZabavnik c/o Momir Stosic/ Molijerova 
2/3/ 21000 Novi Sad 

No Name c/o Jure Kclhar/ Greenwicha 10/ 
17 62000 Maribor. 

Odabrani c/o Predrag Petrovie/ Grada Karare 
4/7/ 34000 Kragujeva or Deagana 

Manojlovic/ Visnjiceva4/ 34000 Kragujevac. 




Say hello to MRR dudes. Here comes 
Naold again. First of all, I’d like to apologize 
for some mistakes of my misprinting on MRR 
#90. First is about the band called BASTARD, 
their singer is not Nori but the man called 
Tokurow. For him, probably this is the first 
band. Second is about GIL, the right title ot 
the EP was “To Us Conflict Is Not Important". 
Third is about TETSUARREI, it was mis¬ 
printed as TETSUASSIE. Sorry readers and 
the band. Hmmm, there’s lot of things I have 
to write this time. 

Well, I’ll talk about the Snuff (new ace of 
UK HC?) Japan tour. They played 3 times at 
Tokyo, but owing to some reasons I could see 
them only one time. Before I saw them I had 
a little uneasiness, you know, most Jap’s HC 
people love so-called crustcore or Nuclear 
Blast-ish death metal approach bands. I love 
so-called straight edge or emotional HC best 
and am interested in NY anarcho HC like 
Nausea, now. But there were a lot of people to 
see them. Before they came to Japan, Vinyl 
Japan Label that invited them, put out a 12" 
single vinyl. This is 2000 copies limited and 
have their pre-released 7" plus a song called 
“Don’t Fear The Reaper”. It sounds as if they 
play in the bathroom, pretty echo effectea, 
however it’s very excellent. I don’t know how 
Vinyl Japan sells it overseas, but probably 
they can. So if you’re interested in Snuff, ask 
them c/o Vinyl Japan/ Seiwa Bldg/ 2F 4-9 7 
C/ Home Nisni/ Sninjuku Shinjuku-ku/ To¬ 
kyo, Japan. But before you send the loot, 
don’t forget to ask the price post paid, and 
whether they can sell it overseas or not 
Letters with IRC would be a great deal for 
them I suppose. Well I will describe their 


Debut Seven-Inch 



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LETHAL AGGRESSION • "Sabliniaal Emin" V ep 
WATERSTACET ■ ”famptiem* V ep 
INTENT TO INJURE • "Keep Us Sirens* 1" ep 
CATHARSIS - V ep (rankin’ Rad Speeinera) 
ONE TO ONE - V ep (rankin’ Fannp SEl 
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Also the infamous LIFE SENTENCE T-shirts 
LIFE SENTENCE logo 2 colors on white, black; red 
NO EXPERIENCE NECESSARY 2 color on white only 

Make checks payable to Eric Brockman 
2443 N. Marshfield, Chicago, EL 60614 
for Booking Info Call: Eric B. 312-871-7381 

U.S. funds only; 45’s-$3.50, T-shirts-$10. 

Shipping $1.00, Canada $1.50, other $2.00. 

Add $0.75 shipping each additional item. 

Look for LIFE SENTENCE on tour in Canada. 

And as always in the U.S. 

1 1 

f.iA X 

ssene KpenoMS 

Tffey filled wiTh^JDMfff #I®sT JclD 
and DONDON. The show started with 
DONDON. They put out their 1st LP called 
“Border Line" on Selfish rec. in November and 
it seems to get a good sale. They seem to find 
their own sound out, however I think they’re 
similar to GAUZE a little bit. it seems a big 
problem that they can’t get the permanent 
guitarist, but finally they can get it I suppose. 
Their show has no gaiety, but they give us 
what they should give us enough, that’s 
enough. Their lyrics are about environment 
and so on, But personally I think it’s more 
important that we should think about what 
we can do towards these sad problems than 


Musically they are a mixture of Chronic 
Diarrhea and Operation Ivy and Stikky with a 
DC flavor. Anjhvay their songs have wide 
musical variation, and make us cheerful, yes 
recommended. They put out a demo called 
"Take The Funny Way* and a 7" called "Three 
Men And A Monkey’' on Heart First label in 
Germany, and are on a comp LP called 
“Kakumei" (repressed as 600 copies limited 
CD) as well as a flexi comp called "Louder 
Than God Tour” (they play “Purple Haze", 
awesomel) and will release their 1st LP on In 
Your Face in UK. 

Their show started with the song called 
"Nukey Blues Pt.2". A lot of people who wear 
hood tops and caps run towards the stage and 
began to dance, some kids began to dive (me 
tool), perfect playing ability, excellent action 
performance, wow very cooil Next the band 
called ACID got on stage, they put their LP 
called “Gray Earth" on Selfish rec. in Novem¬ 
ber, in short: it rages. Total blurr! Heavy 
sound that let me feel the darkness and an 
unseen fear. Their lyrics are about all kind of 
crisises of the globe, and I must tell sad news 
to the ACID freaks. 

ACID stopped their activities that day, 
this seems to be the reason that a lot of people 
come to the club, anyway their last show 
seemed to be above average, but probably 
below the show when I first saw them in 
Nagoya City with Napalm Death. However the 
show was awesome and worthwhile, envy the 
audience if you didn’t see them on that day. 

Next Snuff played and looked relaxed 
pretty much and very happy to come to Ja¬ 
pan. One of Jap’s major companies called 
Link records put out their 1st LP “Snuff Said" 
as a Japanese pressed CD titled merely “SnufF 
and also their 12” “Flib" was released as 
“Rods & Mockers". 

Well, I’ll change the topics. Since I sent 
my first report, a lot of things happened. First 

is about my country’s emperor, H 
died in Jan’89 and his son called Akihito has 
become our emperor. The ceremony to be¬ 
come the 126th son of the seun (laughable, 
hard to understand) was done in Nov ’90. This 
ceremony was done by using our taxes and by 
the way of a state religion, Buddhism. There¬ 
fore, some groups like Japan Christ Associa¬ 
tion were against this religious way. But this 
ceremony enforced without getting rid of this 
religious way. Personally I think it is a com¬ 
pulsion of Buddhism and Emperorism admi¬ 
ration. I don’t belong to any religion, but I 
think there is God. However, I hate any com¬ 
pulsion, if it is not religion but also fashion or 
something else. Religion should not be forced. 
Religion should be mere when people need. 
So I don’t blame Ray of Shelter (ex-YOT) for 
the reason he believes in krishna. It’s quite 
laughable that people don’t believe any reli¬ 
gion for wanting to be punks, or afraid of 
being twitted by fellows. Well, enough of that, 
the ceremony was welcomed by all of the 
Japanese. (Although not a few numbers of 
Japanese welcomed eagerly, but they are 
almost either right wing or aged. Most Japa¬ 
nese seem to have no interest.) I don’t know 
about our emperor so much, but I try to 
describe about it. I’ve heard the emperor is 
offspring of God called Amaterasu Oumikami 
(the god of sun). And about 2000 years before 
or more, Amaterasu saved Japan from disas¬ 
ter. (At the time, our country was called 
Yamato) So our national flag represents the 
sun. However, Japan is not religious country. 
This is a kind of myth that almost all coun¬ 
tries have, and nowadays Japan is pretty 
much westernized. 

And now I’ll tell you sad news. A 15 year 
old high school girl was killed by a teacher. 
Situation was as follows. On that morning, 
she hurried off to go to school, afraid of being 
late. When she reached her school, the gate 
was almost shut by the teacher. She tri«i to 
go through it, but the teacher forcibly shut it, 
and her head was held between the gate. Her 
skull was broken, and she was dead. This 
matter reveals the realities of the Japanese 
education system. Many Japanese schools 
have severe rules and regulations of school 
uniform, hair style, and loads more. Almost 
all of these are weird, and ignore the charac¬ 
ters of students. Fortunately I had liberal 
high school days. So this is too shocking for 
me. If Japan’s education system is not im- 
inoved, it is no wonder that more sad acci- 
ents will happen. 

Well, lei’s talk about the new Japanese 
HC stuff, etc. Hmm, a long time has passed 
since I wrote my 1st article and loads of stuff 
has been put out. First of all Selfish Records 

§ ut out 
O B 
CD. It 
vinyl is 
a b 1 e 
in UK. 
And FI- 
N A L 
C D . 
are in a 
D i s - 


Lynarcf Skynarfllrfiture vein, mid tempo HC. 
And SO WHAT “Murder" EP was put out. I 
haven’t heard it, but it’s a cool one, maybe. 
GAUZE “Genkai Wa Dokoda?" CD was put 
out. It’s more chaotic noise thrash than former 
releases. OUTO’s video was put out (NTSC 
only). The quality is average, but almost all of 
their main songs were included, worthwhile 
getting it. 

MCR Company put out a lot of stuff. 
“Unknown HC Drinkers" triple flexi contains 
9 songs by 9 bands. Various styles but basi¬ 
cally sounds like UK HC bands. DEZ/Amen 

E lit flexi is recommended. DEZ (Damnable 
:cite Zombies) is similar to Systematic Death. 
Yes, cool Japanese HC sound. Amen is a 
Finnish band. Although a bit different from 
the typical Scandinavian sound, they’re good. 
AndlDORA’s EP was put out. It’s difficult to 
describe IDORA. They re too characteristic to 
compare with anyone else. That also can be 
said about their stage performance. Their 
vocalist is especially awesome. Yokosuka City 
HC flexi includes four bands: CRAZE CROW, 
“Hard and Loud Vol. 3" was put out, contains 
well-known UK bands ENT, Filth Kick, Dr & 
The Crippens, and Forcefed. Not so good 
quality, but personally I’m satisfied to be able 
to hear the Crippens. “Tokyo Santama City 
HC" flexi contains LESS HAZE, GIL, RINZYU 
ZANGE, and GJPB. GIL rips. One of Japan’s 
death metal bands called GIBBED put out 
“Eternal Life" flexi from SOB Records (distrib¬ 
uted through MCR). Contains both studio 
and live tracks. MCR’s future releases are 
incredible. Nightmare/Concrete Sox (UK) split 
EP, Juntess/Dr & the Crippens split EP, 
“Kakumei 2" comp LP includes several Japa¬ 
nese bands and Misery from USA, Cox Or- 

and loads more stun will go on. Write c/o 
MCR Company Kamiagu lo7/Maizuru-city 
Kyoto-fu 624. (If you live in the EEC area, 
write to MCR UK c/o Mike Foster/Flat 5/68 
Wells Road/Bath, Avon, BA 2 3 AR/UK. 

Hmm, I must tell you sad news. LIP 
CREAM and GUDON broke up. LIP’s drum¬ 
mer, Pill, joined a positive goth band called 
ASYLUM, and the bassist, Minoru, formed a 
band with Butcher (ex-OUTO), guitarist from 
ACID, drummer from MESS. On the other 
hand, GUDON put out a last split EP witb 
WARHEAD JUNK (the GUDON side rips) from 
Blood Sucker Records. Also, “Gudon s Last 2 
Days" video was put out (with LIP CREAM, 
ROSE put out a demo called “Dead En the 
Nerve" from PMA Records. It sounds like a 
Carcass and Obituary mixture, total death 
grind blurgh! However, I prefer their "Liqui¬ 
dation” LP the bestl PMA Records is soon 
putting out “Unhuman Society Death" demo, 
and is recruiting death grind bands from 
abroad. If you’re interested, please get in 
touch. ROSE ROSE c/o Masaniro Suaa/2- 
25-7 Kyojima Sumida-ku/Tokyo 131 Japan. 

Ive heard that Nausea will get back 
together, changing their name to Change of 
Nausea, but they haven’t got a guitarist. 
However, I hope I can see their awesome live 
show again. Well, I must go now, I plan to 
compileUS HC bands info on my next article. 
Japanese HC seems to be well-known for 
heavy, noisy bands like GAUZE, CONFUSE, 
MACROFARGE, etc. But recently, a lot of 
unique, funky, tight bands were bom, influ¬ 
enced by straight edge music, p-funk bands, 

Well, take care, stay awake and keep 
the faith! Write c/o Naoki Ando/ 19-2-202 
Tamagawa 5-chome/Chofu-city Tokyo 182 
Japan (IRC please). 

P.S. Attention! Japanese bands and 
labels, distributors. I can’t follow all of your 
info, especially local bands, scenes, etc. So 
write to me, written in Japanese okay. If you 
play in a band, music and lyrics would help a 
great deal. Vegetarian bands or posi/emo 
core bands would be veiy welcome. Don’t 
worry if you’re not. Don’t forget to include 
your address. Then, try it. Bye. 



TAPE: T got OKRA ' 90 MIN Spoken word.$ 5 00 PPD 

VIOEO: Live in Pittsburgh “ 2 HoorsVHS.S 15 00 PPD 


The following items are 
$3 ppd ($4 can/mex; $6 
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6 rockin punk tunes 
FURY -Resurrection 7" EP 
swiz + ignition = fury 
INSPECTOR 12 -Jack 7" EP 

4 new hardcore classics 
7" single yellow vinyl 

5 song 7” debut 

THD COMP 5 song 7“ EP 
w/ unreleased Downside, 
Reach, AG’s,PB’s,1-12 

The following items are 
$5 ppd ($6 can/mex: $7 
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Lv* O Crossroads Savannah Ga. FOR SALE TO 18* YEARS SEX 


6 song cassette of 
Big Drill style poppunk 
INSPECTOR 12-Still Ip 
length cassette 

Cash,Check or MO to: 

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55406 USA 
send sase for infotaining 
catalog and newsletter, 
distributers,stores call 
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10 song cassete 
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T-shirts• (M / XL) i$4.00 land mail) 

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+ $3.00 (land mail) 

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—Cash, Checks payable to Steven Wieting 

47 Winthrop Dr. Peekskill N.Y. 10566 

Two New 7 "s from Doc 



Their energetic follow-up to their first T. 
More early Eighties 
STYLE PUNK/HC like only 

"These Guys Fucking Rule’-Flipside. 


This is the debut 7" by 12 PACK PRETTY 
out of South Carolina. Melodic Punk Rock 
with strong vocals. First 500 on Gold Vinyl. 

Price: 7"s $3.50 post, paid U.S., $5.50 elseware. 
Check, Cash or Money order to: 

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P.0. Box 7000-117, Alta Loma, Ca 91701 

Picture Disc, Jobbernowl 10" ep, 

Face to Face 7". 

Wholesale: Contact Mordam, P.0. Box 420988, 

San Francisco, Ca 


Interview by Graham Russell 
Photos by Shawn Scallen 
I caught up with the all-female, 
Brooklyn-based, brat rockers the 
Lunachicks when they recently passed 
through Ottawa, Ontario on their latest 
Canadian tour. It was an opportunity for 
the underaround rock heroines to kick 
back and Ditch about some of the things 
on their minds lately (namely their soured 
relationship with their record label Blast 
First.) Present were Theo (vocals), Squid 
(bass), Becky (drums), Sindi and Gina 
(guitars) and Shawn (MRRphotographer.) 
MRR: Tell me about the Sonic Youth con¬ 
nection. I know they were responsible for 
getting you signed to Blast First. 

Squid: They saw us play at the Limelight at 
the second show we ever played. I think 
they thought we were a noise band 
‘cause we were trying to play, but I don't 
think it sounded like anything, so they 
thought we were right up their alley. They 
told Blast First about us and Blast First said 
“if you guys want to produce them, then 
we'll imake a record/ We went into the 
studio and tried to make a record, but it 
became clear that they wanted us to 
sound like a noise band. We basically 
wanted to sound like a regular good rock 
and roll band, so we didn't really get 
along and they split from the scene. Ihe 
label was already interested in us at that 
point so we stuck with it. 

MRR: Were you Sonic Youth fans at the 

Squid: I had never heard of Sonic Youth in 
my entire life. 

Theo: (diplomatically) I like a lot of their 
songs, but then I don't like a lot of their 
songs, too, so... 

Sinai: I'd seen their flyers around for about 
ten years but I never went to see them. 
MRR: How did most of the members of the 
Lunachicks first meet? I know you’re all 
from Brooklyn, except for Becky. 

Squid: Me and Theo were 13 when we 
met. Sindi didn't go to school with us. She 
was a bit older and kind of corrupted us 
young, school girl type of girls. 

Gina: I was 14 when I met you. 

Sindi: When we started playing together 
they were 17 and I was 21. 

MRR: What music were you listening to at 
the time, that influenced the Lunachicks 

Squid: The earliest things were, like, punk 
— the Undertones, Buzzcocks, X-Ray 
Spex. I had an older sister into the scene 
who liked things like the Bad Brains. She 
turned me on to all that shit. 

Theo: Kiss, Black Sabbath. 

MRR: Where are some of the places that 
you’ve developped a real Lunachicks 
cult following? 

Squid: London... New York... 

Theo: We get a lot of fan mail, but it's 

scattered from everywhere, so I don't 

Squid: None of our albums have been 
distributed in the United States (except as 
imports) so we don't even know how 
many records got into the States. All we 
know is that when we got back from 
Europe there was a big bag of fan mail 
from kids all over the country... 

Sindi: ...from kids all over the world. We've 
gotten letters from Japan, Australia, 

Theo: Greece, are you kidding? 

Sindi: Yeah, a couple of letters. 

Squid: We have no idea, really. It's only 
when we show up to play somewhere 
that we find out whether or not people 
have ever heard of us. 

MRR: Comparisons with other all-female 
bands must annoy you, I assume. 

Theo: Very.much so. 

Sindi: In fact, if you do it... 

MRR: You don’t don’t really have much in 
common with any that I can think of... 
Theo: Thank you. 

Sindi: Good answer. 

Shawn: I've heard people compare you 
to a female version of the Ramones. 
Squid: We can live with that, being com¬ 
pared to one of the greatest rock and roll 
bands of all time. 

Theo: Some guy in Newcastle said to me, 
after we played there, "I feel like I was just 
at my first Ramones show/ 

MRR: You must be at the stage now where 
you’re meeting and touring with some of 
the bands you grew up liking... 

Sindi: We just played with the Dictators, 
the Ramones, the Buzzcocks. 

MRR: Have you had any problems or been 
treated badly opening for other acts? 
Becki (who up until now had spent most of 
the interview lying on her back and 
belching loudly): Sometimes we have 
problems with Gwar shows, because the 
people are like “GWAR! GWAR! GWAR!" 
Theo: There's more heckling because 
we're women. At that show they wanted 
Gwar, but they also wanted to see out tits 
and everything. 

Squid: All of these guys were like, “Show us 
your tits! Show us your tits!" Of course I just 
happened to have a huge fucking head 
full of shit and I blew snot, like, all over 
them and they were like, “Yeahh/ so I 
thought. Okay. 

MRR: You cover “Get Off The Road” from 
the Herschell Gordon Lewis film "She-Dev¬ 
ils on Wheels". Horror films seem to be an 

Theo: Of course. 

Sindi: We're mostly influenced by John 
Waters. "Desperate Living" is like our 
theme movie. 

Theo: We like real campy horror, too. Like 
"Basket Case". 

Gina: I like Russ Meyers. 

(Talk turns to their probjems with Blast First 

and their dissatisfaction 
with the hype the label stirred up about 
the band.) 

Squid: They, at the last minute, informed 
us that we were going to have a 12-page 
colour photo album (included with the 
Ba b ysitte r s , o n Ac id LP.) We didn't want 
that. That's really a bunch of hype as far 
as we're concerned. We made that 
record in two days with the most minimal 
recording budget, and then they spent 
about four times that amount of money 
making the thing look good, which makes 
us look fucking stupid. It's not our idea to 
be, “Oh, we're girls, pictures, pictures/ 
That was their idea. 

Sindi: There were two photos on the 
cover. Flow many more photos do you 

Squid: It's just because we got tits and 
asses that they want to do that shit and 
especially when the thing sounds like 
crap and people are buying it because it 
looks so good. It's such bullshit. 

MRR: So you’re negotiating with other la¬ 
bels? Would you ever consider signing to 
a major label? 

Squid: It seems like a trend in the industry 
— girl groups are in. Grab one. I'm sure 
there are people interested in signing us 
and it has nothing to do with the integrity 
of the band or wnat we sound like. It's a 
scary thing, dealing with these people. So 
many bands get fucked-over and are 
never heard from again when they get 
signed to major labels. Lots of bands in 
New York, people we know, they're 
“We're getting signed by Geffen, man" 
Most of them get dissed, dropped. They 
get sued by their own labels; they can't 
make records; they can't play anymore. 
It's fucking scary. We're not business 
people, and personally I don't want to 

MRR: Tell me about your following in Eu¬ 

Becky: Who knows what will happen 
there because (in) England one moment 
this is hot and then a year later they can't 
stand you and are dissing you to hell. 

MRR: Why do you think it is that American 
underground acts like you, Sonic Youth, 
Lydia Lunch and Henry Rollins tend to get 
more appreciated over there than at 

Gina: Because they have to listen to the 
La's and the Stone Roses. 

Becky: The Stone Roses are totally posing 
as old Rolling Stones. We have a more 
realistic approach. We're the first people 
to laugh at ourselves. Flenry Rollins is a very 
real person. Fie doesn't try to put up a 
fake image about anything. Lydia Lunch 
is very much “This is this" and blunt. Sonic 
Youth have been around forever and 
they didn't really change their style to be 
what was happening. It's the same thing 
with us. I think (the British) appreciate the 
fact that if we are tack, well, we're tacky 
and we admit it. 

By J.D. 


I only saw 
twice, but 
luckily had 
the chance 

to get an inter- _ 

view before^^^fc / the 

group brokef 1^^ up. I spoke to Sigh 
Moan, J. Larry Lyons, Blackey Onasis and Mark 
Steiner as the opening act at a NIG HEIST show 
at Chicago's Metro. It was a after that killer 
show I experienced back in 85* that I cornered 
Sigh. He sang with an out of control, pos¬ 
sessed. and reckless attitude reminiscent of a 
10 year old child. Throughout the set he man¬ 
aged to demean just about everyone there 
including himself. He hurled beer and insults at 
the audience as well as the band in between 
songs that dealt mostly with drug abuse, vio¬ 
lence, and sexist acts of fornification. Off 
stage he seemed the Jekyll/Hyde type. It was 
hard to imagine that this was the same person 
I saw just a few minutes earlier grabbing at his 
crotch and screaming about cum flow. 
Speaking with me. Sigh seemed very serious 
and composed during the interview. Sigh 
Moan told me of the band's lust for decadent 
mutant sounds, and his uphill battle with the 
members of SLOPPAGE. The problem was with 

Mark and J.'s irresponsibility. They frequently 
showed up late or not at all to shows, as well 
as practice. Sigh thought that Mark and J. 
were convinced that audiences weren't 
ready for SLOPPAGE'S brand of slow, 4-4, 
squelch, psycho, amateurish blend of sounds, 
therefore they put little effort in their insane 
attempts at live performance. Shortly after my 
interview was published in EMOTIONAL VOMIT 
(M. Schafer's tiny but brilliant rag) I heard that 
SLOPPAGE, one of my favorite local groups, 

Soon afterward, I ran into Mark at a club 
and asked him about what happened 
with SLOPPAGE. He told me that 
J. and he thought Sigh 
was a silly goose as well as 
a mother hen and it's a 
good thing he left town. 
Sigh moved back to San 
Francisco to join, once 
again, his uptight buddies in 
the DWARVES. Blackey had 
also cut out on Mark and J. 
due to an offer he couldn't 
refuse from King Roeser and 
(also, in part due to a fist fight 
with J.). Mark explained how 
he was working on a private 
project entitled Phony Cronie. 
Holed up in his apartment, Mark 
randomly dials the phone and 
plays cassettes of 20 seconds 
worth of original music and po¬ 
etry to whomever answers. An¬ 
other cassette deck records 
the responses, which vary 
from irate or silent to highly 
appreciative. J. Larry, it 
seems, had also been up to 
some rather interesting ac¬ 
tivities. He had started to 
turn his junk sculpture cre¬ 
ations into musical instru¬ 
ments. J. Larry built a ba¬ 
zooka-shaped device 
that contains two turn 
tables, three needles, 
and an AM/FM radio. 
The Hoagy Phone, as he 
calls it. has volume and 
treble controls for 
each separate ele¬ 
ment. The Etch-a- 
Scratch is his answer 
to a mixmaster’s turn¬ 
tables. It's a hand¬ 
made close and 
play turntable with 
two stylus' mounted on the 
moving tip of a broken out etch-a-sketch. 

I was also told of his latest noise sculpture, the 
mind expanding, powerful chest audio as¬ 
sault array. 

J. Larry has also been very involved in 
the anti-imperialism movement in Chicago. 
While awaiting his trial (they charged him with 
beating a police horse with a stick) J. helped 
organize a recent street demonstration. The 
purpose was to disrupt the military victory 
parade, similar to many held across the coun¬ 
try, which occurred in Chicago on May 10th. 
The march used strong visual images in an 
attempt to communicate effectively with the 
jaded and corrupt commercial media. Pre¬ 
dictably the local news media went for the 
corporately chosen non-controversial story 
and almost exclusively covered the victory 
parade. J. carried a 3x4 foot three dimen¬ 
sional paper mache' yellow ribbon dripping 
with blood. Mark and J. were in complete 
agreement with me on the pathetic nature of 
this country. It's amazing how blind and gull¬ 
ible a "maioritv" of American's are to he 

following this slimy dog president, with his thor 
ough media censorship and control into a 
blood bath? This "Christian" nation selectively 
decides who to hold responsible as hitler, and 
who is an asset to our national security. 
Saddam Hussein and Manuel Noriega found 
out that it doesn't help if you're in bed with 
America. The Kurdish people found again 
that even though the leaders of our country 
encouraged them to revolt, they're still only 
subhuman, expendable tools for the U.S.'s 
greed-driven world vision. Our lack of horror 

proves that government sponsored censor¬ 
ship works extremely effectively at least in the 
short run on people who don't question au¬ 

Before the evening was over Mark gave 
me a 7" of what this article is supposed to be 
about; SPECULA, a two-man band which! 
kicks it out. The boys recorded it at Chicago's 
Music Studio and MonkeyTech Records 
pressed it. After listening to it, I really appreci¬ 
ated how the boys hadn't lost their cheesy 
SLOPPAGE sound. In place of Blackey's pos¬ 
sessed and incessant beat was a disturbing 
sampled drum beat; monotonous and heavy 
sounding. I gave Mark a call that weex and 
asked if I could do an interview with SPECULA 
He invited me to the Czar Bar (a great club 
which is no more) that weekend to see the 
band perform. I had a chance to see the 
incredible Hoagy Phone in action. I can't 
easily describe the sound it made but I can 
say that many others besides for myself were 
mesmerized by its droning ethereal noise 
Meanwhile Mark cranked out some heavy 
boss guitar sounds on the Procto Bass/Guitar 
as he calls it. This guitar, as he explains it, has 
both bass and guitar strings in it and is played 
through two separate amplifiers. The first amp 
is a guitar amp with the E.Q. emphasizing the 
high end. The second amp is a bass amp 
which receives a slightly delayed signal .giving 
the whole sound a very full edge. The canned 
beat, which sounded like home sampled 
acoustic drums layered with sound effects 
and slowed to a mid-tempo dirge emanated 
from HAL 9000, their mutant computerized 
drummer. Three drummers have given up on 
working with the infant SPECULA due to Mark 
and J.'s "fuck em' if they don't understand" 
attitude. J. told me that after wasting months 
looking for a drummer that may not exist, they 
decided to try and make a go of it with a 
machine. He said that the main problem was 
that drum machines sound like crap. The idea 
that there was no human immediately in¬ 
volved with the percussion didn't bother 
them, the timing and sound was the problem. 
We've all heard it, that tell tale metronomish 
timing and canned sounds that beat boxs' 
create. With HAL, SPECULA feels that they've 
circumvented this problem. By creating the 
beat using a sampler, and a real time se¬ 
quencer, both authentic real sounds and a 
humanly timed pattern can be generated. 

The music I heard sounded like it had 
many different kinds of influences. The beat 
and the noise had a very hardcore industrial 
edge to it. yet the rhythm guitars and vocals 
were much more into a heavy metal groove 
I asked them who they thought their audi¬ 
ence would be for this kind of stuff. They both 
said in unison "who cares". Mark stated "the 
problem when it comes to bands like us get¬ 
ting heard is that we don't fit. In American 
alternative music, if you don't belong to a 
musical clique, it's as if you don't exist. You 
can't play clubs and you have difficulty get¬ 
ting reviewed. 2 a.m. college tree-form shows 
are the only radio slots open for you. Angst 
isn't enough, being politically aware isn't 
enough, you need a 4 piece, long haired 
stock rock approach, or you're nowhere". 
When asked about the name SPECULA, J. 
responded with an explanation of exactly 
what a speculum is,"they're medical instru¬ 
ments used to look into any bodily cavity". He 
showed me the ear specula which made up 
the necklace (speculace) he was wearing. 
Then Mark pulled out Specky Spec, a hand 
puppet used onstage, which I now noticed 
was in fact an embellished vaginal speculum 
Give me a break, do these guys work for the 
American Medical Association? SPECULA 
can be reached c/o MonkeyTech Records at 
2265 W. St. Paul Ave./ Chicago. II 60647. 






Orange and yellow on white 


Green on grey or blue on white 


Blue on black 


Yin-yang shirt 


All shirts available in large and x-large. 

All shirts, postage paid, are: 

Elsewhere $13 

Make checks/money orders payable to: 

PO Box 11346 
Berkeley, CA 94701 


-Ji w 

WAR ONE: CITIZENS ARREST—A Light in the..: ep 
WAR THREE: RORSCHACH—* ‘Needlepack” ep 

Out sometime before the end of the decade: 
“FUCK ROCIT10" Compilation 
HELL NO 7"ep 

All prices ppd., make checks/MOs out to Freddy Alva 

i 7 " LP/Cass ^ 

USA $3 S 

WORLD $4 $8 



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IT'S H€Aay THAT 6lMPte. 

In July of 1990, Epicenter Zone opened its doors at 475 Valencia Street 
in San Francisco. One year later, the space remains a vibrant commu¬ 
nity center containing a punk record store. a library and Blacklist 
Mailorder. All three projects co-exist under one roof and comprise an 
area where people come together not only to purchase music, but 
also to learn and work together, establish contacts through social 
activity, and organize and attend a variety of special events. Many of 
the organizers of Epicenter were also involved in the original Gilman 
Street Project, a volunteer-run venue in Berkeley. After a period of 
inactivity brought about by a series of frustrations at Gilman, many 
local punks felt a need to attempt to work together once again and 
to start another project within the punk community. 

Honey Owens, one of the Epicenter workers explains: 

"We wanted to do a project but didn't know what and didn't 
have the money. So we started bonding together ideas and started 
hanging out and talking about it, and then the earthquake came and 
we got even more into it. It just sort of happened. We just wanted a 
space where we could sell stuff and the idea was basically just to be 
together. We were just a big group that wanted to work together. We 

prices will be kept as low as possible so as to benefit the consumer. Also, 
conducting Epicenter as not-for-profit runs contrary to the ideals of the 
mainstream music industry wherein people's expression becomes a 
tool by which to make money. At Epicenter, a not-for-profit structure 
means that the group's existence is determined by a love for the music, 
literature and events promoted within their space. 

MRR: Why do you think it’s important to be not-for-profit? 

Tim: When money enters the picture, it can really screw things up 
sometimes. A whole set of tensions arise, class-wise, between people 
who otherwise thought they were equals. With a set-up like here, where 
no one draws a penny for their labor, we can not only keep costs down, 
but we keep motivations somewhat more pure. When it's a labor of 
love, people hang because they are getting something out of it other 
than bucks--like growth, friendship, knowledge, and a big headache. 
It keeps it more idealistic, whereas once you start paying yourselves, 
you can get so much into the ‘business' side that your original inten¬ 
tions get lost. This way. we can remain idealistic, don't have to kiss ass 
to the whims of trends and the market, and what's the worst that can 
happen...? We close and get a big vacation! No one's livelihood is at 
stake, and the project won't stay alive just because it makes us a living. 
It will stay alive only if the scene continues to support it by shopping 
there and by coming forth with volunteers. 

knew if we sold records they'd be independently 
labeled. We knew if we sold magazines they'd be 
radical literature.' 

Epicenter Zone is not-for-profit and entirely 
volunteer-run. Upon visiting the space in 1990shortly 
after its opening, I was inspired by what I saw as a 
place where people were building something to¬ 
gether out of a passion for implementing their ideals 
into practice, and a space where the emphasis was 
not simply placed upon punk music as a product to 
be bought and sold but upon punk as a realm. That 
included a yearning to attack various aspects of 
mainstream society through a variety of mediums 
and a realm wherein people could create their own 
fun on their own terms. In the summer of 1991, almost 
one year after my initial visit, my first impressions of 
Epicenter were confirmed and intensified. Through 
the opportunity to observe various facets of Epicen¬ 
ter in action and to conduct interviews with a 
number of Epicenter workers, a greater under¬ 
standing of the victories which Epicenter has ac¬ 
complished as well as the challenges which the 
Epicenter community still strives to overcome have 
come into sharper focus. The purpose of this article 
is to provide insights about both of these very real 
aspects of Epicenter Zone. After reading the follow¬ 
ing piece, a glimpse into creating and implement¬ 
ing a major D. I. Y. project within the punk community 
will hopefully have been provided, so that people 
who share similar ambitions about putting their own 
dreams into practice will become aware of both 
the trials and successes involved in undertaking 
such a challenge. 

The following people are quoted.... The Store: 
Honey Owens, ClayCadic, Tim Yohannan, MattW. 
Richard, Chris; The Library: Susanne, Lydia; Blacklist 
Mailorder: Brian Edge, Timojhen.Danielle, Harald 
Hartmann; Customers: Rick, Bruce. There are about 
35 people who volunteer at the store, about a half 
dozen at the Library, and around a dozen at Black¬ 

An in-depth 
interview with 
the people 
behind the 
scenes at the 
Zone, San 
punk rock 
record store 



Louanne Voskans 

Ti(m/z) H. 

Brian: From a personal stand-point. I wouldn't prob¬ 
ably be as interested in doing this if I was getting paid. 
I really love the reaction I get from people when you 
tell them you're doing something like this for free, and 
when you're selling their product at such a low mark¬ 
up. they're like "Well, how can you survive on that?', 
and it's like, "We just have to pay our overhead', and 
they're just, "What do you mean? What about 
salaries?'"Well, we don't deal with them', and just 
expose people to new ways of thinking about busi¬ 

All three branches of Epicenter operate as groups which are not-for 
profit and completely volunteer run. Such a structure ensures that 

Epicenter workers are made up of people from the 
punk community who volunteer their time in order to 
keep the projects functioning efficiently. All of the 
workers we spoke with were completely satisfied with 
donating their time to the space as opposed to 
working within a conventional employer/employee 
relationship. Since wages are not paid out, workers 
are free to determine their own level of involvement 
and commitment to the space. While some workers 
volunteer upwards of forty hours per week, others 
workaslnfrequentlyasafewshiftsper month. Blacklist, 
the library, and the store encourage people to come 
and volunteer-and standard job-screening proce¬ 
dures which take place at most work places are not 
implemented at Epicenter. The workers we spoke with 
all welcomed the opportunity to work according to 
their own schedules, socialize on the job, and help to 
keep projects alive that they believed were benefi¬ 
cial. People who donate time to Epicenter do so not 
out of a sense of obligation, or out of a need to 
withstand unfavorable working conditions for the 
sake of income. Volunteering means that time is spent 
out of a desire to perform the necessary functions of 
the space so that the projects can survive in a manner 
that the workers themselves determine. 

MRR: How do you feel about working here and not 
getting paid for it? 

Danielle: It's fine. It's such a relief. I go to my job five 
days a week and it's nice to go somewhere on your day off where I feel 
like I can work at my own pace. Usually it's more of a social thing; not 
just social, but there's more people in here and so it's a good all-in-one 
kind of place. 

Chris: I think that if it was a paid thing I wouldn't be involved. To me It 

just totally changes the character of the place once It turns into your 
job 'cause your priorities change. And once it's volunteer, I think that 
there's going to be a lot more of an emphasis on making this a really 
fun place to be 'cause people who aren't having fun and don't want 
to be here just won't be here. And you won't have people here who 
arejust here to make money and who have a bad attitude about it. 
MRR: When you're here and doing work, which I know is often routine 
and mundane work, how do you feel about this as opposed to your 
paid job? How does that compare? 

Chris: I think it varies. I think there are some people here who 
are more business-like, more workaholic, and those people 
can set a certain tone for efficiency as a priority, and 
working fast and getting things done, and sometimes 
that's fine if that's the mood I'm in, but I think I'd ' 
generally prefer a slightly looser attitude. Not flaki¬ 
ness, butjust basically people feeling free to work 
at their own pace, and when they feel like 
taking a break, not feeling guilty about that. 

I think guilt is a big part of it. I think that when 
people are motivated by guilt, even when 
they're doing good work it kind of colors it. 

People outside aren't going to be wanting to 
join in 'cause there's this lack of joy and spontane¬ 
ity in what's being done. I see it ideally as something 
different than a real job. 

MRR: Do you think it would be easier to get more people 
involved if people were getting paid? 

Timojhen: In a strict business sense I think that we'd be losing 
a lot. Like at Blacklist where wq have a set amount that we mark 
stuff up, and we're barely getting by. There's a lot of costs just in 
rent and in supplies and that kind of thing, whereas if we wanted to 
start paying people, all of a sudden we're going to become what we 
were trying to fight against. We're going to have to compromise 
somewhere. Either we re going to have to ask people to donate their 
time, or we're going to have to up our percentages so that we have 
the capital. So personally, I'd rather see the employees not being 
paid. For me that's part of the appeal, that this is something that I'm 
doing for myself. I'm certainly doing itto return some of the stuff that's 
been important to me for a long time, but it's also very good for me to 
come here and do something and be out of myself and not have a 
self-centered view of the world. I'm not doing it because it's going to 
give me something; I'm doing it because it makes me feel good in 
returning something that was given to me. 

•fclaLdbss Ass 

In most people's lives, work is often performed out of necessity. 
Although many people do not enjoy the work they do, they continue 
with their Jobs in order to earn the money that they need to survive, or, 
depending upon their social class, the luxuries that they wish to 
acquire. At Epicenter, people donate their time in spite of not receiv¬ 
ing wages. Although there has been a turnover of volunteers to some 
extent. Epicenter contains a large group of people who have re¬ 
mained dedicated to the space since its beginning. While many 
Epicenter workers do hold conventional jobs, the work that they do at 
Epicenter Is motivated by a variety of non-economic factors. Often 
these factors include social reasons, a love of punk music, the desire to 
learn new skills and a sense of accomplishment in helping to create 
and sustain something that they believe benefits themselves as work¬ 
ers as well as the people who use the space in order to buy, read, or 
simply hang out with their friends and listen to records. Workers often 
feel satisfaction from working with people that they know and like, on 
a variety of projects, as Epicenter provides an opportunity for people 
both in and outside of the punk community to redefine the idea of work 
and help to reshape it on their own terms. 

MRR: So what are the things that motivate you to keep working here 
and volunteering your time? 

Chris: I enjoy being part of collectives and doing volunteer work, and 
for that kind of work, this is a pretty kick-back fun place to be. There's 
always work to do, but for me right now there's enough benefits from 
working here, whether they be social or just being able to hear a lot of 
new music, and this place is kind of like a center for announcements 
of political events or shows that are going on in the city and in the 
alternative community. Even if I wasn't working here I think I'd be 
around here a lot, and that would make me feel like I'd want to work 
here just to put in something and not just take. 

MRR: Why are you still Involved? 

Matt: It's a great place and I feel like I'm a part of it. Aside from the fact 
that I'm able to do a lot, I just feel that there's just so many things that 
I couldn't do without the store. I've met most of my friends through the 
store directly or indirectly. Just through talking to people and network¬ 
ing, I can do a lot of things in my life like projects and activities. I just 
found that the people here were thinking on the same level and all 
pretty much have a lot in common. 

MRR: What makes you want to do work here since you’re already 

Involved In so many other projects? Why’s Epicenter still important to 

Tim: Well. I think conceptually it's a great idea. With Gilman, I would say 
that, at best, it only realized about 10% of its potential. With Epicenter, 
I think that there's a much greater likelihood that the place can really 
become a community center. And I think within the last few months, 
there's been a lot more variety of things taking place. Groups are 
using it as a meeting space, movies, live shows, whatever. I think 
it's also a way for a lot of people to meet each other. The whole 
sense of community is something that is easily taken for 
granted, and with Gilman again. I think that people, the 
community, really took that place for granted and 
abused that place and still do. Assets like that don't 
come along all the time. It's really important for 
people to realize what an amazing opportunity it 
is to do stuff, to meet people. I mean fuck, all of 
these people would have never have known 
each other if there hadn't been a Gilman. 
That's really important. And as a record 
collector, this is my dream store. I want it to 
be a place where you can find tons of singles 
and they're cheap, andpeople know what the 
fuck you're talking about when you go ask about 
records, where people can swap records, what¬ 
ever. All of that's totally great. And so, it's really 
unique, I think. 

MRR: What do you personally get out of working at the 

Lydia: I like reading the stuff. I think it's great to see it all in one 
place and to know that it's all products of imagination and non¬ 
mainstream attitudes. Ithink we take that a lotfor granted in this city 
and within the punk scene - that everybody thinks what we think. In 
San Francisco it's relatively easy to get gay magazines, it's relatively 
easy to get anarchist magazines, but I think this place is a real gold¬ 
mine of information and of thought. And just seeing some of the labors 
of love that a lot of these magazines are, it just shows that everybody 
has something to offer. I'm not saying everyone in the world should put 
out a magazine, but so many people have so much to say, and it's not 
only through music that it can be said, and sometimes it can't be said 
through music. There's tons of different voices and it's good to 
remember that. 

MRR: What makes you keep wanting to stay at Blacklist? What moti¬ 
vates you and keeps you excited about it? 

Brian: One of the main aspects is what people have to say. When you 
get a letter from South Dakota or from Taiwan, and places where 
people are never going to have a chance in their life to get a hold of 
records like these. They can read about them. but they would just give 
up being able to get them. Andwe're providing the opportunity to get 
the records really cheaply, and so they're just effusive In their praise. 
And when you get so many pats on the back, you can't leave 
because you'd be letting people down. It particularly feels good after 
the complete lack at Gilman, where you just killed yourself and people 
came to basically what was your show, attended your show, made a 
mess, and left. And that's what it came down to, with nothing given 
back. And so something like this is almost exactly the opposite. Rus, in 
my work, since I travel a lot. this has allowed me to make a lot of 
contacts in other places where when I go I'll have someone to hook up 
with and talk to or meet and get to know. So it's opened up a really 
good opportunity. Plus.just the things you can learn here. I've learned 
how to run a small business, and since that's not really where my 
interests lie as far as a career goes, I never would have had an 
opportunity to learn accounting and how to use a computer, and 
shipping and receiving, and all of that kind of stuff. And that's been 
pretty interesting. And, of course, meeting people here, people that 
you work with. Meeting people in a club sense is very restrictive. Most 
of the time, people won't give you the time of day if you see someone 
that you want to talk to. But here in a work environment, working 
towards the same thing, you have that in common so you meet a lot 
of people who share the same enthusiasms and responsibility and 
want to do something, and that's been great. And continuing to 
provide that opportunity for people who come along, but they don't 
have the money or the concepts to do something themselves, you 
have this opportunity always present for them to come in and help out 
and join in. So your little family just grows, and you make a lot of really 
good friends. People come and go here 'cause they volunteer. Some 
people don't find it the most exciting work, and everyone's in it for their 
own reasons. So we do have a fairly large turnover, but we're able to 
really get to know people who are here for a longer time, and you 
share the same crises and you share the same good times, and I think 
it's really rewarding. 

MRR: What keeps you motivated to stay here? 

Harald: Well I think Blacklist is pretty important, regardless of where the 
music comes from. My impression is that there's pretty much a big 
censorship thing going on right now. I don't hardly go in to record stores 
anymore but I get the kind of feeling that... .1 mean it was like when I got 

in to punk rock it was because I was very political and opposed a lot 
of things our government stands for. Punk rock was refreshing because 
It attacked those things that a lot of people take for granted. There are 
still bands around who are not totally generic, that can say something 
that is a little bit different. How many bands on commercial radio do 
you hear played that were against the war in Iraq? None. It was only 
in the punk scene that some people were able to put out something 
that was-even if it wasn't against the war--at least It said something 
that wasn't pro-war. To me. that is what punk rock has been about and 
whatever it evolves into, hopefully that will be what it retains. I think my 
impression is that Blacklist is one of the few places left where that kind 
of music can be found at a price that people can afford. 

352 .. 

Epicenter was created not simply out of a desire to establish a record 
store, a library or a mail order sendee. A fundamental aspect of 
creating such a place was a yearning to set up a community center 
-a space where people in the neighborhood could come and use the 
resources that Epicenter could offer. It was also to be a center for the 
punk community-notjust a business that revolved around punk music, 
but an area where people who wanted to could come and meet 
people, attend special events like gigs or films, and simply have fun. 
Establishing the " center* part of Epicenter has been one of the major 
challenges that the workers wrestle with. Although efforts have been 
made to display the group’s responsiveness to people other than 
punks coming in to utilize resources, such as the library: a distinction 
between the Epicenter community and the rest of the neighborhood 
remains and is often a source of frustration for Epicenter workers. 
MRR: Do a lot of people from the community, outside of punk people, 
come In and use the resources here? Or is it just mainly punks that use 

Susanne: I know about ten people that come here only for the library. 
But I think the whole place is not really in touch with the community. 
We're in a mostly working class Latin American neighborhood, and 
there's none of these people coming in here. The record store defi¬ 
nitely attracts one small spectrum of people, and gives shape to the 
whole place. And I think that's a pity in a way, because we are located 
in such a diverse and interesting neighborhood, and we have abso¬ 
lutely no contact with it. It's our own fault. 

MRR: Do you see any way that that can be changed? 

Susanne: No. Not in this structure. I think because a place like this is so 
dependent on the rent, and there's so much effort that needs to be 
done to pay the rent, and the easiest way that everybody knows is to 
sell punk records. So our identity is based on the products that we sell, 
which is not what interests most of the people living in the Mission. 
MRR: What do you think it would take to get more people from the 
community In there? People from the surrounding area, the Mission 

Honey: It would definitely be us doing the outreach. It would be us 
looking for a particular group to come use our space. And I feel like in 
a way. I don't want to do that. It would be nice if they could not feel 
alienated and come in, but we don't have time to go out and seek out 
a group, make sure that they don't feel alienated, that they can use 
the space for whatever they want...I feel like in a way it's sort of like *1 
like black people, black people are some of my best friends...' - that 
whole attitude of your token community. So fuck it 'cause it wouldn't 
be real. If itworks and happens, then that would be great, and we're 
all open to It, but we don't want to search it out just so we can be 
politically correct. So unfortunately, it seems like it won't happen right 

Clay: We're 99% white kids in the Mission serving white kids from the 
suburbs. I've always thought that we should do something for our 
community, other than the punk rock community, but what can we 
do? We don't have the money to feed and clothe them. I thought of 
maybe tenants' rights, organizing something, but I don't have any 
experience with that and I wouldn't know where to begin to deal with 
that. As for the Mission community, I don't think we serve it very well as 
a community center. We're just serving the punk/alternative commu¬ 

While Epicenter has been less successful in increasing its acces¬ 
sibility to the majority of neighborhood residents, it continues to ac¬ 
complish a great deal in terms of bringing the punk community 
together and providing a space where " punks ' can socialize, create 
and interact, it’s been a place where people have been able to buy 
records, work, read, and attend shows. It's also been a place where 
people, through the process of building and caring for something 
together, have been able to learn more about cooperation, about 
themselves, and about the dynamics involved in working with others. 
MRR: So what do you think Epicenter has to offer the “scene"? 

Matt: Obviously, cheap records for us but a lot more than that. It's just 
like from a community aspect, all of our friends are here. Just being in 
touch with the rest of the world. I hear about everything that goes on 
through here. If there wasn't the store, there wouldn't be the informa¬ 

tion available to the community and people. 

MRR: How important do you think Epicenter is in regards to San 

Matt: For our scene it is vital. Without it there wouldn't be a San 
Francisco scene, as far as for us. Here there's so much you can do. 
There Is so much information you've got access to, music, people or 
whatever. It's just great, it's incredible. We've managed to survive 
working on our own terms. That's a beautiful thing. It's really inspiring 
that it can be done. In this whole area there's so much positive energy. 

I think you can still make things work and it hasn't got the real cynical 
attitude of many places. It's just amazing how we communicate here. 
I've never felt like I've been on the same level with so many people. It's 
very intimate. It's hard to describe. There's just a lot of special things in 
this place. 

Richard: The space as a whole is very conducive to creativity. The idea 
is that people can come and hang out and not buy records and not 
be forced to buy. They can come and drink coffee, play pool, play 
ping pong, play records and hang out. It's becoming more of a 
meeting space for people. They can buy cheap records from inde¬ 
pendent labels which is really hard to do with some other stores. They 
can come In and read in the library which is just full of all sorts of 
literature. They can come here afterhours when bands play, or for 
poetry readings. There's a theater group that might be coming in 
August. We've had films and videos. There was an industrial perfor¬ 
mance here. It's just a space where people can come and there's a 
lot of community centered around it. There's a lot of different types of 

Honey: It's a great lesson to have to work with people who are all 
fucked-up in one way or another, and it's a really positive thing to be 
able to work with each other although we're all so fucked up. We all 
come from all these different class relationships and families, and 
they're so different--and how we all relate to each other and our own 
politics and how we keep evolving. I just think it's really positive. Maybe 
some people think that's a negative thing, but to me that's a positive 
thing. I think Epicenter is positive because it's like a relationship. It's 
positive because I feel like we're all struggling for self-evolvement. and 
that's a positive thing. 

Even though this article is concerned primarily with the social, political 
and theoretical side of running a not-for-profit/volunteer store, there 
are important “nuts and bolts “ mechanics that need to be acknowl¬ 
edged. When Epicenter opened, few of the collective members had 
experience of working in (never mind running) a record store. Systems 
had to be worked out. For instance, ordering and reordering of 
records, dealing with fire department and police permits, as well as city 
bureaucracy and insurance. Accounting and budgeting also needed 
to be kept in check. Prices need to be worked out; mark-up was 
originally set at 25%, but has recently been raised to 33% due to 
financial difficulties. There’s also problems making sure there’s enough 
people willing to work to keep the store open; including motivation, 
responsibility and shift organization. Having no hierarchy, why doesn't 
the store slip into total chaos? Who takes ultimate responsibility when 
things do start to go wrong? All this had to be learned by trial and error. 
If nothing else. Epicenter has proved that, with time and dedication, 
almost anything can be achieved. (Clich6d. cheese-ball ending or 

One of the most unique aspects of the Epicenter record store is the fact 
that it's....well, not your average record store. While stores of any type 
by nature are designed to attract potential customers to enter, pur¬ 
chase and then leave. Epicenter is laid out in such a way so as to invite 
people to socialize-regardless of whether or not they choose to make 
any purchases. The record store is equipped with couches, a pool- 
table, a ping-pong table, murals, restaurant-style booths, and a coffee 
maker. People play pool and table tennis free of charge and are 
weicometosit, talk and browse at their leisure. Customers and workers 
alike often come into Epicenter merely for the sake of hanging out with 
friends and meeting new people, fulfilling the community center 
function of the space. 

MRR: Have you been able to meet a lot of people through Epicenter? 

Bruce: Yeah, It's a real low pressure place to meet people. It's not a 
bunch of poseurs that you see in some of the clubs. You can walk right 
up and talk to somebody and don't have to feel put off by social 

Rick: Yeah, you can go up and just go, *Hey man, that record is good. 
You're making a good choice.' Most people react positively to those 
kind of comments. That gets things going and you can learn things from 

MRR: What have been the most positive aspects of working at Epicen- 

ter? Maybe something you learned from working here? 

Chris: I think the most positive experience has been to meet a new 
group of people. I've sort of been involved in the alternative scene, 
whatever that m eans, for five or six years in this city, and I sort of felt like 
I knew most of the people involved, but then just getting involved in 
here I realized what a big city this is because I've been meeting dozens 
of new people and becoming friends with a large number of people 
who I never knew about before. And just out of that, getting involved 
in different study groups or theater groups. That's been the main thing. 
And also, just to see people's reactions when they come in here, 
'cause I think for people traveling it's really nice. So just working here 
and seeing people when they come in and how glad they are that 
there's a place like this in San Francisco is pretty fulfilling. 

While those who are very familiar with Epicenter feel comfort¬ 
able coming to the store purely for social reasons, new people may 
sometimes feel ove/whe/med by the space and by the amount of 
people who seem to be settled within their own social groups: 
Honey: Friends of mine who don't work there and those who have 
come in have felt alienated because they feel like there's a whole 
scene-all the workers and people who hang out there-and if any¬ 
body new comes in, they have it in their mind that they're going to feel 
uncomfortable. They feel nervous, so If we don't give them all of the 
special attention that they need, then they feel left out or like we're 
elitist. That happened even at Gilman, the most lax place in the world. 

I feel like some people definitely have that feeling-that they're the 
customer and nothing else, or when they walk Into a show they're just 
going to the show and nothing else. I know the remedy of the problem 
is to be able to be more open and friendly and talk to people, but I 
don't feel like spending four hours a day talking to each new person 
that walks in. and nobody else does either 'cause we just don't have 
time. So I don't know what another remedy would be. We put out a 
fanzine about alienation and how we felt, and still more people feel 
like they're separate. 

playing there. And then meetings were happening there. During the 
war, the General Strike meetings were there. And also we had a 
banner-making party, so we all listened to music and made flyers, and 
a bunch of people showed up with all these art supplies and paints and 
papers and cardboard, and a lot of artists came and helped make 
banners. That was actually one of the funnest evenings there 'cause 
there was music and people were drinking, and it was really laid back. 
Radley, who does sound for us, is this amazing part of the store that 
nobody ever really sees, because he just comes in and does sound for 
free. There's been a lot of great things. A lot of meetings here and 
there, and people are coming in and needing a bigger space to meet. 
And ail the things that happened there have been somewhat like 
awareness events-like this is the show, and this is the pot-luck, and we 
all bring food and we eat together, and hopefully we'll feel comfort¬ 
able enough to dance together. 

Matt: The time Spitboy and Cringer were going to play this bar down 
the street and all these people came to see them and most everybody 
was under 21. They started carding people at the door and wouldn't 
let most people in. So everyone was like, “Fuck, we're all here, the 
bands are here and we can't play, why don't we just play Epicenter'. 
So it was like 11 o'clock on a week night and everyone just hauled the 
bands over here, about 30-40 people and we had an impromptu 
show. It was just really special. 

Clay: The other thing that I really liked the most was the pot luck before 
Chumbawamba. That was so awe-inspiring. The ping-pong table was 
just filled with food, and it was so much fun, and the show went really 
well and I really enjoyed being there. That was one of the most fun 
shows I've ever been to. Just the fact that I have seen people work 
together and get things done is also inspiring. During one of the 
protests before the war we had a banner-making party, and that was 
a lot of fun; you had older people who weren't like "Bring the war 
home", and "Kill Bush, Quayle and Baker', but were like ‘Give peace 
a chance'. That these people were in the same room together and 
doing something-that was a little bit fun. 

A major way that Epicenter acts as a socializing and gathering space 
for the punk community is through the special events that take place 
in the store on an irregular basis. Different groups outside of the 
punk scene have used the space for their own meetings ; at 
present. Overeaters Anonymous, an addiction recovery pro 
gram, meets weekly in the library free of charge. Films have 
also been screened in the store's space, and political 
activity has also been organized there. Various anti-war 
organizing efforts by the punk community took place 
during the Gulf War. 

Perhaps for some people the most memo¬ 
rable special events have been punk gigs that 
have taken place at the store. Since the 
store is extrerhely spacious, record racks 
are moved into the office space, which 
leaves the capacity to hold a large number 
of people. A small door-price is sometimes 
charged in order to help bands with their ex¬ 
penses. While gigs have been fun and memorable 
at the store, legal restrictions prevent Epicenter from 
establishing itself as a regular venue. While special 
events of all types are relatively infrequent, such occasions 
are an important and integral part of the store's existence, 
and have contributed to a solid attempt at instilling a creative 
and fun outlet for the punk community. 

MRR: About how many people organize special events? 

Richard: There's a core of about six of us and maybe about ten or 
fifteen people that we can always rely on to help at different times. 
Special events includes live bands-Chumbawamba, the Ex. Jawbox, 
Holy Rollers, Nation Of Ulysses, Gray Matter. This is my personal feeling, 
but special bands that come through that have the same ideology as 
us, and support the same system of working underground. When a 
band comes through San Francisco there's not a lot of alternative 
spaces to play and to be able to have them play in a record store is a 
really special thing. 

MRR: And what would that ideology be? 

Richard: Putting out independent music. Or they're putting out their 
own records. Being on independent labels. Even though that's really 
blurred right now, you can still get a really good idea of what bands 
support it. Bands that tour and will play for gas money. Or just play in 
a creative space like this alternative space for whatever we can pay 
them. There's no talk about money involved. Bands that really want to 
support what we're doing, and also support it while they're doing their 
own projects with the same ideas in mind and do it yourself. 

MRR: What are the different special events and outside activities that 
have happened at Epicenter? 

Honey: Shows-all illegal of course. The first thing was Chumbawamba 
playing there, and then Snuff played-it was all European or D. C. bands 

Functioning as a collective is another unique aspect of the store. 
Since Epicenter is entirely volunteer run, workers do not rely upon 
a ‘boss' to make major policy decisions, nor do they operate in 
a 'majority rules' fashion, interviews with Epicenter workers of 
the store and the library revealed that the collective pro¬ 
cess which takes place in their space has the potential to 
be simultaneously one of the most rewarding as well as 
the most frustrating elements of volunteering there. 
While workers believe it to be important for the 
entire Epicenter community to take part in deci¬ 
sion making, conflicts have arisen in the past 
over a belief on the part of some workers 
that certain individuals tended to domi¬ 
nate the decision-making process. While 
the Epicenter collective may not function in 
Utopian fashion, and similar conflicts have the 
potential of surfacing again in the future, workers 
value the opportunity to settle their differences 
through a process of collective interaction and view 
such a model as the most desirable way to make 
decisions at the space. 

MRR: How well do you think the collective works in realistic 

Matt: I think it doesn't work as a pure collective at all. There's got 
to be a couple of people who are willing to putin a hell of a lotmore 
work than anyone else. Somebody's got to do the dirty work and not 
everybody here wants to do it. 

MRR: How do you feel about the way that decisions are made at 

Chris: I think it's working out pretty well. I think it's impossible to have a 
perfect collective and a perfect decision making process. I think that 
there have been problems with some people, whose idea it was and 
they were putting a lot of energy into it. As a result, people kind of 
deferred to them, and it's sort of been a long process for other people 
to start to put in more and not feel like those people are managers or 
bosses. No one really thinks that, but sometimes it just works out that 
way. it's really important to me that it's a collective and that anybody 
who's putting in work does have a say in the decisions. I think it would 
be good if there was more communication and more of a chance for 
anybody who wanted to be part of decisions that went beyond the 

Honey: I'd like to see a couple other strong people coming in besides 
me and Tim. Other people who are willing to fight with us, instead of us 
fighting with each other all the time. And take over, be on the lease 
and want to be responsible. I feel like I want other people to come in 
and inspire me because I feel kind of tired. 

While social interaction as well as selling merchandise are Important 
points of the store’s existence, politics also plays a major role at 
Epicenter. Like any other aspect In life, personal politics come Into play 
in terms of how people relate to each other on the basis of sex. race, 
class and sexual orientation. Generally speaking. Epicenter seems to 
be a tolerant environment where people can comfortably work 
together In spite of their differences. 

MRR: Is Epicenter some sort of oasis of tolerance for people of 
different races and ages and sexes and sexual orientations, or is 
there still a lot to overcome there? 

Clay: I think it is. I think we're pretty much over it. Nobody 
seems to be too much on it. I know a lot of the women 
don't feel they're taken seriously, but I don't feel I'm 
taken seriously. I don't think we have that much of a 
racial mix, so you'd have to ask other people who 
aren't white what they felt about how they were 
treated-l can't speak for them. 

MRR: One of the unique things about Epicen¬ 
ter is that there does seem to be a gay punk 
scene interacting with a straight punk 
scene, and that seems to be pretty rare in 
most places. What is the dynamic there? 

Clay: When I first came into Blacklist I was the only 
person there who was gay, or out about it. I felt 
really insecure about just going around all the 
Homocore people and then being with all the straight 
people at Blacklist, and all the shows I went to it was all the 
straight people -I was the only queer there. When we started 
Epicenter, then we recruited Matt, and it just seemed that 
more and more people would come in to hang out in the store, 
and Tom Jennings had been involved in Gilman Street and he'd 
come into the store occasionally and be there, and more people 
would come around, and I started to feel really good and still feel really 
alienated by all the queer punks, real alienated by all the straight 
punks. As it stands now. I guess I like it. Maybe it could be more in-your- 
face and what not. but i think I tried that. I was going to do a Dee-Lite 
motif in the bathroom with Queer Nation stickers and day-glo flowers 
and the pink and the purple and whatnot, but never seemed to get 
around to it. I still have never seen two queer boys kiss when I was there, 
I've seen two girls kiss, but that's my goal. 

MRR: Has there ever been any hostility between the two groups? 
Clay: Not so much. There's maybe some awkwardness when people 
first come in contact with it. I would say some of our customers might 
be...they have pulled down the Queer Nation stickers, sq. there have 
been homophobes into punk rock. I've never had it in my face. I think 
if it happened to somebody else I probably would have heard about 

Upon entering the record store, one will find it difficult not to take 
notice of the political murals, flyers and graffiti which decorate the 
store and address a wide variety of topics. Having a space where such 
visual confrontation can take place is an important aspect of the store, 
as well as punk in general. Exposure to political opinions has the 
potential to be both thought provoking as well as overwhelming for 

MRR: What’s the political atmosphere like at Epicenter? Customers 
come in and they’ll see all sorts of different flyers or graffiti on the walls 
and stuff like that. Is it a place where things can get dogmatic at all and 
people can feel intimidated if they don’t really know about or agree 
with a lot of the political opinions they see being expressed? 

Clay: I've never really taken into account whether people really feel 
alienated or not really self-assured walking in there. I think of myself five 
or six years ago, and if I'd have walked into a place like that I would 
have been afraid to open my mouth. I guess people can get intimi¬ 
dated. I've tried to do some Queer Nation stickers and flyers for 
different queer clubs and whatnot, and I guess some of our clientele 
would get not so much offended by it, but maybe feel uncomfortable 
with it; and does that bother me? No. Actually I always try and bring 
more queer aspects into it, but I guess I'm not very creative in that 
fashion. We're starting to do a new zine and we've been meeting 
there and we did a show there. With things like animal rights, there's a 
mixture of vegetarians, vegans and carnivores, and it never really 
seemed to be as hostile towards one another as I thought it could be. 
With racism --somebody told me there was a bunch of racist graffiti in 
the bathroom and they went and crossed it out. 

Perhaps one of the most important political issues revolves 
around how radical Epicenter really is. While most of the workers would 
probably agree that Epicenter is and possesses further potential to 
become radical in at least some areas of its operation, debate remains 
as to what degree Epicenter complies with or deviates from a main¬ 
stream capitalist model: 

MRR: How do you feel about how well Epicenter has been able to 
stretch the limits of what is possible to do within a capitalist system? 

Honey: I feel great on one hand. Realistically I feel like, okay, of course 
within our society you can't get away from capitalism. We are living 
capitalism. When we eat food we're buying into a capitalist system. 
But to me Epicenter has the potential for being very radical and there's 
a lot of .... I compare it with Club Kommotion or something similar to 
that, where it's labor that you give for something else, which is an 
alternative to going to a cafe and hanging out with a bunch of art 
students.... a bunch of middle class white kids and I feel that it has the 
potential to be really radical. Because of all the personal politics 
clashing and people who are more radical than other people in 
their ideologies within a collective, it suppresses the idea of 
being radical and we can never rise above it because we're 
always down there in the dust fighting with each other. If 
people were to be less dogmatic about their ideology 
and we rose above the conflicts, I think it could 
definitely be radical. But I feel also that there's the 
structure of the store that needs to be worked on. 
We've gotto find other ways of making money, 
we have to do some serious scams, there's 
too many possibilities to get money for the 
lace that wouldn't be taking part in the 
system, and I think it's important to seek out 
those ways and take the chances. I feel like a 
lot of the punk lyrics that are there are so conser¬ 
vative and boring and they're all replicas of one 
band of a certain era. But also it's my state of mind. 
When conflicts arise I'm pissed off and want to leave, 
but then when everything is really good and there's a lot 
of good political things happening because that's what 
interests me more. I mean personal politics, like self evolve- 
ment. people fighting but then dealing with it and changing 
because of it. I think that's more radical. So if everybody's still here 
in a year I'll feel like it was pretty radical. But right now it's one of the 
down moods I've been in and I'm coming out of. 

MRR: How do you feel about operating - even though you’re non-profit, 
it’s still sort of a capitalist environment within a scene that’s generally 
not too crazy about capitalism? 

77m;Veah it's all petty bourgeois capitalism. Buying and selling of stuff. 
How do you live in a capitalist society and yet not be affected by or 
take part in it in some way? If you sell your labor, you're taking part in 
it. If you buy food at the grocery storeyou're taking partinit. So we're 
all taking part in it. I don't view Epicenter or Gilman or Blacklist or any 
of these things as revolutionary. They are alternative. They are. at times, 
radical, but this is not going to change the world. It is not a way to shake 
things completely up or down. It is a way for people to do things in an 
environment that's more idealistic, and where people can get some 
really good hands-on experience at doing things, creating things, get 
a bit of self-confidence from doing that. We do at times run contrary 
to the laws of capitalism. We have sales where we sell things actually 
under cost--you're not supposed to do stuff like that. So I think it's kind 
of neat to be able to fuck with those laws. There's a kind of thing that 
everyone complains about the system but nobody does anything, and 
in a certain way. the more radical your ideology, the less of a chance 
you're ever going to get to practically implement anything. So this is a 
way of doing something that doesn't buy into the system entirely, 
rejects aspects of it. does what it has to do to survive, provides an 
alternative, provides a vehicle for people. It's a good thing, I think, for 
people to be able to take some of their principles and do something 
concrete with them, and be able to create an alternative and see it 
come from an idea into something real and what can we do with it 
from that? My desire is to see all these different projects become self- 
sufficient, become financially very solid, and for them to start spawning 
alternative ideas and new projects. In other words, we helped spawn 
some of these things, and I'd like to see them start spawning things too. 
I think it's very infectious and it could be really amazing, and obviously 
it's influenced some people in other places-like Sam McPheeters and 
the ABC-No Rio folks were influenced by Gilman and are now talking 
about doing a record store or doing a distribution in NY. So it's got a lot 
of possibilities of affecting people. That isn't revolutionary, but it is really 
constructive. It's too easy just to be negative, way too easy. And 
everyone can bitch and moan and hate, but .actually taking your 
political Ideas and then trying to hammer them into some kind of 
functional reality where a lot of people with somewhat different ideas 
find some common ground, is really hard. But it's a good thing to do. 

The record store carries material which generally can be classified as 
punk. While the selection of punk music stocked is quite good, frustra¬ 
tions exist among Epicenter workers who would like to see the store 
expanding so as to carry other types of music. Since Epicenter is 
committed to stocking new material released only by independents, 
and since the store's clientele is basically punk, complications arise as 

to choosing the best route for the store: 

Chris: I think that on© possible problem with this place is that a lot of 
people who would want to be involved in the community center 
aspect of it are kind of put off by the fact that, in their opinion. it's really 
narrow culturally, 'cause we just pretty much have punk records. A lot 
of people have told me that if we had some rap records or something 
representing other cultures that they'd be more interested. But the 
problem with that is that if we're committed to only supporting inde¬ 
pendent distributors and record labels, that's really hard to do with 
things like rap. 

MRR: In your opinion, what would be the greater good: to have major 
labels and increase the cultural diversity, or to stay independent and 
keep it narrow? 

Chris: I think right now I'd still prefer to support independent, but 
actively try to find a slightly broader range of records to have in the 
store. And there are a couple of people who are starting to look into 
that. Even if we did start to have a broader selection of things, a lot of 
people who used to be into punk and sort of have a knee-jerk reaction 
to It. If they came in here and a punk record was on and they saw all 
the punk posters, that might be enough to put them off anyway, which 
is kind of their problem more than ours. But another solution is that as 
we have more events that aren't exclusively punk oriented, and more 
people see the place and realize there's other potentials for it, then 
maybe they'll stop thinking of it just as a punk haven. 

One of the major decisions made by Epicenter workers was the 
decision to carry higher priced collectable punk records. For some, the 
belief is strong that avoiding these items is possible without sacrificing 
the livelihood of the store, and that avoiding such items would be a 
crucial display of the store's commitment to provide a genuine alter¬ 
native to the greedy capitalistic features of mainstream culture which 
also creep into the punk scene: 

Lydia: The library people were the first people that really protested the 
collector's records here. If we have the opportunity to create this from 
the ground up, and we can define what we think is important to sell 
here, and we can define what the purpose of this place is, then why 
are we selling collector's records? It's a piece of vinyl that costs forty 
cents to make, and cost two dollars when it came out; why are we 
selling this for eighty five dollars? Why are we supporting this commod¬ 
ity concept of punk rock? This is what we're supposedly against.... 
What we heard a lot of was, "Well, if people are going to buy it here 
and resell it elsewhere, it'll make Epicenter look like idiots and it'll make 
Epicenter lose some of the profits that could make some of these other 
projects go on." That's a complicated issue, and it's difficult to say 
who's right and who's wrong, but once again, we were setting the rules 
here, it was OUR store, everybody who was involved could decide, 
and we felt frustrated that we were having to work within the confines 
of this commodity system of buying and selling records and making as 
much off of it as you could, and buying it for a certain price from the 
seller, and then selling it to somebody else for more. I think there's still 
not total agreement about that, and I don't know if there ever will 

be.It's like dirty money as far as I'm concerned in some cases 

And it certainly doesn't help the bands. If the whole idea is do 
it yourself, and supporting the bands by having their records 
here for cheap, and supporting the consumer by having 
the records here for cheap, then all we're supporting is 
some kid with his Dad's Mastercard who gets it here for 
seventy-five dollars instead of someplace else for a 
hundred. That's nothing "revolutionary" as far as 
I'm concerned. 

Others in the store view the decision to 
carry collectables as unfortunate but un¬ 
avoidable. Opinions vary as to how sup¬ 
portive workers and customers are with re¬ 
gards stocking collectables: 

MRR: How do you feel about this place having a 
‘collectable corner’, because I know there’s been 
some difference of opinion on that? 

Rick: I don't see a problem with it. You've got people in 
here who price fairly when things are bought and so 
here. It's not like going to Bleecker Bob's. If you're within $5 
or $10, you have nothing to bitch about, but if you q 
somewhere else, you may have a $20 or $30 difference. 

Bruce: I think It's a great outlet for collectable records. It's not a real 
capitalistic problem. Some people want those records and this 
might be the cheapest place in the whole state to get a hold of them. 
Rick: To tell you the truth, I think they could pay a bit more on stuff being 
turned in, especially stuff that's in really good condition. It's more fair 
on both ends. But then again, if you want the maximum amount of 
money, you should put an ad in a mag and try to sell them yourself. 
Tim: Some people wanted to do away with the whole collectable 
thing, but I think that if you're going to do a record store, then you've 
got to deal with the market. We live in a capitalist society and we're 
trying to deal with it in lots of different ways, like by not paying ourselves 
and keeping our overhead down. That's one way of keeping Ifie 

prices cool. And in terms of collectables, I think we've done a pretty 
good job of keeping prices cool. But if people are against the whole 
concept of buying and selling and mark up. then we shouldn't be 
charging anything for any of the records. Yes, there is capitalism taking 
place at Epicenter, but we're trying to limit that damage in a lot of 

MRR: How do you feel about having a collectable corner in here? 

Chris: Initially uncomfortable; but I don't really see a viable alternative 
to it. The whole capitalistic side of this thing can make me feel 
uncomfortable, but when you have to pay the rent, you have to make 
compromises. With the collectable thing, if you didn't charge higher 
prices, collectors would come in here and buy it all up and charge 
other people money for it, so it wouldn't exactly be solving anything to 
not have it. I've never been into the whole collecting mentality, and 
it seems pretty perverse to pay fifty dollars for a seven inch when a lot 
of times it's really obvious that they don't care about the music that 
much. It's just aim ost the fact that It costs that m uch that turns them on. 
Ideally, when I'm working in the record store I like to think that people 
are supporting this different kind of musical form like radical political 
ideas, and in the collector's corner a lot of times It just seems like it's just 
a commodity and it doesn't really go any farther than that. 

MRR: How do you feel about the collectable corner? 

Matt: If I had my choice. I'd do away with it and put them all out for 
three bucks. But of course I know that we have this structure set up that 
I have to kind of fall in line with. I think it really does conflict with the 
whole message we're trying to send. I think it supports the complete 
opposite idea, but it's a small compromise to make for the store. 

Blacklist has now been open over three years (pre-dating the Epicen¬ 
ter store). Originally the brainchild of Ruth Schwartz and Martin 
Sprouse, the collective was started to combat the increasing lack o f 
truly independent distributors available for smaller independent la¬ 
bels. On May 15th 1988, after five months of organization and pre¬ 
planning, Blacklist opened. Originally situated on Shipley (in the South 
Of Market area of San Francisco), it had to be relocated after the 
earthquake in Nov ’89, when the Blacklist part of the warehouse was 
deemed unsafe to enter, meaning that operations had to be hatted 
for a month. 

Blacklist carries a selection of various printed matter, as well as 
vinyl. For some time Blacklist carried 1400 titles, but has recently 
reduced that amount to make it easier for people to handle. Material 
is handled almost exclusively on consignment. In the US, sixty day 
consignment means sixty days after the goods are received, an 
inventory is taken, the label is toid the breakdown for the check-like, 
m This is sold, this is not"-so they know what's going on with their stuff, 
ian: Ideally, if we had enough people, we'd continue to do that 
in two month cycles. Our usual return policy is if it still hasn't been 
after six months, we send it back. 

Overseas material is handled similarly but on a 
ninety day consignment. The markup is as follows: US 
releases 30% and overseas and all printed matter 20%. 
Blacklist does a good job of getting independent 
releases, at reasonable prices, to people all over 
the world. Under usual circumstances many of 
the people who order would have little chance 
of getting hold of the material carried in the 
Blacklist catalog. 

MRR: You said that It’s important to get 
records to people around the world, why 
do you actually think that the records are that 
important to be distributed? 

Brian: Because records are a vehicle for people to 
get exposed to new ideas. I think that our printed 
section is really good, but it's hard to get people to 
spend money on reading material for whatever reason. 
Whereas records can provide the same information in the 
song lyric itself or in information that comes with the record, 
but it's maybe more pleasant or more human. In my mind even 
if I didn't like the music, as long as the message stayed the same- 
-trying to think for yourself and providing other options to what 
you're doing now--then it's going to continue to be very important. 
And once they get familiar with these ideas, maybe they'll hear a song 
about animal rights or about sexism, and it'll get them to think about 
that topic, and then they'll want to find out more information. Maybe 
they can't find that information where they live, so they'll look in the 
printed matter section and they'll see this magazine and it has an 
article onthat.andthey'll read that. Idon'tthinkit'sthatimportantthat 
we can get a rock and roll record to somebody in South Dakota. I think 
it's important that we can get a lot more possibilities of new outlook 
and giving someone a different idea. I think that's what is good. 

MRR: How do you decide which records to carry? 

Brian: Basically what we've narrowed it down to now is we went from 
carrying almost everything that was offered to us to just personal tastes. 

I would say our goal here Is eventually to have all the records here, 
records that people would WANT to carry, rather than just 'Okay, this 
is a punk record and It got sent to us - let's order it.' Rather than 
nonchalant, it would be. “Yes, this is a record I WANT to carry.' So 
we don't want It to sound like a stamp of approval, like all the 
records here are like 'Blacklist approved'. It's more just like we - 
carry what the people here want to carry. If someone likes a 
record, Ihey'll carry it; if they don't like it, then they'll either 
leave it for someone else to decide, or say, 'We're not 
really interested in this record'. We couldn't really 
come up with any more equitable way of working it 
out, any fairer way of making judgment calls on 
what records we should invest our time in other 
than just,' Invest your time in what you want to 
invest your time in.' There's always contro¬ 
versies that come up, and we do try to run 
as much along the lines of a collective as 

MRR: How do you feel about the selection of stuff 
that Blacklist carries? I know that recently they ^ 
really knocked down the amount of stuff that’s being ^ 
carried. Do you think that’ll hurt at all in terms of the 
customers and stuff like that? 

Timojhen: I doubt it. It'll certainly have some effect, but I 
also think that logistically we have to. There's still a lot of 
records in there that we've had since we opened, and in a 
business sense you can't do that. With the amount of people that 
we have, we have to limit ourselves in some way. i'm into a lot of 
music that I would not order for Blacklist. We need to understand our 
own scope, and especially financially, we have yet to make money. 
If we're going to try to keep it as a break-even long-term thing, we 
need to have a good sense of perspective. If we're going to consider 
ourselves a very punk establishment, we need to stay within that realm 
or we're just going to be over-extending ourselves. 

MRR: Do you think most of the people In the group feel comfortable with 
limiting the selection to punk and hardcore, or do you think a lot of 
them would like to see Blacklist expanding Into other alternative 

Timojhen: My experience is that most people are pretty comfortable 
with it. There may be people who don't agree with it, but the people 
I've talked to are pretty comfortable with the hardcore. I certainly like 
a lot of stuff that isn't hardcore, but also in the scope of Blacklist and 
the people involved in what we're trying to do, I really think that we ve 
got to limit ourselves. I think a lot of people, even if they do have 
interests outside of hardcore, kind of understand that. 

While work ot Blacklist may not be as interactive as work performed in 
the record store or library, decisions need to be made at Blacklist, and 
like the rest of Epicenter, Blacklist operates as a collective. The collec¬ 
tive process at Blacklist seems to work well, with volunteers generally 
feeling satisfied with the power dynamics that are evident within the 
decision-making process. All of the workers that we spoke with shared 
the belief that the collective model was the most desirable method to 
employ in order to make decisions at Blacklist. 

Brian: Each person has equal say. And so if someone wants to carry a 
record that someone else finds objectionable, then we have to have 
a meeting and see what we can work out. Someone's going to have 
to compromise somewhere. That's where it really tests the ideas 
behind a collective. I think so far we've been able to meet all those 
challenges pretty well. And it's really forced us to think ‘cause growing 
up in America, we were always used to just 'vote, and majority wins.' 
It's just so ingrained that you're not used to trying any other way. Well 
this way. you have to listen. Even if one person wants to carry this totally 
horrible record and you can't figure out why. they have equal say, so 
then you've got to try and work much more. You have to listen to them 
and work with them much more closely than if it was a democracy 
where you could just go 'okay let's have a vote and just fuck 'em. We 
don't have to worry about why they want to carry it or what they want 
to do; majority wins, and forget it.' So that's been a real test, but it s 
been a real eye-opener to see an actual collective in progress and to 
try and keep it that way. Even if som eone is very strong in their opinions, 
to be able to work together I think is great. Because, you see, other 
groups have a lot of inner conflict, but so far the dynamics of Blacklist 
have been very cooperative. 

MRR: And how do you feel about the Idea that this has been run as a 
collective where someone who maybe puts a couple hours a week 

might come in and have as much say In what goes on as a person who 
puts in a lot more time. How do you feel about that? Is that still a good 
system? If so, why do you think so? 

Harald: I think that's not really a problem. Usually what happens Is that 
the people who spend more time here have more insight into the 
functionings of it, and so even though people come who maybe work 
here every couple of weeks for an hour or two, their ideas are very 
important. There hasn't been any of that kind of problem I saw back 
in the late 60's, and early 70's, where people would dominate meet¬ 
ings and put everybody to sleep and kill the organization; here that 
hasn't happened. Mostly because there is no ideology here-it's 
" just people. You come to Blacklist to do a function, and that's 
wh^ + v ^u do, and so there is really no need for anything else, 
ome, you work, you put in what you can. 

*: How do you feel about the way that decisions are 
made or conflicts are handled at Blacklist? 

Timojhen: As I've begun to understand the hierarchy 
at Blacklist I'm a lot more comfortable with It. At 
first it certainly seemed that Brian was kind of the 
man in charge, but after I initially got over the 
problem and the frustrations I had with that, 
M started to realize that that wasn't true at all. 

, The only issue I can think of that was real 
r obvious was with compact discs. It was 
r Brian's opinion that he didn't like them and I do 
like them and I just think they're a lot more conve- 
' nient, and if it's carried through with kind of a punk 
r ideal. it's technology and it's not inherently bad. I had 
r some frustration with that ‘cause Brian was so vehe- 
- mently against CDs that it was like, well maybe we should 
r rethink this. And I didn't really even do much about it, it just 
r kind of eased on it's own. Not only with that issue, but I started 
r to see other people saying that nobody's in charge in ordering 
r CDs, and being and acting autonomous and being a part of, but 
not necessarily being under anybody's...there's no real hierarchy 
there Brian, when he's here, takes on a lot of responsibility, and it's 
excellent that somebody does It and can afford to do that, because 
I think Blacklist would have a lot more organizational problems if there 
wasn't Brian there at least intermittently who you can go to. At least 
one kind of core figure who has some kind of bigger idea of what s 
going on. I don't really have any problems with the decision-making. 

1 thought the meeting was real well organized in that there were 
certain things that were brought up, and it certainly seemed like there 
was no real hierarchy as to who's opinions were worth more. 

MRR: Do you like the Idea of working In a collective atmosphere, or do 
you think that that maybe takes up too much time and that it might be 
a lot more time efficient to have more of a democratic process? 
Timojhen: I'm all for collectives. Politically I think I have a lot easier time 
dealing like that. Just in my own head I know what a control freak I am, 
and I much prefer to be in a collective 'cause it's real understood what 
my part is. and I'm a part of this collective, and I'm real comfortable 
with it. Whereas if there was a more democratic organization, I'm a lot 
more likely to try to climb the democratic ladder. At my paying job I'm 
a lot more tolerant of my own ambitions to be a leader or whatever 
than I would be here where it's something I do to relieve the stress and 
to try and get away from that kind of behavior that I exhibit at work. If 
it weren't a collective I would probably not relaxed because 
there would be a hierarchy that I'd have to deal with. 

Like the record store and the library, workers at Blacklist seem to be 
able to cooperate efficiently within a tolerant atmosphere. Also like 
the other branches of Epicenter, Blacklist seems to be a place where 
people are able to escape the prejudices which occur within main¬ 
stream culture as well as some aspects of the punk scene: 

MRR* What about the power dynamics with different people here 
working together-different ages, and different sexes and races-how 
has that worked out? 

Brian. :The aspects that are the biggest concerns in society, like people 
not treating women or minorities as equals, has been completely 
vacant here. I don't think it even enters anyone's mind. The age thing 
maybe enters into it because the people here who are the oldest have 
been here since the beginning. If someone's here a lot, and they want 
to train you or show you what to do. your natural tendency would be 
to put them in kind of a leadership role. I'm able to spend a lot of time 
here so people put me in that position, and I try not to get out of that 
in a sense. Because if you set yourself up for that, then people will just 
assume that you're going to be doing the bulk of the work or a lot of 
stuff and they look to you to do things when there's a problem. And 
since my schedule takes me out of the country every a few months at 
a time every year, that could leave a hole if people aren't used to 
doing those things themselves. And I think that it's good that the 
people that we have now are, for the first time in quite some time. 

doing all this themselves, and they're able to run it themselves. And 
that's been real rewarding 'cause it used to be when I leave it would 
be just chaos when I'd geFback. But now people kick ass and they're 
able to take it upon themselves, and what I'd like to see in people is 
that they see it as THEIR mail-order. They're not just working at MY mail¬ 
order. It'stheirthing. There's nobodythat's going to say “don't do this' 
or whatever. I try to instill in them that it is a collective, and it can 
actually work that way, and if they want to do something and other 
people don't, then they have a right to voice that opinion. Ithinkthat 
this is a good direction, and if that continues, it'll just make things even 
better because people will be used to doing certain things and they 
won't have to just start doing them and leave-they'll be doing them 
all along. I think it's much more inclined to have someone stay if they 
feel like they're in a really vital cause. If they're just here once in a while 
and they fill orders and they don't feel like they're a really big part of 
anything, then I think that it's going to be more of a tendency for them 
to drift off. Some people don t want a big involvement-theyjust have 
time once in a while to come and fill orders, and that's what they do. 
But we do need key people who invest a good amount of their time 
here, and If you can have them get Involved in a vital area, they're 
going to get really into It. You just get really involved and get used to 
dealing with certain people, and maybe write back and they just get 
into it. 

MRR: You said here It never seems to enter people’s minds about races 
or sexes - that there aren’t any problems here that you usually have In 
other places In society. Why do you think It is that Blacklist is special 
in that respect? 

Brian: It's not so much just here. The people in general in the scene are 
aware of those kinds of issues, and they know that it's really stupid to 
judge someone on their sex or the color of their skin. So they've gone 
beyond that. That's something that they want no part of ‘cause they 
realize that it's bullshit and that it's just people who blame their 
problems on somebody else. It seems like since we only get people 
here who are very committed or enthusiastic or want to accomplish 
things-those are the people who think. They realize that those kinds of 
judgments are really stupid. It just seems natural; that way it seems 
unnatural. It's sometimes an eye-opener. Like if you spend all yourtime 
around a certain group of people in the scene and if your work is with 
the scene, and your friends are in the scene, you don't really get 
exposed to that, so anytime you go anywhere else and you run into 
people who are really stupid, you realize there's only one way to go. 
But it's easy to shut yourself off, and not even a small little thing enters 
your mind. I think that people don't make Judgments. 

Volunteers at Blacklist often find themselves working alone-filling 
orders autonomously, often within a setting where other volunteers 
might not be present. While Blacklist may not physically contain the 
vibrant social interaction that takes place in the record store. Blacklist 
remains a great outlet for people to meet and befriend each other 
and to establish ongoing relationships with their customers. 

Danielle: I moved to Northern California from Southern California 
in January of '90, and it was really bad. I didn't know anybody 
up here, and I was sitting around all the time and I had read 
MRR for quite a while, and they had something that said 
"Come on in and join Blacklist...'; and I came in. It was 
just a good place and a good way to start meeting 
people here that are in the scene, 'cause I didn't 
know anyone. It got me on my feet. 

MRR: What about the social aspects here 
Blacklist? Have you made a lot of friends 
through this place? Do you think most 
peopTe have? 

Brian: As someone who's here a lot, I think 
that how many people you get to know de¬ 
pends on how much time you put in. Obviously 
if you're able to be here only one day a week, and 
if nobody else is working on that day, you probably 
feel pretty isolated. Butl'm fairly lucky. I get to be here 
a lot so I get to know everyone who works here. It's rea , 
great because if the night before you'd gone to a show and 
there was just a bunch of idiots, just screwing everything l,_ 
and no one cares about anything, and then the next day you 
come in and there's this good group of people working to bui._ 
things, it just makes all the negatives go away. And I think if people 
are feeling disillusioned with the scene or what they're getting out of 
it, they should get involved with some kind of project, or do something 
themselves. If everyone else is being a jerk, that doesn't mean that you 
just have to give up, because there's always a large number of good 
people. You sometimes really have to dig to find them. but projects like 
this attract people who want to do this cause you have to make an 
effort. Gilman maybe had a tendency to be more social because 
people came to the shows; here you have to be here by yourself, and 

it tests whether you really want to do this. So the people who have been 
involved with Blacklist have been good core people that have been 
really sincere and want to do something. Maybe this didn't turn out to 
be exactly what they wanted, but they had an Interest, and maybe 
from meeting people here, they found something else. So I think that 
it's an excellent opportunity to meet people and to not feel so alone 
and to try and do something creative when you feel so beaten down 
by boneheads. Sometimes it involves a sacrifice, and that's what 
chases people away, they feel like “If I get involved with this I'm going 
to have to put in x amount of hours each day' or something like that. 
Well it isn't; this particular project is very lax as far as time goes. There's 
not a set time that you have to be here, there's not a set amount of 
hours that they have to be in, it's just basically do what you want, when 
you want. So I think the social aspects are really really good. We're not 
able to do a large number of things as a group, which is what I would 
like-maybe have dinners or outings or whatever. I takes a lot of effort 
totry and co-ordinate that and usually there's not a whole lot left over 
from the work aspect to then go ahead and try to get everybody 
together for a party, so that maybe is lacking, but we'll see what 
happens in the future. 

MRR: What have been the main problems with running Blacklist? 

Brian: Too much to do and too little time. Too little time meaning 
people have school and/or jobs, as well as social life to deal with, and 
this is just one additional part. You might not want to make this a last 
priority, but usually it has to be that way, because with school you can't 
usually set your own hours, or with work you can't set your own hours. 
When we started this project we felt the money would be okay, but we 
wouldn't have enough people. What It's turned out to is the money 
thing has been kind of a hassle. We have the people, and we've 
consistently had the people over the three years, which people 
thought we wouldn't have, but people have consistently filled orders 
for the last three years. Maybe it sounds like we could never have 
enough people, and that's probably true, we're always looking for 
people. I would say that the things that limit us from getting any larger 
or changing has been not having a lot of people consistently all the 
time. But things always seem to get done. I don't think we've ever hit 
a raving crisis where no one ever shows up for a long time, and things 
fall apart. Someone's always around and we continue to pick up 
people by word of mouth, and stuff like that. It almost would be like a 
given that money and people are problems, 'cause those are impor¬ 
tant elements, but things that haven't been a problem have been the 
honesty aspects. That's been very encouraging because everyone 
that works here has been totally great. And the people we deal with, 
we try to deal from a position of honesty. People haven't bounced 
checks or they haven't ripped us off or anything like that, and so 
people have a lot of mutual respect. We've always been very straight¬ 
forward in our dealings with the customers and the labels, and anytime 
there's been problems, we take special pains to rectify things to 
k everyone's satisfaction. I'd like to give people faith in business, and 
show that businesses can be run honestly and can be run 
ethically and it doesn't always have to be about ripping 
people off and money for yourself. Maybe that will spur 
them, when they get into the business world, to try and do 
something similar. 

MRR: What in your opinion are the main strengths and 
weaknesses of Blacklist? 

Brian: We're continuing to do things on a global 
scale and providing this information of possible 
ideas to people everywhere. That'll be the 
main strength, as far as I'm concerned, for 
as long as we stay in business. Weakness 
wise, I think that if there was some other way 
► get these records out other than postage, 
because postage really sucks. Not only is it 
expensive, but it's slow and it's kind of tempera¬ 
mental. For the amount of stuff we send out, I would 
say that we've had very good success with the postage 
>t screwing up too badly all the time. But they seem to 
be raising their prices every year and getting worse. If there 
□s some way to get these records around without having to 
pay postage.... Perhaps another weakness is since we don't 
have as many people to be as absolutely efficient as possible, 
there's little chinks in our master plan that sometimes is hard. Because 
what we try and do is keep everything as itemized as possible. If 
somebody makes an order, we write that down and we can refer to it 
quickly. Well sometimes people forget to write it down or some other 
little thing happens. Since there's so much paperwork involved, that's 
one of the hard aspects because when you have to do so much 
paperwork and you rely on that paperwork and then something falls 
through, then you're kind of stuck. Another strength just goes along 
with what we were talking about before-people coming together 

and working together and I think that's really important and it's a 
definite strength because if you have that outlook, people continue to 
stay motivated and they won't just drop out and fall by the way-side. 

As discussed earlier. Epicenter volunteers continue todonate thelrtlme 
and labor for a variety of non-economic reasons. Blacklist workers 
participate in something which brings them into contact not only with 
the local San Francisco punk scene and other travelers who drop 
into Epicenter: but with hundreds of people around the world. This 
global communication has provided Blacklist workers with 
unique and additional rewards which they acquire from 
donating their time: 

MRR: Why do you see Blacklist as such an important 
thing to spend so much of your time on? 

Brian: Because of the impact that It has. 'Cause not 
only are you getting records out to people who 
might not have an opportunity, but you're also 
establishing contact over the entire planet. 

And when you put it in a perspective like 
that, as well as the amount of sales that we 
do--the sales for the past two years have 
been over $ 100,000-and people who maybe 
come in one day a week and they fill a few 
orders, they don't really think of the scope of it 
being that large, so I try and bring It up and say ‘Hey, ^ 
you're part of a $100,000 operation here and It's not 
only just here, but over the entire globe. And you can 
write to people whose orders you fill...' People here have 
been doing that and making contacts. If they want to take a 
trip or something, they write back and say “What's going on 
there? I'd like to come over sometime' You can establish a lot of 
pen pals and make friends and contacts. For me personally It's just 
been a sense of doing something that has an impact. Many people 
get discouraged because their band isn't doing anything or their 
fanzine isn't big enough or marching at a protest isn't having an 
impact. Something like this definitely gives me a feeling like “Hey I'm 
doing something to kick ass and it does have an impact'. There's also 
just a sense of fulfillment that you're doing something that is reasonably 
successful. And it's very self-satisfying where you can help out in a 
business or play a major role in a business and make it run efficiently- 
-your part is very important, and just that self-worth kind of thing that 
you get when you're doingthis. Tokeepthisgoingitmeansthatthere's 
always some place or somebody who wants to do something, and I 
think that's Important. 

The library was set up to give people the chance to read and learn 
from literature that wasn T usually available. Most of the subscriptions, 
shelves and books were donated, after sending out postcards explain¬ 
ing what they were doing and what they were trying to achieve. They 
also put out dyers asking if people had old magazine collections that 
they wanted to get rid of. Bound Together Books had had a similar 
library idea a number of years ago, but that never really worked out, 
so they had a lot of stuff that they donated or sold at a very low price. 
Money for the mailing, printing and some nominal costs (for stuff like 
the plants and shelving), was donated by the store (approximately 
$300). A number of subscriptions were also bought, but due to limited 
funds a number of magazines could not be carried. The only general 
policy made was not to carry anything put out by political parties, and 
the group didn ? want to carry anything that Is racist, sexist, fascistic or 

Besides containing an Interesting variety of domestic and for¬ 
eign punk zines, the library contributes a lot to the community aspect 
of Epicenter by providing a space where people in and outside the 
punk scene can use the library space free of charge, to read and learn 
from a range of materials focusing on such topics as health, sexuality, 
culture, politics, art, languages, and the environment, to name a few. 
Providing a place where people can learn and work together adds an 
Important dimension to Epicenter whereby another alternative is 
provided for people who wish to use the space for purposes other than 
buying records or socializing. 

MRR: You mentioned that the library doesn’t pay rent. How does it 
contribute to the building in other ways to try to make up for that 

Lydia: A lot of the people who work in the library also work in the store. 

I don't think they're doing It because they have to. they're the people 
who are into the punk thing, and also the library thing. We brought 
discussion groups in here, we've probably brought some “customers' 
in here, if you want to put it financially. There's been conflict, I'm not 
going to gloss over it. between some of the main people in the library 

and the main people in the store about what the mission of the 
Epicenter should be~the Epicenter in general and not just the store. 
And it hasnt ever quite been resolved. The necessities of economics, 
we're told, result in this huge emphasis on the store. And i think that 
debate has been helpful to Epicenter, because it's been helpful in 
bringing some of those issues to the surface. How the store has turned 
out and how it was originally conceived are two different things. I think 
it's really important to keep that in mind-not just to complain about it, 
but also in deciding what you want to do and what your goals are. And 
we've definitely contributed to that debate. Just the same way that 
I think education is a good thing regardless of what its pay-backs 
are, I think the library is. And in an economic crisis that might be 
a problem: maybe there'll come a day when the library will 
be told “You can't take a free ride anymore, it's got to pay 
for itself', and then we'll have some real difficult deci¬ 
sions to make about whether we support that whole 
idea or not. We started paying for our own stuff 
more. And we started a magazine also, it's called 
"Learning To Fly Despite Missiles." It's not really 
technically the library, but some people from 
the library took the initiative in getting it 
joing. And we're going to put another 
issue out. We have a reading group that 
meets every two weeks that's people mostly 
from the library. We've met here a couple of 
times. And I think those are contributions. I don't 
know if they're necessarily contributions to the store, 
but I think that they're good things, and I think that 
they wouldn't have happened if it wasn't for the library. 
That's part of the mission of this place too-to get people 
starting their own projects, and on those terms, the library's 
done a lot. 

MRR: Why don’t we talk about some of the other things that the 
library people do, like the reading groups, etc.? 

Lydia: We have a reading group that meets every two weeks. We 
take turns picking the readings. We've only been going for a couple 
of months and we've had about five or six meetings, it's mostly not 
political but the theme in general is everyday life. For example, we 
read about whether the sexual revolution really happened, we read 
a lot of stuff about gender, what defines gender, what roles men and 
women play within gender, we read stuff about work and how that 
affects creativity and communication between people. It's not heavy 
political dogma-we're not reading Marx and Engels. It's as much a 
discussion group as it is a study group. The magazine came out 
because of the war. Everybody was feeling frustrated and a bunch of 
' people wanted to put out something that wasn't all polemic and 
wasn't all facts and figures about Iraq and weapons and the costs- 
more personal feelings about how the war affected our lives and the 
frustrations that we had about demonstrating, because most of the 
people involved in Epicenter as a whole were really active in the 
demonstrations. There was street-theater coming out of here, there 
was a lot of General Strike organizing out of the store, and we wanted 
to put something out about how war was affecting us. It's going to be 
different every time depending on what the theme is. 

MRR: Do you feel that having a library here has encouraged a fair 
amount of people to come in and read things that they wouldn’t have 
otherwise read? 

Lydia: Yeah. I think for this place it takes longer for it to get kind of a 
following than the store, because the store is very up-front about its 
purpose and what it has to offer. You come to buy records, you buy 
them and you leave. In here I think people are kind of unsure - they'll 
come in and there's all this stuff, and maybe they feel intimidated just 
by the fact that we have so much, and it's all this knowledge in their 
face, and it's physically closed off from the rest of Epicenter. The 
library's gotten more popular. More people know about it now. I think 
the fact That we started this reading group and this magazine shows 
that we have a core of committed people within the community that 
are into the library. I think that's something. 

MRR: How do you feel about the library? 

Matt: The library is cool because it brings other elements. A lot of 
people come in here who are into the whole idea but aren't into the 
punk aspect. And they seem to want to identify with what we are 
doing and seem to be able to do it through the library. I like it a lot, to 
me the library is really important. The library has exposed me to a lot of 
stuff that I'd have been too shortsighted to see. 

MRR: Is there anything else that you think people should know about 
the library? 

Lydia: There's this guy who must be seventy, and he loves this place. 

I think he's been a counter-cultural kind of guy his whole life, and now 
he makes wire jewelry and sells it to people. The bunch of us have kind 
of gotten to know him. and that's something that would never happen 
if this was just a punk store-he would never come in here. I wish that 
kind of thing happened more often. I think we're discouraged in some 
ways that there isn't more interaction between the people who read 
this kind of stuff and the people who listen to that kind of music-that 
there isn't more overlap--not just between the two groups of people. 

but between individuals. But we haven't given it up. It's been a year 
and we still believe in it, and there's still people who get something out 
of It, and in that way I think it's a good thing and we'll keep it going as 
long as we can. 

Some o f the Epicenter workers who we interviewed felt that the library 
was perhaps the most political branch of Epicenter. Upon entering the 
library, it's difficult not to be aware of the political atmosphere due to 
the nature of the materials and artwork displayed. The strong political 
opinions of library workers has helped determine which materials the 
library carries: 

Lydia :There was some controversy within the library group about some 
of the stuff that we carried, namely the Nambla Bulletin, which is the 
magazine of the North American Man-Boy Love Association, it's a 
magazine providing information and support to men who want sexual 
and emotional relationships with minors, there was some disapproval. 
We also made one general policy that we didn't want to carry 
anything put out by political parties, because we don't want to carry 
anything that's racist, sexist, authoritarian. Some of the people felt that 
by the nature of the fact that they're political parties, they're authori¬ 
tarian. Personally I don't wholly agree with that, but I can understand 
it. And I think that we do have to draw some lines because there's just 
too much stuff and we have limited space, and we want to condone 
a certain kind of thinking. Not to necessarily exclude others, but we're 
not going to carry Time magazine, we're not going to carry Glamour 
magazine, 'cause there's no point, that's not the stuff that we're 
interested in ourselves and we want to provide. 

MRR: You said that there was some conflict with a particular magazine, 
and maybe a couple others. When that kind of conflict arises, how does 
it get solved? 

Lydia: When we first started planning it was more of an issue. Now 
because people bring donations, we'il pretty much put anything out. 
We're not as strict about it. But when it came to spending money, and 
it came to kind of establishing the tone of this place, it was much more 
important. The way that we dealt with it was to sit around in a group 
and argue about it. The woman who had a particular problem with it 
ended up not being part of the group afterwards. It was a tough 
choice, especially with an issue like that where there's a lot of child 
abuse, and we made it clear to the people who disapproved of the 
magazine that it doesn't condone non-consensual sex, it doesn't 
condone any kind of behavior that coerces, it's not into violence. We 
were trying to portray it as more of a support for people who have these 
instincts and have these feelings and desires. If we deny that they exist, 
that's not doing anything. That's the kind of thing that we talked about, 
and it doesn't condone anything that we disapprove of within our 
mission, which is to not carry certain kinds of stuff. It wasn't racist, it 
wasn't sexist, it wasn't authoritarian. There's a lot of stuff in here that I 
necessarily wouldn't be interested in, but that's no reason not to carry 
it. Just because you don't like it, it doesn't mean you shouldn't carry it. 
MRR: Because there are certain limitations on what you’ll carry, what 
would happen If something came In and If there was disagreement 
about whether or not something constituted a racist publication or a 
sexist publication? Does that ever happen? 

Lydia: That was the thing with some of the stuff that was put out by 
political parties. I was one of the people who was in favor of carrying 
some of the magazines, because I thought they provided some really 
good insightful information on particular issues. Sure, maybe they were 
published by The Socialist Party, but they weren't the kind of things that 
ended up saying '...and therefore we must support the workers' 
struggle of the proletarian. Power to the people, down with the 
state!...', which is the kind of rhetoric that we're trying to keep away 
from, 'cause that's what it is-rhetoric. I thought some of the magazines 
were really worthy of being displayed here, and although I don't 
affiliate myself with any party, I still welcome the opportunity to read 
that stuff. There were a number of publications put out by political 
parties, and we agreed to take one or two of them, but the rest we said 
'fuck it'. So it was compromise, it just has to do with arguing. If you're 
talking about collectives and whether they operate on consensual 
model, or majority models, etc., we're not that formal. We just try to 
workitout. Personally. I'd love to see some right wing stuff in here. Ithink 
it's just as important to know what the bad guy is saying, as it is to know 
what the good guy or the politically-correct left-wing person is saying. 
I think that's really important. If part of our mission here is to educate 
people and stimulate their minds, then that's a big part of it—listening 
to the other side and saying why you think it's fucked up. These days 
you tend to believe what you read because it's in a big magazine, 
which supposedly is written by experts. You can't just absorb every¬ 
thing so easily. 

MRR: When people were deciding what kinds of materials would be 
here, do you think they wanted it to only reflect the group’s own 
political bias, or was it open to carrying other kinds of literature that 
might not correspond with the group’s own political biases? 

Susanne: I have some problems with your use of the word ’bias’. My 
criteria for the magazines was none by political parties, and 1 don't 

want magazines that advocate any kind of oppression. There's many 
magazines here that I probably don't really agree with, but still.... 

MRR: So why do you feel that way? 

Susanne: Why don't we have fascist literature? They can have a fascist 
corner. I'm just not going to do it myself. If It's done in a way that's 
clearly 'look at this shit' sort of thing, it would be fine. 

MRR: What about the idea of having fascist literature in here, but not 
being so in-your-face about "look at this because this is bad". Does the 
library not think that It would be a healthier way to carry all sorts of 
things and have people come in and make up their own minds about 
what they want to believe? 

Susanne: I can see what you mean. But I think that we are surrounded 
with fascist or better conservative information all day long. Just read 
any newspaper or watch T.V.. or look at commercial magazines. We 
are exposed to oppressive and offensive world-views constantly and 
it doesn't seem to have helped people to make up their minds at all. 
You can propose the same thing to the record store about indepen¬ 
dent fascist bands. 

MRR: Because then you’re selling that. And then you’re supporting it. 
But if something is donated, I think that’s just a matter of promoting free 

Susanne: We're supporting a landlord with two thousand dollars a 
month-the 'compromise' is made. That's also rtfy basic reason why 
I don't like to call Epicenter a radical place, because on one side we 
don't support the big record companies, and that's fine with me. but 
nobody even minds paying a landlord two thousand dollars a month. 
So where do you draw theTine? If they decide to sell records from big 
companies or conservative bands I wouldn't object. Our relationship 
with the landlord is very oppressive and exploitative already. 

In spite of very real frustrations held by Epicenter workers such as trying 
to find new ways to generate money to keep the space open, 
becoming more accessible to the outside community, and building 
more functional collectives, most volunteers seem to feel inspired by 
the work they do in creating and sustaining a center for a variety of 
activities which are simultaneously meaningful and fun. The achieve¬ 
ments reached by the Epicenter community provide an example that 
people really can put their ideals into practice with the strong support 
of people who share a common vision. Hopefully. Epicenter's exist¬ 
ence will urge other people to establish projects which they feel would 
be beneficial to themselves and others. For those who feel that they'd 
like to try something similar to Epicenter, the following advice is given: 
MRR: In your opinion, what would it take for people in other areas to 
want to start a project similar to the one you’ve undertaken? 

Tim: First of all it takes a community to support it. I'll be real curious to 
see how Joel Wick's record store in Kalamazoo, Michigan does, 
whether there's enough of a scene there that can support something 
like that. So it takes community that's got some kind of activist core. 
And It takes capital, people who are willing to put money into some¬ 
thing that isn't going to generate more money. So finding those two 
ingredients is difficult. 

MRR: What would be your advice to people in other areas that want to 
start up a similar project? 

Clay: Especially if you live in a place like San Francisco where they want 
you to get a permit to breathe, have everything about your entire life 
ready ror you because they're going to run you through the ringer 
crossing all your *t's and dotting your 'i's. In our case we're dealing 
with records and we're dealing only with punk; maybe see what's 
going to be your sustaining factors in what you're doing. What we've 
also done at Epicenter is make it a multi-use space, so don't just only 
stick to one type of thing like selling records or Just putting on shows. 
Realize that every single person you're working with is a human being 
and they all have good points and bad points. Try and make it fun and 
not a job-that's important--try to have fun at what you're doing. Try to 
make it a labor of love; you'll get really disillusioned really fast if you 

Epiecenter itself enjoys a vibrant present and a promising future. 
Matt: I think'Epicenter is on the verge of exploding. Just with energy, 
people coming into this city, just all This new input.l just think It’s going 
to continue getting bigger and bigger. And I really like the enthusiasm 
of the people here, I tnink we have the right chemisrty. 

Since these interviews took place, Epicenter underwent a major crisis, 
something that is endemic to volunteer-run establishments. Clay and 
Honey reached the burn-out point and announced they’d be leaving 
at the end of the year. An emergency meeting was called, and a 
large group showed up. deciding to both reorganize the distribution 
of responsibilities internally, and to incorporate externally. The months 
to come will show whether this transition will succeed. 



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I'm at this so-called party and nothing is here for me 
but I've got Butthole Surfers on disc to keep me company. I'm 
drifting like a shark not cuz a shark is violent or has sharp teeth, 
or wiU. attack, but because I feel like I can't ever close my 
eyes, like I sleep with my eyes open. I want to see it all and I 
don't want to miss anything, nothing. AS DREAD members, 
Bart, Athena, and Stash were present on this date, along with 
Joe Clark without whom this interview would not have been 
complete, but not all minds. Some fucker popped my steam 
valve so I had to get my car 3 days later. Another setback! 
Asshole!!! Interview by Piss Boy. photos by Monica Taylor. 
MRR: How long have you wanted to be on stage, in the public 

Bart: 7th grade. 

Stash: Since the 6th of October in 5th grade. 

MRR: How about cars? 

Bart: My fantasy car is a Bat mobile, but for now I own a Jaguar 
and a Benzo. 

Stash: I've never had one or been in a car wreck, but Athena 
crashes everything she drives. (He says this as Monica, victim 
in the crash, complains of whiplash.) 

MRR: Have you had any run-ins with the smaps? 

Stash: Me and Athena were driving around in Martinez one 
day and stopped at Foster's Freeze. A bunch of ho me boys 
were hanging out there so we decided to leave because we 
felt really uncomfortable and were getting some mean looks 
and shit like that. 

Athena: So we're driving away and they start yelling stuff at 
us like ’‘Skinhead!* and stuff like that because of Stash's hair 
and then all of sudden this guy runs out to my car while I'm 
going like 30 down the street and kicks the back end except 
he kind of slipped because Stash threw his ice cream out the 
window on him and I ran over his leg by accident. The cops 
were actually cool about It. though. We both poured on the 
charm with them and gave them one of our records and they 
let us off and even asked If I wanted to press charges! It was 
cool because I ran over the guy's leg but I still won. 

Bart: When Brian was in the band (Brian is the ex-guitarist for 
the Dread) we used to deal with cops all the time because he 
was always stealing or getting arrested or being pulled over 
for drunk driving and really stupid stuff like that. (Brian stole gas 


cuz he had no money and Brian's a punk whose mother will 
listen to Neurosis at volume 10 while screaming death and 
bomb annhilation threats). 

Stash: When we used to practice at my house, the cops 
would always come over and tell us to turn down. They finally 
told us to find a new place to practice or else they'd arrest us 
fordusturbingthe peace or something stupid like that. So now 
we practice in Bart's bedroom. 

Athena: I had a party in my backyard last year that Blatz 
played at and the cops came and bugged us there, too. 
MRR: What do you think about new music? 

Stash: Nothing new is going to come out. All the music is going 
to repeat history. Athena: Something new will happen! It just 
hasn't happened yet! 

Stash: I'm going to kill myself when I'm 25. (Well. ifG.G. Allin 
doesn't end his existance then I'll have Jason (Stash) to look 
forward to. And I was worried that when G.G. dies, nothing 
could top it...) 

MRR: What new bands do you like? 

Stash: I like Rollins a lot. 

Athena: I like Nuisance and Blister. Nuisance isn't really new. 

Bart: Blister's cool. 

MRR: Do you guys litter or recycle? 

Athena: I litter cuz I'm lazy, but I recycle, too. 

Stash: Me too. 

Athena: We recycle when we need money for the band. 
When we were getting our record pressed we would go out 
on ‘can raids" and steal people's cans from their curbs on 
garbage night and then get them recycled for money for the 

Bart: I litter and recycle. 

MRR: What was your favorite live performance that you 

Athena: In San Luis Obispo. 

Bart: Definitely L. A. We met lots of new people. We had to stop 
playing because another greedy band wanted to play be¬ 
cause the crowd liked us and they wanted to start playing. 
MRR: Have you had a brush with death? 

Athena: When I crashed my car. 

Bart: I stole a motorcycle once and was driving it really fast 


with my ex-girtfriend Laura on the back and almost skidded 
out of control on some gravel and Laura almost fell off the 
back of the bike, she was screaming and crying, but I 
grabbed her leg and pulled her back on and kept going. 
MRR: Who is your favorite artist? 

Bart: Jello Biafra. 

Stash: Keith Moon. 

Athena: The Desendents. I get a good feeling whenever I 
listen to them. (The whole time during this interview, Jason's 
thought it's been raining outside. Everyone reassures him that 
it's not every time.) 

MRR: Who's your favorite killer? 

Athena: I don't have one. 

Bart: Edward Gein. The Texas Chainsaw Massacre and 
Psycho were takenfromthis guy's actual murders. When they 
(cops, dumb) found him. he was cooking a human heart stew 
and had two human skulls on his bedposts. 

Stash: The Zodiac Killer because he hasn't been caught yet. 
MRR: What's the strangest thing you've ever heard or seen? 
Stash: Bunjy jumping. 

Athena: I've seen Piss Boy swallow his piss, (yahoo!) 

Bart: In ’Faces of Death' whenthe girl jumped off 3fourorfive 
story building and bounced when she hit the ground, ('...on 
my hand yet!) 

MRR: Tell us about your record. 

Athena: This is such a long story and I'm sick of telling it. 
Stash: Me too. 

Athena: Well, this guy Chris in San Jose was going to start a 
label and asked us to be the first band that he did. So he went 
ahead and paid for our recording. And then we didn't hear 
from him for days... 

Bart: When the war broke out. he freaked and took off for 

Athena: And flaked on the rest of the project, basically, so we 
took the recording and put the 7* out ourselves. We started 
out own 1 abel. Our next project is going to be a compilation 
of Concord bands to be called ’Straight Outta Concord’ with 
us. Anal Mucus, and Total Fucked and maybe Grunge. 
'Stiffed,* our 7’ is $3 ppd. so write us if you want one. 

THE DREAD/ PO Box 6545/ Concord, CA 94524 


Hailing from La Spezia, Italy, 
PAGANEASltR is considered one of the most 
credit worthy underground bands of their 
country. They've released a great album 
called 7 Quit..."on WIDE Records of Pisa. 
PAGANEASTER has had a long history dating 
all the way back to the early W's. During this ■ 
time, they had two releases on comps 
through Amen Records. These comps were 
entitled " C.O.D.E .' and 'La Nave Del Folir, 
both of which were pressed between 1985 
and 1988. We had this interveiw with Maurlzio, 
the bassplayer. 

M: We thought of changing our name be¬ 
cause we have had so many personnel 
changes and a more crude name may suit us 
better, but at the same time, it would mean 
wiping out all that we have done until this 

MRR: Why did you wait so long before your first 
full length release? 

M: From the moment we started, we had 
many promises but no action which is pretty 
common in the music business. At the same 
time, the sound of the band changed a lot; 
from a more percussive and refined sound 
turning to the noisy guitar sound that we have 
now. Above all, we wanted better equipment 
to self produce our material. 'C.O.D.E* didn't 
have good distribution and 'La Nave Dei Folli' 
was recorded between '85 and '86 but was 
not released until '88. Everything seemed to 
be pretty well established with Amen, but they 
stopped doing releases and we had to look 
for something else. Atter a long series of bro¬ 

ken promises and fallen contracts, we met the 
people at Wide and we released 'I Quit....* 

MRR: You guys do a cover of “Venus In Furs’* on 
your new album. Why did you chose that 

M: A cover version comes from either when 
you love a song or when you want to laugh at 
jt. In this case, we did it because we really like 
it as we use to love the Velvet Underground. 
MRR: Everybody says that PAGAN EASTER 

could do well on an European level. 

M: Yes, the situation about shows for Italian 
bands is tough. You have to take more care in 
getting the attention that other foreign bands 
do. Other foreign bands don't suffer This prob¬ 
lem. We would just like to have the same 

MRR: You’ve been told that your sound is a lot 
like Sonic Youth’s... 

M: Yes, we have many things in common but 
we followed our road without depending on 
any influences. We've had this sound from the 
beginning. We've just developed from a 
strong rhythm section where the guitar broke 
through, into a more tense and energetic 
style that focuses more on the guitar. 

MRR: What are your plans for the future? 

M: We just took part in a compilation called 
'Gioventu Sonica', a tribute to Sonic Youth 
made by Italian bands.We do a medley of 
-Kill Your Idols'. 'Kool Thing' and 'Shakin 
Hell'. We are also working on material for the 
new album, which will be released in '92 with 
a heavier sound than before. 

Wide Records/ PO Box 309/ 56100 Pisa, Italy 


This interview first appeared in 
the Swedish zine "Strip Search & Destroy " (c/ 
o Really Fast, Box 6170, S -102 33, Stockholm, 
Sweden). Danny Furious, the Avengers' 
drummer, now lives in Sweden, and here are 
his reminiscences of that legendary band s 
early days. 

MRR: The beginning, please... You began 

A: We began January, February 77, there¬ 
abouts. Goes something like this, pretty typi¬ 
cal. I wasgoing to art school in San Francisco. 

.. and. . . but this part's kinda fun because 
one night, the RAMONES were playing in a 
really small club somewhere in North Beach, 
San Francisco. So I asked all my painting 
buddy friends, who were like a band as well 
... We were... yeah, very cbse people, but 
nobody had ever seen the RAMONES, no¬ 
body even knew who the RAMONES were. I 
barely knew. I'd heard the first record, and 
there was nine people there to see them. 
Nine people! But they were so good! They 
were fantastic. They were really good then, 
in those days. And this little stage in this little, 
dark club, right? Nine people watching 
them, and they put on quite a show. Dee 
Dee Ramone jumping up, he used to jump 
like crazy. And I guess, you know, I had been 
playing in various garage bands since I was 
young. Suddenly I sort of got inspired again, 

I was really uninspired painting wise, so. . . 
yeah, I got really turned on, really excited 
about playing music again or something. 
Very simple, very direct sort of... something 
fun... So I gave my friend a call, Greg... I said 
Greg, why don't you move up to San Fran¬ 
cisco? Let's start a band, you know? Some¬ 
thing like that. And he did. Fie moved up 
directly. I bought a drum set on the way up 
and we started playing ... Some friends of 
mine, and myself, we had a loft in SF. Lived 
there and painted there and fucked around, 
you know. Flad parties.... And we just played 
there for fun, and my friends would be paint¬ 
ing all night, take speed and paint of what¬ 
ever, and we'd be playing music. . . kinda 
crazy ... fun. And ... there was this... nice 
young girl who was going to San Francisco 
Art Institute. She used to dress up really wild, 
she was really beautiful. I fell madly in love at 
first sight, and I asked her if she wanted to sing 
in this band; "Fley, we're started a band, do 
you wanna sing?" "I never sang before.. ." 
We stuck her in front of a mik and she sort of 
got off on it. And that was Penelope... Then 
tnis crazy sort of photographer, kid named 
Jonathan Postal, really pushy, aggressive 
guy, had connections in the press... and he 
said he could get us gigs so... we let him play 
bass, and he got us a gig at Mabuhay... And 

we're play- ing an 

all night party kind of thing. There was lots of 
San Francisco bands that were playing. No 
punk bands, they were all. . . there was no 
such thing as punk then, not in San Francisco 
anyway. But . . . it's funny, we said we're 
gonna write all original material, we wanna 
have our own songs. So we wrote like six or 
seven songs one afternoon, rehearsed them 
acoustically, cuz we had no time to rehearse 
them, right. We were the last band to play 
and we got up there and played. Half the 
time the guitar player and the bass player 
were playing two different songs, etc, you 
know. It was like . . . our enthusiasm and the 
audience's enthusiasm was an instant hit. 
Yeah, that was the beginning of the AVENG¬ 
ERS, that gig. And from then on we started 
playing the Mabuhay every week. Once a 
Week or as often as we could, as none of us 
had jobs and we decided to dedicate our 
hole thing to this band, all of us. Penelope 
even stopped going to the Art Institute. We 
moved in together, etc, etc. Jonathan got to 
be a real pain in the ass. We had to get rid of 
him, immediately... And that caused us a lof 
of problems cause he had lots of "ins" to the 
San Francisco press. So we always got bad 
press, right? Always... That was ok. Used to 
make us crazy, but... any press is good press, 
that's what they used to say. But anyway, 
then we got this kid named Jimmy to play the 
bass, and he fit in perfect, you know. Fie was 
a funny kid from the Midwest somewhere, 
who moved to San Francisco to make it big 
or whatever. Fie played bass. We had a 
good band and we rehearsed every day, 
played as often as we could, and our audi¬ 
ence started getting bigger and bigger and. 

. . I don't know. We were an extremely ag¬ 
gressive band, we played really fast and 
really hard and really loud, and often times 
you couldn't hear Penelope, which was kind 
of sad.. .She didn't like that either, but.. .She 
liked being in a band with a bunch of guys, 
being able to... I don't know, I think she got 
off on being on stage. Being the center of 
attention, and she was good. It was a nice 
combination of people. 

MRR: What kind of audience did you attract? 
A: Oh God, in the beginning the punk audi¬ 
ence in San Francisco were a lot of gay 
people. This is true. But they were super en¬ 
thusiastic you know. And we had a song 
called... naw, that's too embarrassing... but 
... (laughter). Yeah, at first there was a lot of 
gay people, young gay people, who... they 
were frustrated like a lot of other people. Flad 
nowhere to go, nothing to do and this was a 

good place to go and see a band play, get 
wild and get drunk, and scream, and dress 
up strange and ... something like that. 
MRR: Any violence at the gigs? 

A: Lots, but that came later. 

MRR: With the punk audience, sort of? 

A: As this whole punk thing started to grow 
and spread the audience changed drasti¬ 
cally. Although the original people still would 
come, there was a lot of young people, very 
young people who would get hip to this punk 
shit, punk stuff, right? And when that hap¬ 
pened, and there was a couple of fanzines 
that popped up. One in particular was 
"Search & Destroy"... which was very inteF 
lectual actually, and very nice lay-outs, and 
very nice photographs, and very poignant 
sort of political statements, and this.. .what 
you call situationism, political shit. Anyway, 
yeah, it got violent sometimes. Not just the 
regular audience, who would thrash... I think 
we were the original thrash band. I really do, 
in some ways. . . But the outskirts of San 
Francisco was very redneck, and there was 
very strong white power, white Nazi sort of 
movement, sort of mentality, and these 
people hear about this punk shit, and they'd 
seen photographs and they'd seen swasti¬ 
kas etc., so they came to check it out you 
know, cause they had swastikas tattooed on 
them, right? They would come and start 
fights inside the club. Sometimes it would get 
very intense, extremely intense. A couple of 
people got really hurt when this would hap¬ 
pen. Although San Francisco as a whole 
wasn't... a bt worse things happened in L.A. 
The police... The police would cause most of 
the vblence. It wasn't like that up in San 
Francisco, out. . .some'of the things that 
happened in L.A. are too much... I've seen 
some really terrible things happen, really ter¬ 
rible. .. But.. .yeah, next question? 

MRR: So in the beginning, you didn't consider 
yourseif to be a punk band? 

A: We didn't know what we were, we were 
just a band playing. But very quick this world 
"punk" got labeled onto us and we.. .yeah, 
we accepted that stuff. Because at that 
point a lot of other people started bands as 
well, say three or four months after we were 
doing o.k. Like say I met Will Shatter, he just 
came home from England and he was inn- 
pressed and decided to start his own band, 
which was a band called GRANDMAL which 
later became NEGATIVE TREND, which tater 
became FLIPPER, right? I mean, it went like 
that. You went to see a band. If you were, 
really impressed, like me with the RAMONES, 
you start your own band, chain reactions. So 
a lot of bands started popping up around 

the end of 77, lots of bands. Some of them 
were very good. Some of them weren't. . . 
you know. I think the most popular bands on 
the West Coast at that time were us, the DILS, 
the WEIRDOES in L.A. Later on, when we ... 
you see we had to keep moving, playing all 
the time in order to pay the rent, etc, so we 
went to L.A. a lot. And we also went up into 
Canada, to Vancouver. That's where we 
met D.O.A. and we brought them down to 
San Francisco and they were a big hit there. 
It was sort of like this is how to grow too. It was 
really fun then. 

MRR: You didn’t get to play the East Coast? 
A: No. We never did. We were stuck on the 
West Coast, as America is such a big country. 
Of course, we wanted to play in New York 
but... we never got around to it. 

MRR: In New York it was sort of taking another 
direction. . . it wasn’t as “hard” as in San 

A: No, I think the West Coast was more influ¬ 
enced by what was going on in England, 
than New York. They claimed to have started 
this whole punk shit, right? TELEVISION and 
RICHARD HELL and all that stuff, RAMONES, 
etc. I think we were more directly influenced 
by what was happening in England, but 
somehow it turned out different as well. The 
music was much faster on the West Coast, 
harder, faster, louder. More aggressive, it 
was very aggressive, a lot of the bands 
were anyway. Wilder. . . like the DILS 
wanted to be the new WHO, you know, 
stuff like that. Some people were really 
good with their instruments, like Chip, a 
great guitar player. Fuck! He was great. 

He was something special. 

MRR: So what did the media write? Did 
you get any horror stories there? 

A: No,there wasn't much in the media, 
in the local media. There was, like I said, 
the underground papers, like "Search 
& Destroy, acoupleoffanzinesinL.A., 

I can't remember their names... 

MRR: “Slash”? 

A: "Slash". . . "Slash" were very sup¬ 
portive, extremely. But the local 
newspapers would put a little article 
out or something. They would just 
make up the article, they would say 
really silly things. They had this pre¬ 
conceived notion of what punk rock 

was, people vomiting, 
etc. They would write 
that stuff and this would 
infuriate all the bands, 
they would get crazy 
reading this kind of stuff. 
But there was nothing 
you could do about it. 

MRR: So, when the 7” 
was released, was it 
easierto get gigs? It was 
released really early 

A: Released in Novem¬ 
ber 77. The same time 
the DILS, us, BLACK 
RANDY and some other 
records came out on 
this Dangerhouse label. 
It was some of the first 
singles on the West 
Coast, you know. 

MRR: Did you get any 

Yeah, Rodney 
Bingenheimer in L.A. 
Rodney on the Roq, he 
was also very support¬ 
ive and he would pay 
stuff. And there was 

another... there was a radio station in Berke¬ 
ley on which this guy who started this "Maxi¬ 
mum Rock 'N Roll" magazine, had a show, I 
can't remember his name... 

MRR: Tim Yohannan? 

A: Yeah, Tim. And he was also really into this 
stuff, he would give airplay. And there was a 
couple of radio stations, local rock stations 
who would occasionally play what was hap¬ 
pening in England, not what was happening 
there, on the West Coast. The STRANGLERS, 
the JAM, SEX PISTOLS, CLASH, etc., they 
would play that shit. 

MRR: So what was the opinion on the West 
Coast, what did you think about the English 
punk. I mean, was that something you were 
trying to do, or did you say, “We’re doing our 
thing, and those English bastards get all the 

A: Let's put it this way. Punk was supposed to 
be something from the heart, right? We were 
grass roots and honest and we don't care, 
no more heroes blah, blah, blah. So of course 
we weren't supposed to think like that, but 
people were envious, yeah. I mean, the way 
I see it, as far as I'm concerned, we were very 
influenced by the bands in England. PISTOLS 
of course, the CLASH of course, etc. But 
inevitably we did our own thing. I mean, an 
influence is an influence, it just creates some¬ 
thing else, that's just what happens. But of 
course there was a little bit of jealousy in the 
fact that these bands had released albums 
and had some recognition, were able to pay 
their rent, so we thought, whereas we were 
all... The poorer you are, the harder you work 
and the bitchier you are as well, see what I 
mean? It was something like that. 

MRR: So what’s th© story behind Stev© Jones 

A: Very simple. We got a gig, opening up for 
the SEX PISTOLS’ very last show in San Fran¬ 
cisco. . . Winterland. It was January 11th, 
1978, somewhere around there. Somehow 
we got the gig opening for them, and the 
road manager for the SEX PISTOLS liked our 
band and he approached us and said, "I 
would like to manage you guys. Do you have 
a manager?" "No. I would like to manage 
you guys and I promise you this, this and this." 
And we sort of... I mean, we were very naive 
and we didn't know anything but we 
thought sure, why not? And the SEX PISTOLS 
more or less broke-up after that gig. They did 


this thing with Ronnie Biggs and all that, but 
that was just a hype more or less, right? Steve 
Jones wanted to produce bands, he 
wanted to be d producer. And so he came 
over, we played with him for a while, we 
wrote a few songs together. It was fun, we 
got along with him and he wanted to do it. So 
we just went into the local studio and, I think 
we did about six tracks, I can't remember. 
And while we were in the recording studio, 
Steve got a call from England and it was 
Malcolm McLaren who said Sid Vicious had 
stabbed Nancy Spungen and he had to go 
back to England because they couldn't af¬ 
ford to pay for him being in California any 
longer, as all the money from Glitterbest had 
to go into the Sid Vicious defense fund etc., 
right? The focus was now on Sid Vicious, so 
Steve Jones said goodbye, took the tapes 
with him and. . . he was gone . . . And we 
couldn't... we had no contact with him for 
at least a year, and we wanted to release this 
stuff, it hadn't been mixed yet or anything, 
just raw tapes, right? But no Steve... and that 
was the end of that. 

MRR: But I thought those tapes were used for 
the 12"... 

A: EP? 

MRR: Yeah. 

A: Yeah, that's another sad story. That's also 
after the AVENGERS broke-up... 

MRR:... which was, at what time? 

A:... Ah, shit.. .the end of 79, thereabouts, 
or the summer of' 79, August I believe. We all 
went our separate ways. But we got a hold of 
these tapes, and Penelope ana I went into 
the studio to finish a track, and we mixed 
these tracks, but they weren't the way we 
recorded them. They were mixed really bad, 
and. the record was put out, and it was 
terrible. It was just a bad mix, very bad mix, so. 

. . I can't remember what happened with 
that record, It didn't go anywhere, the 
people who put it out were another sham 
outfit and we saw no money... 

MRR: What about the label? White Noise? 

'A: Yeah, it was just some fly-by-night ar¬ 
rangement. .. again... I don't know, I guess 
an artist wants his stuff available to people so 
people come along and say, "Hey, I'll do it 
for you," and you might tend to say, "Sure, 
why not?", and that's what we did, and 
that's a mistake and the record was terrible 
but... they only did the initial pressings and 
then it was gone. Maybe 10,000 records and 
then no more. 

MRR: And the T was pressed in ... 

A: That's hard to say. .. See, we never saw 
any royalties from any of our records. . . 

MRR: Not even the LP from CD Presents? How 
did that come about? 

A: That came about many years later as well. 
This record we were talking about. White 
Noise... at that point I didn't care at all about 
the AVENGERS anymore, anything. . . And I 
was off in my own mess. That's when I started 
to make a real mess out of my life, I didn't 
care. Nobody else cared either, cause 
Jimmy was playing... he switched to guitar 
and started to play rockabilly, and Greg, he 
went into recluse. He didn't see nobody, he 
got a 9-5 job. Penelope... I don't know what 
happened to her. . . We broke-up, so she 
went her way, I went mine, and I started to 
play with some strange people, just for 
money. I went to England for a while, I was 
living in London for about a year in 1980, after 
playing with Joan Jett... (laughter) That's a 
good story. . but I knocked off there, and 
moved back to San Francisco. And that's 
when this Dave Ferguson guy approached 
me ... Somehow - if I remember correctly -1 
was the sole owner of the tapes, and I had a 
lot of weird tapes from the Mabuhay, Steve 

Jones' tapes and... some other funky things 
we did. So we went into the studio and tried 
to clean them up a little bit. We released the 
Steve Jones mixes, that were just rough 
mixes. They were very muddy but we re¬ 
leased those, cause they were very good 
actually. But as for “We Are The One," we 
couldn't get the tapes from Dangerhouse. 
So we had to just record the single onto tape 
and try.. .yeah, that's how we did that, and 
put it out on that LP. And. . . I got a lot of 
money, well not a lot, maybe 2000 dollars 
which was nothing, just to sit in the studio and 
sort of be, producer or whatever. But at that 
point I moved to L.A Nobody in the band 
have seen any money from that, nothing. 
Nothing at all. So I have yet to find out what 
happened, I don't know. Have no idea. You 
know I sort of left my past behind . . so to 

MRR: The song “Summer Of Hate,” was that a 
comment to the ten-year anniversary... 

A: Yeah! Summer of love, ten years later: 
summer of hate... I think it was very tongue- 
in-cheek, we weren't a political band, not at 
all... “WeAreTheOne"?Thatwasajokeyou 
know, but people took it very seriously. It was 
a joke. I mean, there's a certain amount of 
seriousness but all in all, if you listen to the 
lyrics, it's a joke! (laughter). 

MRR: Yeah, but it kind of captures a certain 
feeling that was around at that time... 

A: Yeah, but. . . Nobody in our band was 
politically aware, nor were we ... I think we 
were afraid of the pitfalls of being political. I 
mean, the CLASH were political in one sense, 
right? And then we had our good friends the 
DILS, who took that to the extreme... and we 
all lived together, the AVENGERS and the 
DILS, so we were influenced by them and 
they by us. So politics come in but not seri¬ 
ously, I don't think. . . shit, I knew nothing of 
politics. And they were talking communism, 
Marxism and all this crap, and we just 
wanted to play music really. It was a very 
personal thing I think, playing in a band at 
that time. It seemed like we made a lot of 
people happy, and we were very happy 
playing. We really had fun when we played 
and people really had fun who came to our 
gigs. And often times we had a full house. I 
mean completely full of people, i mean, I 
can remember seeing a wall of people go¬ 
ing around like this (draws a half circle in the 
air), and people standing on chairs behind 
them up the ceiling, and jumping up on the 
stage singing “We Are The One" and the 
chorus and “I believe In Me" and the chorus. 
And it was just like... it was a gas, you know? 
It was really fun! But it was sort of self-destruc¬ 
tive as well, perhaps... I mean, I can remem¬ 
ber doing interviews back then... We didn't 
know what we were talking about, but we 
would say think like “Yeah, we'll be gone in a 
few years, this is just Now. We're doing this 
Now for Now's sake, have fun for now, and 
hopefully something will come along in 2-3 
years to replace use. We don't care. We 
care only about Now." But I mean we were 
just a bunch of bratty kids, you know. Or 
whatever we were. But we were a drug free 
band which was a plus for us, I think. A lot of 
the bands were... there was only two drugs 
then, heroin and speed. Some of the bands 
were speed bands and some of the bands 
were heroin bands, neither of them could 
play well. But we were a drug free band and 
we played well. It was very physical, VERY 
physical. I was in... I had to be in good shape 
to play that music. I work so goddamn hard 
on the drums you know, and it played off 
though. It was fun. We were all best friends. 
So we sort of were, in a way... couldn't see 
what it would be like just to be a kid and 
wandering in off the streets because so 

much happened after that. So many bands 
sprang up after we were long gone, playing 
more or less the same kind of music. And, you 
know, you said something about Mike Ness, 
and SOCIAL DISTORTION or whatever. I 
mean, I met him much later... way down the 
line, and their music was not dissimilar to 
what the AVENGERS were doing 7 years 
earlier or whatever. And we became good 
friends and he just asked me "can you play 
drums for us?" and I said "sure." 

MRR: So you have no actual plans to get 
back to music? No reforming the AVENG¬ 

A: No. No, I talked to Greg a couple of weeks 
ago, he called me. He's still playing music 
sort of, in his own basement, he has all the 
equipment, a few friends, but... He doesn't 
have the personality that pushes a band into 
a situation where they play someplace and 
maybe go somewhere. Greg's a very cool 
guy, he just doesn't care. I mean, it was my 
pushiness, it was my attitude that got our 
band going and sort of keep it going. And it 
was partly because of that attitude that I 
had, that the band broke up as well. I can say 
that. I was very pushy. It was my band to 
some extent. And, yeah that's the dangers 
of rock'n roll bands, as a political or whatever 
entity. There's ego trips, and it's not easy to 
find a group of people you can work with. In 
music or. . . fuck, man. . . I see it in my job 
everyday. Any group of people. . . it's diffi¬ 
cult. We didn't know what we were doing 
and the band self-destructed. For better or 
for worse. The first two years were well worth 
It, looking back. Towards the end it got a little 
hairy. And Jimmy wanted to play rockabilly 
which he's doing now. You know his band? 
Chris Issak? 

MRR: Yeah, I know Chris Issak. 

A: That's Jimmy on guitar. 

MRR: I didn’t know that. Um, weren’t you shot 
on video sometimes? 

A: There was one or two, but I... There was 
some kind of S.F. band video thing.. 

MRR: Wasn’t it Target Video? 

A: Oh, Target! Yeah! You know more than I 
do. They had a whole library of recordings, 
some of them were really good, some were 
mediocre. I don't know, there was also a 
video. . . god, I wish I had it. . . It was really 
good. It was when we played with the PIS¬ 
TOLS, somebody recorded that, videotaped 
that, and the PISTOLS as well. And that was 
really fun because, you know, we had only 
played in front to of max 500 people, sud¬ 
denly we were playing in front of 5000 
people. It didn't make any sense! It was 
really... and in one way it was horrible. On 
this big stage with just a sea of people and 
very impersonal, right? There was no con¬ 
nection between us and the audience. But 
at the same time, the experience of playing 
in front of such a big crowd, it was interesting. 

I think it made us very frustrated and we 
played a little bit more aggressively as well. I 
think the PISTOLS sort of had the same feel¬ 
ing, because the last song they do is "No 
Fun," right? This Iggy Pop song, and it's the 
greatest song I ever heard them... if you ever 
get a bootleg of the San Francisco gig, that 
song is so fucking good, it really is. It's the last 
song that Rotten ever sang with the PISTOLS, 
ana he really hates... really hates, and it just 
come through. Fuck, it's good! 

MRR: You were never asked to come over to 

A: No. As we heard, in England they had 
thousands of bands. Of course we wanted 
to, we wanted to do anything and every¬ 
thing, you know. At the same time we hold 
on to our integrity, which was impossible. We 
wanted to do that. We were young and 
optimistic and idealistic and we figured we 


could hang on to our integrity, no matter 
where the fame and fortune might take us, 
we could handle it. But we never really got a 
chance to try, but if it had happened, I doubt 
if we could. I really do. Cause I played with 
Joan Jett for a while and it was the worst 
experience in my life, it was terrible. Ray 
somebody else's music by their rules, dress, 
look, say what they wanted you to say. No 
fun! Really. And that's when I said, "fuck this, 
I don't need it, nor do I want it." And that's 
really the last time I played music, but like I 
said, I was lost for ten years too, so who 
knows. . . You just can't hold on to your 
integrity as you become more sophisticated, 
technically, musically ... 

MRR: So if someone would come up to you 
and ask “may I release this AVENGERS stuff?" 
what would you say? 

A: (laughter) Sure, why not? Everyone else 
has, yeah... I don't know... 

MRR: Is there any studio stuff that hasn’t been 

A: Studio stuff? I don't think so. There's a lot of 
tapes and stuff we did, rehearsals. . . but I 
have no idea where these tapes are. No 
idea. Penelope might be the only one that 
has anything of the AVENGERS left. I don't. I 
don't even nave our records... Not one of 
them! My brothers have them, I think. 

MRR; Any funny stories to tell? 

A: Lots of funny things happened. One of the 
early things that happened was, we got a 
call from some... another fly-by-night gang 
of people who put out Swimwear. And they 
wanted to put on a punk rock concert in L. A., 

I think it was September 77. They called us up 
and they said, "Can you guys get on a plane 
and come down to L.A. right now? We will 
provide you with everything and we'll play, 
and we'll put you up. You will be playing with 
HELL & the VOIDOIDS, and you guys." We 
said "sure." So we went to L.A. (laughter). 
And we took along this character, this friend 
of ours named Mike Kowalski, sort of a local 
hero in San Francisco, who is dead now. And 
they put us up in this really weird, high-rise, 
high security high-rise fantasy place in some- 

where in Southern California. And that morn 
ing we woke up to Michael Kowalski scream 
ing "She'sdead!! She'sdeadl! There's blood 
everywhere!!" What? We ran to the window 
and a woman had committed suicide. Had 
jumped down three or four stories and 
landed right outside the window on this as¬ 
phalt . . . sort of like terrace, on this green 
astroturf, fake grass. There was blood every 
where and it was ahh... And that was the first 
omen. That night we played, and they said. 

Well, you guys can finish the show, you can 
star the show." An we had met RICHARD HELL 
& the VOIDOIDS that night and they had 
taken the money and flew back to New York 
without playing. "Fuck this shit, these people 
are assholes," so they didn't play. So basi 
cally, they didn't have a top act and they 
decided to use us, use us as a top act, to play 
after BLONDIE who were a big band already 
BLONDIE had all their equipment set up and 
they wouldn' t move it, so we had maybe 3 or 
A feet left on stage. And this was the rockstar 
syndrome which we were very much 
against. I was very angry, I was trying to set up 
my drums and they had what they called a 
“punk juggler," which meant somebody 
who couldn't juggle. So I 'm trying to set up 
my drums and this guy's throwing stuff up in 
the air and it's hitting me and it gets in our 
way. And in the meantime, the stage 
people, lights, sound, etc. are saying, yeah, 
they were union, right? "We're closing up in 
15 minutes. You got 15 minutes to set up and 
play." Somehow we did. We set up, we 
started playing, and in the middle of our 3rd 
song, we went into this sort of frantic break, 
guitar break, whatever... where we just sort 
of were making a lot of noise, very aggres¬ 
sively. And I was infuriated, so I kicked my 
drums over and flew off the stage, ran into 
the dressing room and destroyed the dress 
ing room, I was just full of rage. Anyway, they 
called the police, they called the local au¬ 
thorities, and we were barricaded inside the 
dressing room. We waited in there several 
hours before everybody went away, we 
wouldn't come out, cause they would arrest 
somebody, or beat somebody up. They stole 

all our equipment In retribution for what I had 
done in the dressing room, so we had no 
equipment. We were stuck in L.A. for two 
weeks, and no way to get back to San Fran¬ 
cisco. We stayed with the SCREAMERS who 
were friends of Penelope's. And Michael 
Kowalski, he went back to this apartment 
where we stayed, where the woman com¬ 
mitted suicide, broke into their apartment 
and destroyed their apartment, took our 
guitars and drums back and wrote threaten¬ 
ing messages on the mirror. And took some 
money as well, so we went back to San 
Francisco. That was the first thing that hap¬ 
pened, it was really weird. The whole thing 
was like ... It was very nice staying with the 
SCREAMERS, they were real nice. Inave an¬ 
other thing that happened. We were playing 
a gig, and a black security guard got up on 
stage in the middle of a song and wanted to 
make an announcement that you can't... I 
can't remember, park your motorcycle on 
the sidewalk or something like that. He 
wanted to be on stage, right? And we 
stopped playing and I jumped out and said 
"get the fuck off the stage." He pulled a 
loaded gun on me. He pointed it right at me 
on stage. Then he realized what he did and 
put it back in his holster. Weird things like this 
would happen in L.A. Another time we were 
playing at a gig at a biker bar, and two bikers 
out front had a knife fight and one of them 
was killed, while we were playing. And that 
was really terrible too, all these kids were 
giving us their knives, cause they were 
searching everybody in the house. We had 
like, our guitar cases full of knives. Because 
the musicians, we were playing at the time so 
we weren't suspects, you know. We ended 
up with all these knives. A lot of weird things 
like that happened. Our guitar player Greg 
got into a fight, beat the shit out of some¬ 
body because this kid kept slamming Greg's 
mike stand into his guitar. . . Repeatedly. 
Greg really loved his guitar, so in the middle 
of the song he just went off stage and 
chased this kid out the door with his guitar in 
hand. His plug just went PLOINK! and away 
he went, no guitar... Greg!!? ... It was fun. 




The LOST non-interview 
by Matt Lutz 

Lost is one of two surviving punk-rock 
bondsin Erie, PA. On Stumble (their latest LP for 
Cargo) the band spits out brazenly-rlffed gui¬ 
tar rock that combines a Green River-esque 
feel with early Replacements PO'd punk rock. 
Their first LP, Cut Out the Heart,is also available 
through Cargo/Headhunter as a CD (it was 
originally issued as an LP/CD on Takeover 
Records), and another full LP is recorded but 
as of yet unmixed. For additional vinyl info, see 
discography at the end of this short yet teiling 
interview, which took place in my very small 
living room with the band, gal-friends, bud¬ 
dies, a case of beer, 90+ heat, and incessant 
interruptions. Transcribed by J: Agostine and 

Band: (J) Jim. guitar (E) Eric; bass (P) 
Pete, drums (B) Brian, voc: 

Others: (MRR) Matt, quizmaster (BN) 
Bean, neighbor 

MRR: So what's going on plan-wise for the 
band at the moment? 

B: Just finished recording some stuff, split 
single with the Pain Teens just came out, and 
we re gearing up to do the west coast with 
Rocket From the Crypt in September, hope¬ 
fully. That's it. 

MRR: How about some high (low?) lights from 
last tour... 

J: Shoney's, Waffle House, anywhere with an 
all you can eat deal. 

P: A backhoe dealership in Jackson. MS .(see 
Peter's profile for farm info). 

B: All acoustic gig, though it sure wasn't 
planned that way, in Jackson MS, in a total 

E: Just riding in the van for a few weeks with 
four smelly guys. 

MRR: Favorite beer out there on the road? 

J: Midnight Dragon forties! 

B: Most definitely Midnight Dragon forty- 

P: Forty ounces of anything. Milwakee's best 

MRR: So where is your music heading? 

(large argument commences) 

J: I think we're headed towards a kind of 
Journey/Motorhead synthesis. 

B: Oh no. We are a punk rock band. 

J: Punk rock started in the 60's as garage rock, 
like on the Nuggets comp. LP.... 

MRR: What about ABBA? 

P: Do go on! 

B: Punk rock is a personal thing, everyone has 
their own little interpretation or what it means. 
J: It's the sound of a mother giving birth, a flag 

MRR: What are you talking about, Jim? 

J: I was just being zen-like. 

MRR: I think it’s the beer, not the l-Ching. 

(heated words regarding the band JOURNEY 
are exchanged) 

MRR: What about the nasty rumor that you 
guys were so broke last tour that you broke 
into a Pac-Man machine for money? 

J: An absolute lie. 

B: It was a MS. Pac-Man machine. Superbowl 
Sunday in, uh, the south, we stood guard, 
Jimmy violated Ms. Pac, and we got a hotel 
room, beer, and breakfast the ne>a day, pay¬ 
ing for it all in quarters. 

MRR: What do you guys do in your leisure 


B: Ride and repair my motorcycle. Use drugs 
moderately. Wait tables. 

P: I ride my ATV three-wheeler. 

E: I Armor-all my Ford Bronco. 

J: My free time is spent hitting on girls at work, 
usually named Chris, ha ha ha. 

MRR: Do you guys read at all, if so, what? 

E: Sure I read, do I look stupid? 

MRR: No, not at pll. 

E: Tolken, Tom Robbins, Richard Bach, Pierce 
Anthony (sic where applicable.). 

P: Shel Silverstein and tractor manuals. 

J: Mother Goose, Steven King, Mark Twain.... 
B: I like my books like I like my women: old, 
smelly, and easy to read.... Burgess. 
Steinbeck, Dostoyevski, Fitzgerald... (voice 
from outside, the neighbor) 

BN: Hey. whoever wants to get high, come 

E: Interview's over! 


LOST self-titled 7" EP (Lung, 1989). 

Cut Out the Heart LP/CD (Takeover, 

1990) . 

Cut Out the Heart CD (Cargo/Head¬ 
hunter, 1991). 

Stumble LP/CD (Cargo/Headhunter. 


Killswitch split single w/Pain Teens (Spank, 


Panx vinyl #4 (contains otherwise 
unreleased version 1988 demo). 

Can You Break Through? (Skene/South¬ 
ern Studios, 1991, UKX 

Overse a s Connecti o n Vo l. 2 (AA Records, 
West Germany, 1991) 

Pete Stadtmueller -Drums. 

Age : 19 years old. 

Eves : Brown. 

Hair : Brown. 

Weigh!: 165 lbs. 

Height : 5 feet, 10 inches. 

Fave greasy spoon : Huffy’s Pizza. 

Occupation : Farmer, driving trucks and tractors. 

Gotta boner for : Calenders with farm equipment keeping you company all month or a late model chevy van all customized. 
Gotta wet noodle for : Being dressed up at a family or formal type event. 

The first time 1 took acid : Wouldn’t know. 

Greatest Fear . Being afraid of things. 

Career goals : No idea. 

What music means to me : Music is like a brain workout and massage at the same time. 

Fave bands: (No specific order) Laughing Hyenas, Rollins Band, Jesus Lizard, Cliff Era Metallica, Ice Cube, Public Enemy. 

Jim Aaostine -Lead guitar. 

Age : 23 years old 
Eves : Blue. 

Hair : Brown. 

Weigh!: 185 Ibs. 

Height : 6 feet, 1 inch. 

Fave greasy spoon : Nich Tahou’s in Rochester, NY. 

Occupation: Alcohoiicl 

Gotta boner for: A highly erotic episode of the Donna Reed show You know the one I’m talking of. 

Gotta wet noodle for : Bad vibes! Man and people who just emit negative vibes turn me off. I mean I just feel weighted down around people like 
that. Why can’t some people just be more positive man. 

The first time 1 took acid : I can’t actually remember the first time I did it but the best time I tripped was when I took a quarter bag of mushrooms 
and talked to a wall at my friends basement. I can’t really get into the whole story but it was just great. 

Greatest Fear : No one telling me where the carb on the bowl is. 

Career goals : Being rich enough to hire midgets as garden gnomes. 

What music means to me : Music is my only chance to get laid. 

Fave bands : Olivia Newton John, Diana Ross, James Brown, Hugh! and KC and the Sunshine Band. Oh yeah, I’ve been into Prisonshake a lot 


Brian DiPlacido —vocals and rhythm guitar. 

Aae: 21. 

Eves : Just like money, babe: Green. 

Hair : Dark Brown. 

Weight : A svelte 170 lbs. 

Height : Six-something. 

Fave Greasy Spoon : Nick Tahou’s in Rochester, NY. 

Occupation : Waiter. 

Gotta Boner For : motorcycles, chicken pot pies, pinball, Steinbeck, Libido magazine. 

Gotta Wet Noodle For : television, cancelled shows, health food, and all the dipshits who think I’m a sexist because of that Jawbox thing. 

The First Time 1 Took Acid : wrote about 30 pages of total jibberish, fully understood everything, became intensely interested in the workings of 
my elbow, "got in touch” with my Urge Overkill and Galaxie 500 LP’s, went to a stupid party, was propositioned by a G.B.H. groupie (female, I 
think), refused, went home, ate 4 turkey pot pies (same as chicken), partook much spirits, slept. 

Greatest Fear : President Quayle or a sprained wrist. 

Whqt Musig.Meqn s Release and expression. 

Favorite Bands : X (LA), Divine Horsemen, Scrawl, Prisonshake, Jim Croce, Harry Chapin. 


Eric Hinev (“ Labo ”) -Bass player. 

Age: 22 years old. 

Eves : Blueish-green (usually red). 

Hair : Brown hair. 

Weight: 225 lbs. 

Height : 6 feet, 2 inches. 

Fave greasy spoon : My favorite greasy spoon would be the one I keep under the sink or Barilla’s tavern. 

Occupation : Slave to the imperial forces of retail. In other words, unloading trucks at ungodly hours. 

Gotta-bonerfor : Free beer! Beer in general. Girls throwing themselves at me (of course that only happens when I'm asleep). A certain person 
taking my cigarettes away. Matt giving me the photo I asked for. Hint, Hint. 

Gotta wet noodle for : Waking up. Running out of beer. A certain person taking away my cigarettes. 

The first time 1 took acid : The first time I took acid? I wouldn’t do that stuff. My body is a temple. A temple that has been shut down by the health 
authority. So if I did take acid it would have been in the summer of ‘ 87 in the magical land of Presque Isle. Beware of the man eating blankets. 
Greatest fear : Those horrifying words “Let’s just be friends.” 

That and finding out your next door neighbor’s name is "Henry." 

Career goals : Quitting my job! Becoming Ralph Bakshi’s apprentice and then moving to the untamed wilderness of the yukon where many 
ballads and legends will be written about “Labo, friend of the moose”. That’s not too much to ask for. 

What music means ig me : To me, music is something that I can turn up loud so that I don’t have to listen to Brian and Jim argue about what it 
means to them and why they like or dislike this band or that band. Oh yeah, one other thina-groupies ‘ 

Fave bands : The ail time great band “Sing along with Mitch" and Mel Tormay. I guess I also like the Clash, Dead Bovs, Damned, Iggy Pop, Lou 
Reed, Prisonshake, Husker Du, Pogues, Johnny Thunders, Doors, Animals, Buddy Holly, Joe Cocker, Stones...etc... Get the picture? That’s right, 
this guy will listen to just about anything. 


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Interview by Kath; questions answered 
by Gary and Will. 

MRR: You recently had a change In the line-up 
of the band. Could you give the new line-up 
and a brief history. 

CK: Cowboy Killers have existed in one form or 
another since August '86. Loads of people 
have come and gone and recently we lost 
our drummer of four years. The line-up that 
exists now Is Brewer - Guitar. Gary - Rhythm 
Guitar & Bkg Vox. Beddls - Vocals, our new 
drummer - Mr. Wedge (who we poached off 
RECTIFY), and Will - Bass. I hope this will be the 
definitive line-up. I hate chopping & chang- 

M^R: Apart from the U.K., where else have you 
played, did you go down well with the 

CK: We've been abroad 3 times In all. twice In 
Belgium and once In Ireland. Belgium was 
great fun, everyone was so enthusiastic, and 
we met some great people. We went over to 
Ireland in January and played 6 gigs - 2 per 
day for the first two days - it was knackering - 
but we had a really good time. Again we met 
loads of really nice people and quaffed loads 
of Guinness. We went down well in both coun¬ 
tries - loads of people dancin' and showing 
Interest in the band - can't wait to go back. 
MRR: What vinyl have you released to date? 

CK: Altogether we've released two 7"s, two 
LP's, ana we've had tracks on three Comp 
LP's. The first thing we did was the split 7“ with 
The SECT In 1987 on W.O.W. (I played It the 
other day - weird!!) KOYAANISQATSI was our 
first LP & PRESS AND RUN LIKE HELL our second. 
We've also released an American 7" on 
SOUND POLLUTION. The 2nd LP is our favorite 
so far. 

MRR: How did you get a record on the Ameri¬ 
can label ‘SOUND POLLUTION'? Have you any 
plans for future releases with them or was this.. 
just a one off? 

CK: The guy from SOUND POLLUTION got In 
touch saying he'd gotten our 1 st LP, ana liked 
it, and asked if we'd be interested In a 7" slab 
with him. It was really good for us as It was a 
chance for people in the states to hear us 
without paying Import prices. There were 2 
tracks from our 2nd LP and an un-released 
track 'TIC TOC'. As for future releases, who 

MRR: I hear that you are busy at the moment, 
getting new songs together for a new LP that is 
going to be released In Japan. How did this 
come about ? Have you any plans for a tour to 
follow the LP release? 

CK: Yep, that's right, we're manlcally trying to 
get loads of new songs together for our 3ra LP. 
We've been offered a Japanese release LP & 
CD, with a tour In Japan to follow. It was 
strange how it came about - a promoter from 
Japan comes to the U.K. every couple of 
months to buy loads of records and takes 
them back. He also organizes tours for bands. 
Anyway, our singer works In a record stall and 
he metthe guy and gave him an LP to listen to. 
The guy was Into It and offered us an LP and 
tour we could come up with an LP's worth of 
new stuff - simple as that really!! A couple of 
bands we know went over recently and told 
us so many good things about it -1 can't wait 
to go. The only bad point Is that It's a slog trying 
to get the new songs together. 

MRR: What sort of topics do your lyrics cover? 
Are they personal, political, or a bit of both? 
CK: Most of our lyrics deal with everyday life 
and everyday problems - we don't have a 
strict policy on what we should or shouldn't 
write about. Self pity, racism, religion, igno¬ 
rance or Just things that piss us off. We tend to 
leave the political side of It to other bands, 
they do It much better than us. Basically, none 
of us In the band Is heavily into politics so 
there's no inspiration. 

MRR: I hear that you are releasing both your 
LP's on CD through W.O.W. Do you think that 
bands these days need to release their stuff on 
CD as well as vinyl? 

CK: A couple of years ago, everyone pre¬ 
dicted that the advent of CDs would see the 
demise of vinyl. Although record sales have 
gone down, tnis is due to the supply not the 
demand. In our circles, I don't know many 
people that own a CD player and use vinyl as 
their only medium. Corporates of the Music 
Industry are guilty of creating their own de¬ 
mand by brain-washing the consumer that 
vinyl is a relic and the future Is CD. Therefore 
with vinyl out, and everything on CD, you 





have to buy a CD player. The cost of CDs 
makes them almost an elitist, status symbol 
which would seem to be contradictory to the 
values of HC/Punk, however, the fact is that a 
lot of people own CD players and eliminating 
them as an audience would prevent the 
communication of those values. Why Just 
preach to the converted? 

MRR: What are the lyrics of 'You're Dreaming' 
about? Do you think It is a negative look at life? 
CK: 'You're Dreaming' is about the Impossible 
dream of 'Anarchy', which In Its purest form 
would be a great ideal to live up to. However, 
a lot of the people that preach, don't prac¬ 
tice. They can't be faithful to themselves all 
the time, and this will be Its downfall. Human 



!S&: ! 

nature has proved time & time again that 
mankind Is incompetent in dealing with the 
world we live In. As we discuss In Q.13, man¬ 
kind causes all the problems In the world, and 
to change everyone's attitude would be an 
Insurmountable task. A forward progression In 
man's conciousness is what the world needs. 
The lyrics of 'You're Dreaming' suggest that 
we stop dreaming and start acting, and con¬ 
front our problems full-on. 

MRR: What has been the worst experience the 
Cowboy Killers have had to date ? 

CK: Worst experiences ... hhhmmm let me 
think. A particular gig we played in Cardiff 
one night - we were abysmal - everything that 
could go wrong, did. P.A. fucked up, we 

fucked up, and somebody hi-jacked our stuff 
beforehand, (that's our version !) - NIGHT¬ 
MARE!! The worst, though, must be the twice 
we've split up and lost Kip our old drummer. 
Bad times.... 

MRR: What are the hopes for the Cowboy 
Killers In the near future? 

CK: My main hope is that we make It over to 
Japan for a tour, that's the main motivation 
behind the band for the moment. I guess 
though. I'm just looking for what we've had In 
the last couple of years - FUN! I'd like to play a 
lot more different countries and I'm really 
looking forward to recording the next LP. With 
this line-up. we seem to have found a new 
enthusiasm which means there's still some life 
left In us old farts yet! , , , 

MRR: Do you think the Cowboy Killers lyrical 
structure spreads across both spectrums of 
the HC/Punk scene? 

CK: We try not to write lyrics that appeal only 
to specific audiences in a ‘so-called' spec¬ 
trum of any music. Hopefully, the subjects we 
deal with can be appreciated by any listener. 
If anyone likes what we do. no matter what 
type of music they're Into, great! We play 
music to suit ourselves, we're 5 complete op¬ 
posites and we're all into different things, but 
we try to Incorporate all this Into one band 
and we enjoy if. 

MRR: What are your llkes/disllkes musically 
and politically? 

CK: Uke I said earlier. I'm not Into politics at all. 
I'm not a vegetarian and don't feel asstrongly 
for the plight of animals as some people. My 
main concern Is for the great deficiencies in 
Mankind. Obviously, I don't believe In the 
exploitation of animals for pride, greed etc., 
but loads of other things worry me more. Rac¬ 
ism, sexism. AIDS, the state of the planet are 
much higher on my agenda of worries. Musi¬ 
cally, I listen to bit of everything - I can't 
understand how anyone can listen to only 
one type of music - there's only two types of 
music - good and bad - no matter what 'style' 
It is presented. Reggae, Jazz, funk, metal, 
blues, soul, punk, dance, rap, HC can all be 
found In my record collection. I enjoy different 
types of music In different moods. 

MRR: With all the shit happening In the world, 
and people's rights being abused every day, 
In so many ways, do you think that HC/Punk 
bands put far too much emphasis on Animal 
Rights and not enough on Human Rights? 

CK: In our experience, yes, a lot of bands do 
emphasize Animal Rights, some because It is 
sucn an emotive Issue, others merely to join 
the bandwagon. A.R. has almost become a 
cliche within tne punk movement, a tried and 
tested lyrical subject. However, the issues 
raised In A.R. are direct effects of human 
interaction, so maybe the lyrics should ques¬ 
tion the cause rather than the effect. The 
suffering of animals AND other human beings 
is a direct consequence of man's selfish and 
materialistic nature. Governments and those 
in positions of power seem to think they have 
the right to sacrifice the rights of virtually the 
whole planet for monetary gains. This self- 
centred attitude Is reflected Tn society as a 

whole creating a genera! lack of respect and 
understanding. As A.R. & H.R. are Inextricably 
linked, if lyrics questioned human failing and 
made people look introspectively then 
maybe we will find a solution. 

MRR: What do you think about personal lyrics 
that are so obscure that they only mean 
something to the person that wrote them? 

CK: The first thing we listen to in a song Is most 
probably the music, andthe lyrics tend to take 
on a secondary Importance, and eventually 
(?) more important. Lyrics don't have to carry 
a message every time, totally persona! 
thoughts are just as valid to the person writing 
them as 'topical' issues. 

MRR: Well, that’s it! Is there anything you would 
like to add? 

CK: Yes, the usual thanks for the questions - 
they did our 'eds in. If anyone wants to con¬ 
tact us, whether you're desperate or just plain 
bored with the charts, you can get a copy of 
our 2 LPs (Koyaanisqatsi & Press And Run Like 
Hell) plus T-shirts,stlckers, and loads of other 
goodies, from the address below: Cowboy 
Killers/119 Cathays Terrace/ Cardiff/ CF2 4HU 
/ S. Wales/ UK. Please get in contact, all letters 
answered. If any one can get any gigs for us in 
the States. PLEEEEZ get In touch!!! Thanx... 


• 1 *•»» • •? 




IV v / 
m a 


’••V; A 



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Our prices do not indude postage. Please add $1.25 for the 
first 45,.25 for each additional.$2.50 tor the first LP/CD/video. 

77 Scituate Ave, Scituate, MA 02066 

_ Phone/FAX (617) 545-1533 


FORFHFAI): One of the few bands to be formed in a couple of weeks and to make it 
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•available now* 

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3 songs of brutal hardcore from this New York 
band. Cassette single will be out in one month. 
$3.50 n. america / $6 elsewhere 

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P0 Box 20645, Seattle. WA 98102 
CD/Cass distributed exclusively by Caroline 


By Krlss P. Bakkln 

Really Red Discography 
All on CIA Records 

Crowd Control/Corporate Settings 7" 1979, released 

Modern Needs/White Lies 7" released between 1979- 

Despise The Moral Majoritv 7" live ep, again, between 

Teaching You The Fear Ip 1981 

New Strings For Old Puppets 7" ep 1982 

Rest In Pain Ip 1985 

********* Non-CIA Records Releases ********* 
"Prostitution" track on Lei Them Eat Jellybeans 
comp. Alternative Tentacles Records, 1981 
"Nobody Rules" track on Cottage Cheese From The 
Ups Of Death; A Texas Hardcore Compilation Ip. 

Ward 9 Records, 1985 


Vocals: Ron Bond (U-Ron Bond, U-Ron Bondage, U- 
Ron T. Joad) 

Guitars: Kelly Younger (Cole Younger, Kelly Green) 
Bass: John-Paul Williams (John-Paul Yuma) . 
Drums: Bob Weber (Robert N.M.N. Weber, Bob Webr) 

Really Red was one of the earliest, if not the first, 
punk bands in Houston. They were leaders of the 
underground music scene in Texas, ranked with The 
Dicks, Big Boys, D.R.I., The Offenders, and the 
Butthole Surfers as major groundbreakers. Every 
now and then you'll see their name mentioned, usu¬ 
ally by some punk rock oldtimer. Well, I'm Kriss P. 
Bakkin and I'm here to give you...Just The Facts, 

Really Red's redneck country influences were 
easily heard in their recordings. Ron Bond's style of 
singing, from a throaty growl to breathy half-whis¬ 
pered harmonies was innovative in punk at the time, 
and the richness of his voice could not be denied. 
However, you could always hear a bit of that good 'ol 
boy Texas twang in his singing, but that was no 
drawback. And unlike many of today's vocalists, you 
can understand about 99% of what he's singing. Kelly 
Younger's style of guitar was not necessarily techni¬ 
cally terrific, but the power and feeling more than 
made up for it. He played kind of like country western 
dipped in napalm to burn away the cheese, and then 

dried with ra¬ 
ti i o a c t i v e 
fumes to bring 
out the crunch. 
A very tasty 
punkstyle. Bob 
Weber played 
very simplistic 
drum patterns, 
nothing very 
fancy, no god¬ 
like fills. How¬ 
ever, he played 
the music per¬ 
fectly, and was 
a big inspira¬ 

tion to a gen¬ 
eration of punk 
drummers in 

John-Paul Wil¬ 
liams played 
simple punk 
bass. It fit the 
music, it pro¬ 
vided a solid 
backbone for 
the guitar, 
nothing else 
would do. 

None of this is 
to say Really 
Red is godlike, 
their industrial 
stuff, while innovative, was not considered to be very 
good. However, without them, and that Industrial 
stuff, who's to say that emerging Houston industrial 
bands like the Pain Teens would even exist? 

My knowledge of this great band is, unfortu¬ 
nately, a little sketchy. I don't know the exact release 
dates of the Modern NeedsA/Vhite Lies 7", or the 
Despise ItLfi. Moral Majority 7" live ep, simply be¬ 
cause I don't have them, and don't know anyone who 
does. Some of the information I got from various CIA 
Records that I have, other info I got from various 
people, including Chuck Roast (KPFT deejay for 
Houston's best underground music show, and pro¬ 
prietor of leading record shop Vinal Edge), Paul Is 
(guitarist of Houston legends Orgasm, and Despair, 
now a teacher), and Ron Bond himself from an infor¬ 
mal conversation when he was working at Houston's 
other leading record store. Record Exchange. 

Really Red existed from 1978 to mid-1984, finally 
breaking up due to "personal differences". I have no 
facts on these differences, just a rumour that one 
member was having an affair with another member's 
lady. Really Red helped form and run Houston's first 
underground label, CIA Records, releasing their own 
and other Houston bands records. Really Red's first 
release was Cro wd Control/Corporate Settings . The 
band decided after the record was printed, and after 
the labels were printed and put on, not to release it, 
that they were unhappy with the general sound of it. 
The 7“ was, in my opinion, classic late 70's punk, 
menacing, without being obnoxiously "I'm punk and 
you're not" like so much late 70's stuff can be. The 
record was, literally, stockpiled in a band member's 
closet until 1988, when the band member needed 
cash, and unloaded them all to Vinal Edge and Record 
Exchange. The most consistant rumour as to why the 
band member finally dug them out, was that he 
needed cash for his drug habit. This is just a rumour, 
though. One thing I do know for certain, other mem¬ 
bers of the band were not pleased with its release. At 
the time you could pick this gem up for two or three 
bucks--but only at those particular stores. It is my 
understanding that some people were snapping 
these up in Houston, and then turning them around 
for anywhere between $40-$60 in California. This was 
in 1988, though. 

Wake Up 




Red's second 
and third re¬ 
leases, Modem 
Needs/ Whit e 

Lies, and De¬ 
spise The Moral 
Majority, are a 
little bit more of 
a mystery. Both 
are 7", and both 
were released 
between 1979 
and 1981.1 also 
know that Mod- 
ain Meads/ 
White lies 
came first. The 
only reason I knowthat Despise The Moral Majority is 
a live 7" ep is because Ron Bond told me. I have never 
seen or heard either of these. If someone out there 
would sell, trade, or simply tape either of these for 
me, I would name my first born after them, even if 
their name was Bryn Tustin. Please write. 

Teaching You The Fear was Really Red's first fuII- 
length album. All killer, no filler, this album mixed 
earfy hardcore, punk, and even early industrial. "No 
art in Houston" was probably one of the very first 
industrial songs that many Houston punks ever 
heard, myself included. It was co-written by Perry 
Coma of Houston industrial band Culturcide, which 
had Bob Weber playing drums after Really Red's 
demise. I don't know if Bob is still playing drums for 
them. If you hurry, though, you can catch Perry's art 
at different underground "galleries" in Houston. This 
album, until 1988, you could still find at Record 
Exchange only, for a measly $7.99. After then. It 
became impossible to find. I have heard it going for 
now as much as $75, out of Texas. 

New Strings For Old Puppets was Really Red's 
last 7“ release. This ep remains one of my favorites, 
with hardcore classics like "Suburban Disease", and 
most aging Houston punks favorite anthem, "I WasA 
Teenage Fuckup". Again, this ep was fairly easy to 
find all over Houston until early 1989.1 have no idea 
what the exact value of this is, but I know that it's 
somewhere around $25. 

Rest In Pain was released posthumously, a year 
after the band went their separate ways. It's a hodge¬ 
podge of different styles, but predominately grungy 
industrial. There are live tracks on this album, as well 
as studio cuts. Due to the overall lack of consistency 
with any of their previous releases, this is generally 
consideredto be their least liked record. Surprisingly, 
though, this Ip had their most popular song, a 
midtempo hardcore ditty, "Nobody Rules". I have 
heard of this album going for less, as well. I knowthat 
up until about a year and a half ago, you could still get 
it for $8.99. I don't believe it's gone up much more 
than another six or seven bucks since then. 

CIA Records finally closed up shop shortly after 
the release of Rest In Pain . They had released many 
other records besides just Really Red's, including the 
Mydolls,with Ron Bond's wifeassinger. Interestingly 

enough, CIA Records was the only Houston under¬ 
ground vinyl label to release records by groups other 
than the parent band. There has been other Houston 
based releases, most notably the Party Owls self- 
released 7“ ep, Dresden 45's self released album and 
two 7", and Dead Horse's self-released record. Other 
Houston recording artists, such as DRI, Bark Hard, 
TheBoneless Ones, and my favorite, SNOT, either 
moved out of state (wimps) or got signed to a label, 
released a 7" or album or two, and folded. 

Lei Them Eal Jellybeans is one of the most 
important early punk/ core/ industrial compilations, 
with early releases by Black Flag, Dead Kennedys, 
D.O.A., Flipper, Christian Lunch, plus the fourth ever 
release by the Circle Jerks (after the Group Sex Ip, a 
Rodney on the ROQ comp, and The Decline of West¬ 
ern Civilization comp.) and the third release by the 
Bad Brains (after PayTo Cum/Stay CloseTo Me7" and 
Don't Bother Me on The Best of Limp Ip comp, over 
ten years before it's major release on the Quickness 
Ip). First pressing of Jelivbeans had the lyric poster, 
later Italian pressings did not. This also happens to be 
AlternativeTentacles sixth release, and is no longer in 
print. I know this Ip, especially early pressings, is 
valuable, but I have no exact prices. 

The Cottage Cheese Fr om I he. Lies Of JDealtl 
compilation is probably the quintessential early 
Texas hardcore/noise comp, with early D.R.I., Offend¬ 
ers, Big Boys, Dicks, and the Butthole Surfers. This 
album also has other great lesser known Texas 
hardcore and industrial bands. The only two other 
major Texas bands of the day not included were the 
Rhythm Pigs and NOTA. The cover is a pen-and ink/ 
watercolor by Gibby of the Buttholes. This is out of 
print, but has been bootlegged in Texas. There is no 
copyright anywhere on my version, so I'm betting it's 
a boot. I've never seen this outside of Texas, but In 
Texas you can still find a boot of this, if you look really 
hard. It would probably only run you about $10. as 

Well, that about covers everything I know about 
Really Red. The rumours I have listed, I have verified 
enough to be fairly sure of, but I haven't named 
names, simply to protectthe innocent. If I have gotten 
anything wrong, or you know more that I do not, 
please write. Especially write if you have the two 7" I 
don't. I do have extra copies of the Moral Majority/ 
Corporate SfiL 
lings 7", and 
one extra of the 
New Strings 
Em £M Pu p- . 
pets 7"ep. I will 
not sell these, 
but I am open 
to trade for 
other albums/ 

7". You can 
reach me by 
writing: Kriss P. 

Bakkin, 975 Del 
Dios Hwy #274, 

Escondido, CA. 

92029. Thanks. 

Don't miss out on this bands’ 
debut 7” E.P. It's limited to a 
pressing of 666. Check out 
the review in MRR #98 

It Rules! 


Illegitimate Sons of Jackie O, 

(tulsas' own noise / trash Gods) 

The Divergants 

(the best HC band in Dallas) 

Third Legs’ 

(2nd release) 


Third Legs' 1st 7" 

(this band is the Christ on a crutch of Texas) 

Scratched Record T-Shirts 
(XL, XXL 2 sided/2 color - Black) 

PrirPQ' = 50/N America + $2.25/World 

* 1 Tees = $10.00/N. America + $2.00/World 


Payable To: G. LeBlanc 


P. O. BOX 800867 records 

Dallas, Texas 75380-0867 

P.O. BOX 77W 
950 * 1 - 776 * 


$3.00 PPD U.S.A. 

$4.00 CANADA 


P.O. BOX 7768 




$3.50 POSTAGE 
PD. (U.S.) 





P.O. BOX 520202 



( 801 ) 263 1122 


• I-JI 

ni/ r y t 


7" COMP.- 


(send stamp for latest newsletter) 

Fuck anyone and everyone who r> r\ OfNY 0*71 1 
sells their 7" s for $ 4. In r, U. DUAy/ll 

the precious words of some .DOWNERS GROVE.IL! 

hippy, "Be groovy not greedy.’ cnclK 

Anyone who can help distribute bUOlO 
our records,please get in touch! %V\ "Wi 'v\Ar&l!At/5 

Also,other labels,we will trade, 
so write us!! 1 


THE ACCUSED - “Straight Razor” LP 

Sometimes it’s hard to believe THE ACCUSED are still around cranking out I 
gnarly speed metal stuff. Here we have two previously released cuts, 4 new ones, and I 
a live song. Not bad at all, but I think I enjoyed their earlier material more. (WG) 
(Nastymix, 800 Tower Bldg, Seattle, WA 98101) 


A noise stench avalanche of titanic proportions. The hands down winner in I 
the noise annals. Imagine the Hindenberg exploding in a gravel pit whilst shards of I 
flaming machinery scorch craters thru Ruth Buzzi’s luxury condo. Nonsense that I 
doesn't even classify as music. This is NOISE! (CD) 

(Winston Kamstra, DeWieken 192,1622 GZ Hoorn, HOLLAND) 

BHANG REVIVAL - “I’m Not Talking About/Carpet Burn” 

. . 2 grungy retro-rock schtick songs circa MC5. Despi 

stands well on its own. Rythmic, solid and helluv catchv CRR) 
(Noiseville, PO box 124, Yonkers NY, 10710) ( * 


rite its similarities it I 

Finally, a BIG DRILL CAR album that comes close to catching this band’s 
tw power. Tight an energetic pop punk with purty vocalizin'. “If It's Poison” 
and “Take Away” rock. Best DEVO cover ever as well. Play loud as fuck. (LH) 
(Cruz. P O Box 7756, Long Beach, CA 90807) 


Vintage FLAG here, with Dez singing, that kinda puts everything into its i 
place. Great sound quality, unrelenting power, and a total treat The best line-up of | 
this band (or maybe any band) ever. Keep an eye out for this orange-covered boot [ 

(no address) 

BLACK MARKET BABY - “Baby on Board” LP 

This solid LP contains six unreleased tracks from the Ian MacKaye sessions, 
plus four from the band’s out-of-print‘‘Senseless Offerings” LP. Tight powerchord 
rock is this band’s metier, but several tunes represent melodic DC punk just about 
as good as it gets. (SS) * 1 

(Bitzcore, Reepbahn 63,2000 Hamburg 36, GERMANY) 

BONE CLUB- “Mother East/Little Man” 

Not the most ear grabbin' slab around, but there's something brewin' in the 
grooves, even this jaded reviewer can tell that The band leans heavy on repetition 
(not unlike NIRVANA) and tiys to suck the listener in early. Sounds okay, but I don't 
know if I'll be hummin' the tunes on the way home. (ML) 

(Skull Duggery, 77 Scituate Ave., Scituate, MA 02066) 

A distant and unmotivated sound keeps this record from ever really taking 
off. Metal, rock opera like chord progression s are not matched by production 
musically it feels like this is band that used to play more straight forward hardcore 
but is now moving more into the metal realm, vocals are mixed “nicely” with a kind 
of “sung” feeling lyrically there is a recurring theme of putting the past behind. (MK) 
(j^jfo^^cord^P^Bo^20202, Salt Lake City, UT 84152-5202) ' 

The heartfelt Spanish HC on this EP has the right basic elements — speed, I 
good lyrics, spirit—but lackluster production has robbed these tunes of their guitar I 
punch, and the vocals soon become a monotonous blur. Needs more animation. (SS) I 
(Vierge de Monserrat 60, 08430 La Roca Delvalles, SPAIN) 

BULKHEAD - “12 Degrees/Leaves In Virginia” 

This Massachusetts band seems influenced by MISSION OF BURMA on | 
these two similar sounding songs. Typical of today's college radio fare. (MC) 
(Moist Records, PO Box 3597, Chapel Hill, NC 27515) 

BURNING LESBIANS - “Sister Mercy/Horny” 

This record has good growled vocals and substantial electric guitar support I 
The “Sister Mercy” side is uptempo while the “Horny” side is more akin to lurking I 
grudge metaL Check out the obtuse sax-playing. (BR) 

(Scat Records, PO Box 141161, Cleveland, OH 44114) 

f CAPITALIST CASUALTIES - ‘The Art of Ballistics” EP 

| Speedy, frantic-klnda metal grind. Very “thumpy” rhythm, ya know? I 

I Lyrics, which are shouted in the crucial unintelligable hardcore style, are plenty I 


Strange combination of 60's trashy rock-punk and Japanese sounding L 
I grindcore. Although from Germany they sing in English about pornography, love I 
I and confusion. Sung in a monotonous growl, the grind effect in furthered by an I 
I underlying flizzy drone. Different (MH) 

I (Geyer Musikproduktion, Gotenstr. 79,1000 Berlin 62, GERMANY) 

■ As with alot of stuff that comes out of the Iberian Peninsula, this is top-rate I 

I melodic punk. An excellent record from this Portugese band with 12 songs which I 
I vary in speed from mid-tempo to fast Worth the extra effort it will take to And it I 
I (KK) 

1 Tatu Records, PORTUGAL) 

pS^CALreOpS^AngdsN Devils” 10 

I guess as long as Cruz stays in business, these guys with get to put out lots of 
Irecords. This release changed a lot of things for them. Still sounding verySoCal 
Ipoppy punk, they pull off some really good 70's rock. By adding a very BAD 
■MOTHER GOOSE sounding rap song, it only made this better. This is a limited j 
1 green vinyl 10” that is really worth looking for. (HQ 
(Cruz Records, PO Box 7754, Long Beach, CA 90807) 


This ten song 7” from this Washington, D.C. area band illustrates a variety 1 
I of sound. The A side is a melodic song with nicely sang vocals (remeniscent of I 
I REASON TO BELIEVE) while the B side has a grundgy feel “with noisy SubPopish I 
I guitars and distorted vocals. The production seems a little weird (vocals are tool 
I loud). The artwork and layout are definitely a positive but it seems like there is a lot | 
I of stuff out there sounding like this. (MK) 

| (Assembly Records, PO Box 332, Dunn Loring, VA 22027) 


CORAI^Tilling7 h3?1 

Is this more stuff that’s spun off from the SUPERCHUNK/WWAXX/eL al. I 
axis? Couldjust be, but this is a more substantial and heavier outing from this label 
Imagine WWAXX without the twee qualify, heavier guitars and even better 
melodies as well as cool dynamics all within a three minute tune. Side two is more 
straight ahead SUPERCHUNK-ish pop-punk stuff that still packs a punch. Yet 
more cool stuff from Chapel Hill? (HD) 1 

(Merge, Box 1235 , Chapel Hill, NC 27514) 

|d!c^EGGARS - “ You're So Pretty” EP 

I to make the tunes stick to the ribs. (SS) 

1 (Rathouse Records, 1900 E. Denny WafrSeg^ 

I CX.G.SJL - “Dos Momentos” LP 

Thrash—lottsa breaks, good musicianship, lottsa parts, snarled vocals, in 
Spanish. Nothing new or different, but good thrash. (GF) 

(Rumble Rekors, Apdo 47162, 28080, Madrid, SPAIN) 

1 DADDY LONGLEGS - “Cheatos” LP 

| A supergroup consisting of REY W ° ONY^TOI^ 1 

SURFERS a s well as various guests from the BUTI HOLES and AGONY COL-1 
UMN. This Is just instrumentals over tapes or process^ unlntdligible v«»l r»nts. I 
The music is irta mid-tempo riff-oriented jamming with guitar leadsaU over the 
I place. Overall nothing here that really sparks interest and the material has an | 
I irritating sameness toft (HD) _ 

1 (Touch and Go, PO Box 25520, Chicago IL 66625) 





- L 1 t a 


CLE*R|T .- 1_2 


F* ^ 7 




^ jl- -4KN;> 


rwh a ‘ ? 

l_ F* / C S $ 7 

ON E CD $ 1 O 
WORLD 1 LP or 1 CD $12 
2 LPs $20, NO CHECKS 

• 451 W. BROADWAY 2N • 
NEW YORK, NY 10012 


<->78 Thrush Avenue 

West Hempstead, NY 11552. 


7"EP by 


’There is no man." 

$3.00 ppd. in the USA. 
$5.00 ppd. elsewhere. 

Also available:DECLINE-Blind 7"EP. Debut vinyl from this UK trio. Early 
Prong-ish. $3.50 ppd-USA/$5.00 ppd-elsewhere. 

Please make any checks and money orders payable to Greg Pietrzak. 



, t • • 

.. . . 


7” E.P. $3.50 US 
4 Song $4.50 CANADA 


Demo Tape 



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Hi ea. PPD 



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All prices include postage & handling. Allow 4-6 weeks for Delivery 

DEADSPOT - “Built-In Pain” LP 

What a stupid fuckin’ photo on the back. I hope they’re kidding. It’s a little I 
hard to get through this entire record. Pretty standard metal-tinged stuff here. The 
production is a little too clean for me, which is probably why I lost my interest half 
way through. Has it’s punchy moments and yet another cover of“New Rose”. Still, [ 
doesn’t hold my interest (LH) 

(C/Z Records, 1407 E. Madison #4 1, Seattle, W A 9 8122) 

| DECEIT - ‘^eadyToHurt^EP 

. Powerful thrash-mosh stuff. Really heavy, but still has some melody. The 
I singer sounds exactly like Lemmy, but it fits in welt Interesting for having one song 

I on!^^Great &(GF) preachy etc and ^ 01,6 about not wasti ng your life 

[(Innergrind, Milanweg 12, W-4410, Warendorf 1, GERMANY) 


un..* iwu ic “DFFP TURTLE”? It’s fast It’s slow. It’s punk. It’s ftink I 
(well, nottoo funkthank go^D’sF^ ME^kviCTIM’S-MUlM^YGW.Tight 
and rifTy but not overdone or self-indulgent. I’m not too sure what this Is aU about 
Rut it’s nrettv great so far. << Knef ’ rules! (LH) 

(Bengt juglud ,Scielok 102,2 8120 Pori 12. FINLAND) 

DEVIL DOGS - “Live” EP . 

How did these guys get to ** irfX’^aTO? (TyT * ^ 

and it’s hut early punk, a garage approach with a 76 flavor, ft») 

(Crypt Records) 

DISASTER - “War Cry” 12” EP 

So, I looked at the cover layout and said to myself, “Self, this is gonna be a 
helluva lot like DISCHARGE”. Then I slapped it on and my face twitched as if I’d 
swallowed a barrel of prunes. This is like DISCHARGE-MANIA. You 
BEATLEMANIA?! I’m convinced this is the unearthed link between “Why?” and 
“Hear Nothing-” Same graphics, lyrics, song structures, production, vocal and 
playing style! You name it It’s hard to recommend something that’s such a blatant 
copy, but they do it well. I’ll fess up - I’m into it. (CD) 

(Tone Deaf Records, c/o 1 in 12 Club, 21-23 Albion Street, Bradford, BD1 2LY, 


Easily their most over-produced offering. Turn down the damn reverb! Still, 
great songs that hit hard in the DOUGHBOYS rockin’ pop sound. Seems like the 
better the songs, the muddier the production. Pretty excellent all the same, 4 Happy 
| Home” and “Countdown” my faves. (LH) 

Hestiess Records) 


I Lord! Stuff like this single makes me really happy. v 

I tributes 2 tunes, one being DEVO’s “Uncontollable Urge . Both are that .P^ 1 / :h . y 

l£ dr *r Wfrom “^swce^artheLAUGHINGHYFff/i Theseguysappear 

I draw from. Along with two urettv 8,1(1 MUDHONEY 

I* ^ r «sSv* debut by thk JS mD) S ^ ° fguitar bu “ and killer ri/Ts. 


K5^^^5MWOTONE^*<fathode Gumshoe” EP 

I Five songs from this Raleigh pop/punk gang. Sound like nothing I’ve ever 

I . ,«Kl SONIC VOOTH (ur«. Dol Hoc- 

I what I’m talking about anymore (ML) 

| (Merge,POBox 1235,ChapelHill^NC27S14) 

DISTORTED PONY - “Concrete Bruises” EP 

Moody to noisy guitar grind stuff sorta the TOILING MIDGETS meets! 
MINISTRY with a little SONICYOUTH thrown in. Vocals are mostly spoken and 
very distorted. Fair amount of heat is generated on the tune “Angel on a Haug”. Notl 
too shabby. (HD) 

(no address) 

I EVERSOR - “Psychopathic Intentions” EP 
and M^^ijCA’snmt!mt , <±dkJrMfwould r s«r^iateJEVHlS)R t num^»t^ AG n 

^^jg^^^oSergioMilanV Via Avondo 1,111QQ Aosta, ITAL Y) 

THE EX - “Hidegen/She Said” 

Classic THE EX material here. Deconstructionist(?), minimal punk, lent an 
extra edge thanks to Katrin (the drummer) singing. The first sone is their version of 
a traditional Hungarian folk tune (which is a lot better than it sounds) and the B-side 
is a cool anti-sexist song. Both of which work really welL If you haven’t heard them 
yet it’s about time! (TH) 

1 (The Ex, PO Box 635,1000 AP Amsterdam, HOLLAND) 

I FFF - “Electric Violin Thrash”LP 

Well played stop/go punk/thrash from Germany, which is diverse enough 
j musically to keep it interesting, but not quite as catchy as their earlier 7”. (KK) 
($8 ppd Worldwide, Hyperactive Records, c/o Dominik Schetting, Bonnerstr. 61,53 
| Bonn 2, GERMANY) 

[FACER^Baptism Of Fire” LP 

An early punk sound, crossing Canada’s SUBHU MAN S with a bit of rock 

_C sounds. This band contains a couple of HALF LIFE guys, and even do a 

I couple of their songs. (TY) 

(Skydad, PO Box 666, Middlesex, NJ) 

and DC s 


Intriguing in a curious way, DOCTOR AND THE CRIPPENS approach 
their 2 songs from a cyborg perspective. The first cut sounds as if a machine is 
singing. The second is a post-thrash type of song. JUNTESS sound like a Japanese , 
TERVEET KADET playing fast booming thrash with a slight metal overtone. One | 
gets a feding of mystical doom from all 3 of their songs. (MH) 

(MCR Company, 157 Kamiagu Maizuru Kyoto 624, JAPAN) 

OG SWING - “Who/Where do the Children Play? | 

Rew melodic punklpop ,^ b v^v^lJiroEBxlRoioNlRE I ‘>'*'' "»l- 

|FITZ OF DEPRESSION - ‘The Awakening” EP 

Raw, tight, no frills, punk rock. Wasn’t expecting this one to rock this hard. 
|But the band plays with a lot of gusto. Great raw vocals on two songs. The third bdng 
Ian instrumental called “I’m A Poser”. Another great rdease from the North West 
|Rad. (LH) 

[(Meat Records, 1220 S. 120th St, Tacoma, WA 98444) 

Simply put, »g«»trecord! » definite 

projects and expanding upon it * ^oJrfcce quality that provides 

exceded by 411’s Uve performance. (MK) 

1 "Vorkshed Records) 


M°tiTriFUL °F 


6 BAND / 7 SONG / 7” EP 



FLUSH records 

p.o. box 1050 
Richmond, CA 
94802 USA 

$3.50 U.S.A. 

$5.00 WORLD 



Send for free FLUSH catalog 

from flush records 

no. 4.5 tsunami "headringer"- 

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9 5 Lunafish 'Necklace of Heads"..--$6ppd 

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holv rollers and juliana luecking 

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<t WH03«DoGHi'-r«6C oR t5£ ? . ,/ 


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and a whole lot more- 
SI SiropforourMraBW 

gr lWo stamps 

fr or 50 cents 
24-pg. guide 
on how to 
put out records 

*EW 7 '£- B t 





ama-iaxs, -es»in>^i8Be>y 
Htfe, CUKAfro, It- 


U&cvQ<*A£rees'\ B 0 B 0 Sc 
giTy ^6ofJd^t/4 t //.o^oZ 

FURY - “Resurrection” EP 

FUGAZI could be this good if they played more out-of-control, less con¬ 
trolled music, Get their hair down, so to speak). Great vocals reminiscent of Alec 
MacKaye during his FAITH days. Overall, a totally excellent EP that easily blows 
most of today’s DC (and their influenced) contemporaries away. (TH) 

( THD Records, 2020 Seabury Ave, Minneapolis, MN 55406) _ 

I G-MAN - “Youth Shock Brigade” EP 

I like the background info about what Youth Shock Brigade is; I hope it’s I 
positive. As far as the four songs go, the music is kind of predictable and dated | 
sounding, and production is muddy and thin. (KG) 

($3 ppd, Community Chest Records, PO Box 808, South wick, MA 01077) 


Two upbeat rockers from one of my fives. “Sodal Love” is the better one, 
with the catchy chorus. The a-side rocks pretty hard on it’s own with a good simple 
rifT running through most of the song. A straight forward, raw approach that works I 
very well here. (LH) 4 ^ 

(Broken Rekids, PO Box 460402, San Francisco, CA 94146) 

GNOME - “13 Family/Dog Energy” 

Are these guy’s new? Hell, I’d say this is on par with most of the early Seattle 
biggies, even better than a few. The A-side has that really cool SUPERCHUNK-ish 
kind of groove to it, makes you happy that they took the time to put out a single. 
Coolest snaps I *ve seen Charles Peterson take in a while too, I wish I had a back yard. 

jBlossomjecords, 6409 Latona NE, Seattle WA) 

|HED-“Drool” EP 

■ Psvch-damage of a pretty freeform yet rocking nature. Contains more than 

I its fair share of guitar noodling (ala CRYSTALLIZED MOVEMENTS) that 
I sometimes breaks through in a SCREAMING TREES- like groove. Also has more 
I brain-addled lethargy and accompanying musical confusion than any record in 
I recent memory.(HD) _ 

| (Mondo Psychotic, PO Box 278, BrookfieldCT06804j_ 

HELLCOWS - “Paver” EP 

More saxaphone driven pan-musicality here. Veers one moment from post- 
punk stomp to harmolodicaliy derived fire* jazz/dissonance. Other tunes Include • 
percussive workout and more jarring abrupt tempo/style changes. These guys 
rould be to free jazz what the SUN CfTY GIRLS are to middle eastern music and 
its a move I heartily applaud. (HD) 

I (TK records, 811 SW Front Suite 620, Portland OR 97204) 

I HELL DRIVER - ^Monda^Quarterback^^P 

I . . ^EastCoast type hardcore from who knows what coast of Japan. Coulda been 

I straight outta Connecticut circa *84. Catchy, fast, powerful fTYi 
lO^iri -cho, Shimizu-sfai, Shizuoka-ken 424^ 1^ ( > ' 


I brilliance.rf 

jPca^Kor, 813 Romine Ave., Port Vue, PA 15133) 

GOD’S ACRE - “Riff-o-rama /Killing Time” 

I think this one came out awhile ago. This band has the dubious distinction I 
of being the only “rock” band on the dreaded Wax Trax label Clueless, but 
competent, hair-rock by a band with lots of it (BD) 

(11/4 York, PO Box 146472, Chicago IL 60614-9998) 


GREEN RIVER - ‘Demos 1984” EP 

Believe it or not, a bootleg by a semi-famous band from a semi-famous state 
that has a famous guy who’s now in a more famous band. Basically, if this was “The 
Antlers” or whatever from Norway no one would care, but since this is supposedly I 
“important,” you have to. Did someone say “ridiculous”? (WG) 

(no address) 

Guillotine terror - “No God” ep 

Guttural, gut-gnarling, cyclone-force musical terrorism. More of that sel-1 

GUMBALL - “Special Kiss” LP 

Ex-BALL members have gotten back together, and adding the word gum to I 
ball, they became GUMBALL. This has to be one of the greatest records this year. | 
By not changing their sound much, GUMBALL come through with their 60s garage I 
punk sound, and still manage to sound like SONIC YOUTH’S “Goo”. Maybe it’s I 
because Thurston Moore plays keyboards on one song. All in favor of GUMBALL, | 
go out and buy! (HQ 
(Caroline Records) 

An unlikely combo if there ever was one. REACH A MENTAL ROAD is the 
■Japanese incarnation of the posi-fad. Two touching tunes about being true to 
I yourself and so on and so on. Musically, they’re above average by addiftgthat hyper- 
I spark that only Japanes bands can do to an otherwise bland medium. The wave of 
I emo-core hasn’t swept over Japan yet so luckily these fellas aren’t jaded. HIATUS 
I belches forth a UJC.-inspired thrash formula certain to All the hearts of RAW 
I NOISE/DOOM fans with glee. However, they’re from Belgium. Good sez me. (CD) 
I (MCR Co, PO Box 251, MUersville, PA 17551)__ 

[ HP ZINKER - “Our Precious Love/Hurdles” 

Straight forward melodic, crunchy slightly Detroit-ish rock that reminds me I 
I of the post-RADIO BIRD MAN school of Australian rode. Pretty decent but nothing | 
that really makes an impression. (HD) 

I (Roughneck, 91 Highbury New Park, Highbury, London N5 2EU, UK) 

| IKU - “Ruusuja Ja Ohdakkeita/Marjanpoimijat” 

i If KISS moved to Europe and learned how to sing in Finnish and had ABBA 

doing backing vocals, the result would be pretty much like this. Do we need this 
record?? (EC5 

(Kill City Sound, Box 47,00531 Hdsinki, FINLAND)^ 

I IMF - “BroUwRywheelsRevenge^P 

Intriguing. “Big Ol* Truck” comes at ya from a weird angle. Off-kilter 
I enough to keep IHELONIOUS MONK glaring. Complete with experimental flute 
| obnosifleation. Big spine of drum and bass. *%top” is a decent climb up for the 
I thinking man. Good philosophical meat “Stop Killing Yourself, Stop Killing The 
Earth”. Some guitar wandering. (BR) 

| (Underdog Records, PO Box 517, Algonquin, IL 60102) 


The social thrash formula is played with a slightly lackluster/bored delivery, I 
wdp_. Competent it is, but kinda generic, too. GR) 

(Dr.StrangeRecords, PO Box 7000-117 AltaLoma, CA^HO!^ 

HAKUCHI - “Fall A Sacrifice To Delightness “ EP 

Welp, it is Japanese thrash, that’s fer sure. And that’s good. However, there I 
isn’t anything here to stop the presses for. All seven ditties are tight, fast, and forceful I 
with the ever-popular subject of bad people in the world. Nothing in particular sets I 
them apart from other Japanese hardcore bands. They’re just plain good like most 
of the others. Same ol’ jammin stuff. (CD) 

(no address, JAPAN) 

^^gj^ADCOAT^^houldn’t Happen.../Mask.. 

teaisssssjss 1 , 

be the more interesting and catciw of the two. (MS) 

1 (K Records, Box 7154Toi.vmpia.WA 98507) 

IlNTENT - “Empty” EP 

lyrics and a nice cover, nlay I «W. (MW) 

| INTtNTTOINJlJRE^5Sft^me^^? 

I wov h * rCaI Cra 5 y VocaI quality t0 1 mean, I’m sure ITT wanted it that 

way, but the singer sounds way hell of harsh and mean. Angered and determined. 

(Nemesis)* 51 HC that S g0t 01111 Same feel * Looks Mke an Lp k soon to come. (KG) 
[iOWABEEF EXPERIENCE - “Trailer Court” EP 

I Like alot of the releases on Noiseville, this is noisey, heavy, loud, and I 

somewhat experimental. The A-side“Trailer Court” is thej 
I while ‘Done Smoking Rednecks From Cedar Rapids Trapped in an Alternate I 
I Reality” is an add trash jam for awhile until MOTORHE AD suddenly bust into the I 
I studio and take over. Full of surprises, these boys. 800 pressed. (ML) I 

I (Noiseville, PO Box 124/yonkers ! jnQ071^ 


October 1, AmRep industries Presents 

tAr "JACksOn" IP 

HEitts rttEeJ "toCWflUtc Nme' ip 

hELmeT "unSUnC" 7" 

r 3 w s 

peAcETika" IP 

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U "music foR iNSecT mlNds" CD oNly 



IRON PROSTATE - “Rock n Roll Nursing Home/Gilligan” 

Good melodic head-bouncing punk with silly/stupid vocals, as you might I 
suspect from the song titles. Befitting these aging punk veterans. (KK) B 

(Skrearnin’ Skull Records, PO Box 666, Middlesex, NJ 08846) _ 

JALLA JALLA - “Minnesota Plates/Redneck’s Lullaby” 

The A-side is catchy mid-tempo Finnish punk with a slight country influence. I 
the B-side is a cheezy country lullaby. But the record is worth having for the A-side 
alone. (KK) * 1 

(Hiljaiset Levyt, PO Box 211,33201 Tampere, FINLAND) 


Generic, undistinguished midtempo punk that made little lasting impres-1 
si on. It didn’t sound too bad when it was playing but I couldn't recall any of the songs I 
five minutes later, a pretty common occurence. Putting records out to put records I 
out (see we are a band!) is a genunine waste of time and my apologies to this I 
particular band for getting on the soapbox. (BD) 

(Hiljaiset Levyt, PO Box 211, 33201 Tampere, FINLAND) _ 


Other than the vocals this band sounds a bit like recent BILLY IDOL. The | 
lyrics are in Finnish. “Donna Juanita” is the one standout track. (MC) 

(Kill City Sound Oy, Box 47,00531 Helsinki, FINLAND) _ 

JIMMY KEITH & HIS SHOCKY HORRORS - “Great Teenage Swindle...” LP 

Fast energetic bubblegum punk somewhere between glam rock and the I 
RAM ONES. It has its share of good tunes. (MC) 

(Teenage Rebel, Gerresheimer Stra. 16, 4000 Dusseldorf 1, GERMANY) 

MEATFLY - “Fistness” LP 

L7 - “Keep On Rocking” EP 

Well, as bootlegs go the packaging is surprisingly good. Now the sound is a I 
whole different story. On the one hand, it’s from their Peel Session meaning it I 
probably had fantastic production. But it sounds like it was mastered off of a I 
Certron cassette tape. I love this band... but this one is for the die-hard fans only. I 

(no address) 


The song on the first side, “Not Superstitious” is going to-be on their album, 
side 2 has a cover of “Message In A Bottle” which is okay, and a song called 
“Trenchmouth”, which is worth the price of the record by itself. LEATHERFACE 
- the talk of England • are a band which wouldn’t be out of place in the East Bay. Real 
powerful pop-punk, mid tempo, little metal guitar riffs, and avalanche minor 
chords. Add a gravel vocal style more rough than CRIMPSHINE - and this band 
rules. (GF) 

(Roughneck Records) 

LUNG - “Psychopornadelia” EP 

on your toes. Great in a demented way. (LH) a,ewmemor,bIerilrst «> keep you 
^^^^MTA^ambieS^aneouyer,BC V68 2N4, CANADA) 


This four song EP contains all previously recorded song that have appeared I 
previously on their “Setting The Pace” LP. It seems the only purpose for this record 
is to work as a sales ploy for record collectors, with limited edition and colored vinyl 1 
hype. Where the mastering on the LP was crisp and loud, this record “sounds” I 
muffled and weak. I like the songs and the original record but this seems wasteful I 
and self-indulgent (MK) 

(Doghouse Records, PO Box 8946, Toledo, OH 43623) 


I a little °”# the A ’? ide ? ^ iUl vocals that remind me of the DICKIES, but I 

I k “A „ mucI ? guitarwork at times. The B-side is better, featuring a full-on 
J Australiansound, though the band is definitely not from there. Good overall (KK) 

| (Boozefighter Records, PO Box 101511, Denver. CO 80250) (KK) [ 

IS riy ^MONHE 0 AD y S P 'Sey have^thil Iike mid ‘ HUSKER DU 

I (Roughneck Records) J have this sound down perfectly. (GF) 

| MOON LIZARDS - “Fooom” LP 

Pretty slick rock-pop-punk. Big fiill power-chord type stuff. Really great 
I melodies— vocals are great, in fact almost too good at times— verges on commercial 
rock, but keeps enough of an edge to keep it interesting. Powerful and tuneful, but 
kind of over-polished. (GF) 

SchemerRecords^O Box 549, Villiage St ation, NY 10014) 



|MY NAME - “A Woman’s Touch/My Wife” 

A fairly tweaked BEEFEATER sound here, with a bit more polish apparent I 
■Some seems to have an inherent quirkiness ala VICTIMS FAMILY, too. for fans 
|of techno jazzcore, but a tad too “busy” for me. (WG) 

|(C/Z, 1407 E. Madison #1, Seattle, WA 98122) 


“Scum” brings to mind “Road to Ruin” vintage R AMONES, while “Groove 
I Meanies” represents melodic funnypunk in the DICKIES mold; both tunes extend 
further the MEANIES win-streak. This is very, very good. (SS) 

1 (AuGoGo, GPO 5420, Melbourne, Victoria 3001, AUSTRALIA) 

NAUSEA - ‘Cybergod” EP 

v . k thc classic * The who1 * *ong flows and for the first time, it’s a I 

NAUSEA record with really great production. The flipside is also a good driving 
number that shows off some fancy guitar picking. AH the crunch of metal and power 
of hardcore without too much of either. Great cover as well. (LH) 

(Allied Records, PO Box 460683, San Francisco, CA 94146) 





make me 

S X C K 

4 SONGS SINGLE $3 - 50 c 1 s N 

* 4 ' 50 MEX 

$5.50 EURO 

1900 E DENNY WY 
SEATTLE WA. 98122 


From Pennsylvania, the home of Shop-Vac 
& ex- heavyweight champ Larry Holmes 

Captain 9‘s & the , 
Knickerbocker Trio 

7" ep "Sophie's 
Tiki Lounge" 

Send $3 ppd. (no checks) to: 

Heartpunch Records 
P.O. Bex 70033 
Stockton CA 95207 

"Ban the Heartpunch" 

includes: Sophie’s Tiki Lounge, Burner Barrel. 

i Ain't Takin' No Bath, The @#$%&'s Upstairs 

Captain 9's T-shirts are $5 ppd, or $4 If you 
order a record, (total of 7 American dollars) 
Hell, that's a deal. 

n .. 



New! Memorial T Silver BearingaMoss Icon split 12“ 
Still: Mahpiua Luta 7' 


4 song T ep. 



4 song 7"e.p. 

- more Hated available soon (repressings etc...) 

also available: Breathing Walker & Three Shades of Dirty tapes $5ea. 

7“ $3 12" $ 7 foriegn add 2$ per item - VVgH hidden cash or checks/M.O. payable to: Tonie 

Jov . maibrderrBlacklist, Ajax, ForeFnont, most other D.I.Y., especially in europe, like De Konkurrent, 
Geld Her!, Beri Beri, X-mist & all the ethers, so order locally. Out of print records probably available 
from these places, distributed (wholesale): Dischord, Semaphore, Twin City Imports, Cargo 





76 Summerfield Dr. Annapolis, Md. 21403 


7"s are only $1.50 plus P&H, LP 1 s from $3.00 plus P&H 


"Don't forget the Punks of Bankok" $ 3 
EARTH ARMY "Stravinsky..." $5 

7 "s 

"A Kinder, Gentler Genocide" comp. 
AGENT 86 "Vietnam Generation" 
BASE APES "Orgy of Hatred" 

EARTH ARMY "5song6quarter7inch.. 
H.C.P. "Anti-Drugs" 

KRULL "Anguish" 

"Mathather" flexi-comp. 

NOCTURN "Shades of Insanity" 
"Old World Records" comp. 
RANDOM KILLING "Kicked in the.. 
REPTILES AT DAWN "Nighthawks.." 

"Bizzaro equal parts art-damage/snot- 
punk stuff definitely with a tounge- 
in-cheek bent. Ranges from slower 
drug-addled ramblings to tight noisy 
bursts of songs and instrumentals. And 
while there's certainly moments of 
good stuff, the general high level of 
indulgence renders most of it uniisten¬ 
able." -M.R.R. 

"But buy it anyway. It might be some 
of the best unlistenable stuff you've 
ever heard." -Spike 


for review in Flipside #74 



$1.00 first 


25$ ea. add . 

1 E 


H M 


S 1 c 

P.O.BOX 3 3 9 9 -HUMBLE , T.X. 77347 


A two-song EP of metally moshy stuff reminding me of DR. KNOW and 
ANTHRAX at times. Real dean production job, too. Interesting lyrics against gang 
violence and child abuse that show some intelligence and perhaps personal experi¬ 
ence as well. While I can’t really say that I love this, I think that it will definitely go 
over well, if this sound like your cup o’ tea. (MW) 
j$3j|g LtoNeckbrace, POBox6174, Minneapolis, MN 55406) 


NIRVANA seems to have mastered the VELVET UNDERGROUND sound 
and their version of “Here She Comes Now” is credible. On the flipside, The 
MELVINS cover “Venus In Furs” and it’s so far out that you have to hear it to 
believe it Cool Warhol parody sleeve. (EC) 

(The Communion Label, PO Box 95265, Atlanta^GA^30347)^ 

NO APPARENT REASON - “Sex Knocks on the Door” 12” 

There’s a party going on in these grooves, makes you want to pick up a I 
tambourine, for christsakes. OK melodies, harmonies, and riffs. Won’t set the I 
world on fire, but you get the impression that they could care less. Hard to classify, I 
really. (ML) 

(Crystal Vision, 2533 Nicollet Ave., Minneapolis, MN 55404) 

NO NO YES NO - “Japanese Mondo Bread” LP 

Motherfucker! This is heavier than an ox trampling on your genitals! 
Somewhere along the line, these guys got awesome, like a tweeked-out MELVINS 
with their own heavy 70s/twisted/rock attack. NO NO YES NO’s 1st LP wasn’t bad, 
but lacked a little darity and direction in my opinion. This one is so awesome, it’s 
unconditionally recommended. If I was in a band, I believe I’d want it to be 
something like this. Even with a shit hot FOETUS-looking Dancey cover, I don’t 
think it gets much better than this A+. Thanks, Thomasso. (WG) 

(Big Store, GR. Riederuchstr. 12,4600 Dort mund 15, GER MANY) 

NONOYESNO - ‘‘LederhosenVerbot” 12” 

Here Tomasso and the crew team up with HELIOS CREED to dish out a 
metallized cover of the CHROME’S ‘Third From The Sun,” which is more heavy 
than experimental On the B side, they deliver us two more slabs of BLACK FLAG 
meets the MELVINS smash-and-grind, both considerably faster than the material 
on their new LP (catch that orgasmic review elsewhere). Comparisons aside, this is 
some of the most potent stuff out there today. So seek this monster out (WG) 
(GUtterhou se, Gruner Weg 25, 3472 Beverungen, W. GERMANY) 


Early CAN and VELVET UNDERGROUND influences/asides abound, but 
in an honest, non-pretentious and bin, spazzy way. Three songs. “Good!” (IR) 
^SOppdtoBrtyMusic, 288 Breck St. Rochester, N Y 14609) 


Second single in a couple months from these popsters. Simple tunes, dinky I 
guitars and a sorts new-wave feel make this sound like it was recorded about ten 
| years ago. Liked the A-side but not the flip. (BD) 

IjScat^POjtox 141161, Cleveland, OH 4 4114) 


The best band on Nemesis are back... and it’s about motherfiicking time! 
Starts with a classic punk tune, goes into their weird cover of “Hey Joe”, a third I 
version of‘Tehran” reti tied “Baghdad” (hence the title, and war I guess), and finally I 
some strange track of drums and Bryan howling like someone banged his thumb [ 
with a hammer. Clean production and nice packaging help make this one a winner. [ 

(Nemesis Records) 

OLIVELAWN - “Beautiful Feeling/Carvin’ Is The Devil’s Paintbrush” 

Lots of this kind of stuff out there these days, but this is above average. 
Rockin’ garagey grunge that makes you stop whatever you’re doing for a minute 
and say “Hey, that’s good.” Scene vet O. and some pals kickin’ out the jams in LA 
carrying several torches. Bold new look for a Sympathy record, too. Worth it. (ML) 


Melodic but slightly distant tuneage, mostly vocally speaking. Cool chords on 
the geetar. Definitely something for your ear to catch. Three songs. (KG) 


Silliness - sort of a much less talented BAD RELIGION with extremely I 
simple riffs and song structure. Beer drink in’ music, for sure. Nothing real special 
to make it standout, though above average hardcore. Ya know, I really wonder why 
a band with songs like “Big Tits” doesn’t feel confident enough about their lyrics to 
include a lyric sheet. Someone please explain this to me. (MW) 

(Nemesis Records^ 

P-1-9-“Look Again” EP 

I hate to generalize but this has that NY “sound”. You know what I mean. 
Punchy, crunchy, and full Heavy geetar mix. Mean, barking vocals. Very moshable. 
Solid materiaL I especially like the lyrics to “Bleed” about cuts in education. Hip 
overall. But I don’t understand the need for the disclaimer “No plagiarized music 
or lyrics appear on this record”. I don’t think you have to worry fellas. (CD) 
^ QBox020154, Brooklyn, NY 11201-0004) 


You know, lately, I have been fucking jaded I don’t even want to see bands 
I live anymore. Bit I think its’ bands like this who are a glimmer of hope. They’re hard 
I to pin down; they’re sorta heavy, sorta experimental, sorta noisy, sorta guitary, 
Isorta industrial, sorta gloomy, & so on. Basically, whatever they do, good or bad, at 
■least it’s interesting. Thankfully, most of their output has been great and interesting. 

IA good introduction to the band. (WG) 

,1407 E. Madison #1, Seattle, WA 98122) 

| PAPER TULIPS - “Linoleum City” EP 

Sometimes happy ( n loud (like FASTBACKS), sometimes slower. Toast I 
I sings lead on one song of three here. Neato recycled cover/booklet, y’know„. Non-1 
I pay-to-play-support-the-struggle. Punk, man. (IR) 

| (Flipside Records, PO Box 21815, Long Beach, CA 90801) 


| Continuing the pop-isms of their last 10” record, this new 7” finds the band I 
I easing off on the tinny studio scree and settling down to write more, ahem, “normal” I 
I songs. “Summer Babe” is like a long lost VU/LOU REED outake that’s thankfully 
I devoid of the tired mannerisms of the man and has a real unforced ‘niceness* to it 
1 (ie I like it). The B side finds them on more conventional PAVEMENT territory with 
| their weird, slowish ‘folk” song and the unevenly rollicking “Baptes Blacklick”. Still 
I a band thats deserving of the accolades heaped upon them. (HD) 

I PENETRATION MOON - “Fifth a Day/I’m Trash” 

Blagg of the DWARVES and some of his ‘friends” team up for some rock ‘n* 

I roll. The A side is done to a SLIM HARPO “Hip Shake” beat, while the flip is set to 
I a traditional “Route 66” kinda R’n’b tune, but of course both are rocked out. (TY) 

| (Sympathy, 4901 Virginia Ave, Lo ng Beach, CA 90805) 


I Uveynorwense? How the fuck would I knowTOut ofFinland. (MW) 

| (Pekka Mahonen^o^VW^^^gslria^INl^^) - J 

i a bit on the lite side at times. 

PQXJCI^^^harli^McCarthyThe Rabbit” 

Good hard nop outta Beantown by some cats who used to be in SMOKE 


I remember, and that’s great Nice sleeve too. (ML) 
l (Rockville. throughDutchEast)_^_^^ > 


I -i Des Pj te ^ uptifttog title, this is a pretty gnarly-ass disc. You can hear the I 
I muscles on these guys, I swear. This is burly crossoverish, boot stompin’, double bass I 
I drum slappin’, pit inspiring, adrenalin pumpin’, angry hardcore with a smidgen of I 

Inai™ doem’fh^^DT 1111 tWCHked COVer * rt and * sticker that smells funny. Their I 
Box 461, San Clemente. CA 92672) 

I THE RADICTS - “Rebel Sound” LP 

This material was recorded in 1989 and 1990 and ^ # but rivo cuts worel 
previously released. The record has excellent producUoj^d th^^TS rockl 
I hard showing off their influences by the CLASH and STIFF UTTLE FINGERS. ■ 
The lyrics imx drinking, lighting, and oppression of the working class. White this| 

I collection has a strength of its own, it doesn’t capture th 

^jbevUte Records. PO Box 124. Yonkers, NY 10710) 





The acclaimed industrial music series returns with easily its strong¬ 
est volume yet. Compiled by Paul Lemos of Controlled Bleeding, 
this one includes contributions from DISSECTING TABLE. MINUS 
and CONTROLLED BLEEDING. Diverse, rich sonic explorations 
from around the world. LP or cassette $7.20, CD $10.00 


"Some Day'7”Distant Illusion” 

One of this world’s most loved and reviled bands returns after a hiatus 
of several years and the death of a key member. Two brand new 
songs by Bruce Loose, Ted Falconi, Steve DePace and new bassist 
John Dougherty. 7" color vinyl single with very special packaging in 
a transparent pouch with four foil stickers - $4.90 


Bedtime horror stories told by Jello Biafra, with musical backing 
by East Bay Ray. Christian Lunch. Morgan Fisher and Adrian 
Borland. Gruesome, funny and very pointed in tis barbs, this was 
Biafra's first spoken word project, first released in 1981. Two 
stories and two songs on a 12" EP. $5.70 



by Joe Carduccl 

Ex-SST honcho lays it all out. A devastating critique of the music 
business and the betrayal of rock's cutting edge. 292 
controversial pages. $11.55 


Punk/Rock Images 

A collection of photos from the late 70.s-early 80's punk and new 
rock scenes, collected by f-Stop Fitzgerald. Includes a 7" with 
tracks by Controlled Bleeding. Blaine Reininger (Tuxedomoon), 
and Mary Kelly (Contractions). $9.50 


by Dwight Edgar Abbott • 

A survivor's expose of the California Youth Authority. Brutal, ter¬ 
rifying stuff! $9.00 


Profoundly subversive, so extreme they went through 6 printers 
before finding one that would even consider it. A huge compendium 
of works in American psychotopography - areas not found on the 
official map of consensus perception - inflammatory maps of ener¬ 
gies, secret maps of the USA in the form of words and images. 352 
large format pages. $10.50 

All prices are postpaid in the US. 

Our new catalog 1$ nearly finished! 48 pages of tiny 
type, thousands of records, tapes, CDs, videos, books 
and magazines. Send $1.50 to cover postage ($2.00 
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15. +buy more carrots 

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( . 

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8. home, asleep 

*9. Los Angeles, CA 

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FOR BKG./INFO CALL 818-996-9733 (eves.) 

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00 m 
®o W 

Cringer / Holy Rollers split T out now I 

"There's a Faggot in the Pit” 7“ comp, has 
been out for quite some time now. 

Screeching Weasel 3 song 7" with zine out soon! 

t Missed Connections "zine" is out now 

Stay tuned for OUTPUNK- the zine. the label, the legend 

We still got Blister and Hemi 7"s, too. 

7"s are $3 US. $3.50 N. America. $5 World. 



more can / say? 

Cruise for giriy boys at punk rock shoyrs. 

Watch the shirtless ail-girl moshers beat the shit 

* 1 ' i Ifil} i7^Iv77T 

Fun Fun Fun for everyone !!! 

SHRED OF DIGNITY P.O. Box 170501 SF, CA 94117 

RAILROAD JERK - “Younger Than You/Ballad of Jim White” 

asKsssr- T_ 1 «»•>«"»»»"»~ «* 

BEEFHEAK1-HKe consirucuuua. v. w » -r - 

and sqwawks that sets off a wUd and slippery downhdl ride. 
Manhattan-esque way. (HD) 


^C^YAR^^lOOOSmiling Knuckles” LP 

Hard-hitting, driving, crisp, clean. What else do you expect fromSipry ARD? 
this has a big soundand could easily be on a major, but either theydidntget a ded, 

- “■» ^ ,££2Jfi£J££S 


Real «^ e sec ? nd r °“ li 58 b y °> e PhUly band. Very misleading name. I 

Real catchy tunes like a mix of D.C. style and straight ahead punk. Weird-ass I 

^n* standout * C atchy riffs and cool singing too. (LH) 


Good solid thrash a la COC, SLAYER, although much more simple in 
I structure. I must say I really enjoyed this! And to top it off, there from Alabama. 
I Right on. It’s D J.Y., it’s punk rock, and it’s a damn good effort. (MW) 

I (Pe er Pressure Productions, 4023 Lucerne Dr., Huntsville, AL 35802) 


Eyecatching cover - Ruth on one side, Goldfingers damsel on the flip. 
“Jackass” has dirging background voices with screeching guitar. “Hotel W.C.” is 
slow, meandering, a punctured larynx garble with slide guitar trauma. ‘In My 
Sight” has spat out Joey Shithead vocals and an ominous crawl upon layers of muck, 
ballad Beta Z” is foundering weighty stuff. With guitar string stroking. (BR) 
(Helter Skelter Record s, Piazzele Delle Province 3, 00162 Rome, ITALY) 


| SLAP OF REALITY- “Three Lefts Make a Right” LP 

Why was I afraid to listen to this? Was it the slick packaging or the “limited 

p itatitv t 25 e } but r< £ k Jjl 8 1x1 its “ ldodic w *y- For 8 et yesterday’s SLAP OF 
KiiiALi 1 1 j this is now. (KG) 

(Headhunter Records do Carg o) 

I SMALL - “Small Change” EP 


SEEIN’ RED move along not unlike a more hardcore FUGAZI, with a little 
touch of NY posi-core thrown in. Good lyrics pertaining to non-conformity and 
religion. SANCTIONS play pretty fast HC—and with no bass, making their songs 
sound somewhat flat and uninteresting. (MW) 

(Urban Aler t, BP 21, 93340 Le Rainey, FRANCE) 


SEPARATE PEACE out of Martinsville, New Jersey have a D.C. kind of feel I 
to their sound and approach, but in an adolescent (Le., still angry) kind of way. 
JUNCTION are a groovy kind of band, they do a solid tune called Saturation”, then 
bust out a sax for ajam called “Transit.” Whoever put this out lives in the same town 
where my aunt works in the prison. Neat! (ML) 

(Significant Records, PO Box 1113, Camp Hill, PA 17001-1113) 


What can I say? One of those well played, well produced punk platters that I 
failed to make me feel like setting myself on fire and sticking a piece of celery up my I 

QFB^POBox 818, Pomona, C A 91769) 

| SILKWORM - “Slipstream/Inside Outside” 

I k * slow but catch y t>aUad with nervous vocals, inside 

Outside” is faster with an arty post-punk feel (MC) 

IjPunchdnmkRecords^na 12th Ave. East (front), Seattle, WA 98122) 

of this, kinda like an upset JONATHAN KlttiMUi^u. l nese guys wouiu n»rc wci 
over big in Kent,Ohio in early 80’s, if you know where Pm coming from. (ML) 
(MysophobicRecord,365N. Arthur, A-68KennewicVWA99336)_ 

SMOG - “Floating” EP 

i Almost a companion record to the new PAVEMENT record not in style but 

in that it occupies a niche between the ozone layers. Real tinny, short pieces here that 
has the feel and sound quality of DANIEL JOHNSTON’S casette recordings. But if 
instead of listening to the BEATLES, old Dan had listened to the entire Rough Trade 
(the old label, that is) catalog then it might sound like this (scary, eh?) (HD) 
(DragOty^P O Box 476867, Chicago IL60647) ^ M * 


UK post punk up your ass, This is all very good, I must say. Are all these songs 
I covers? “I Can See Clearly Now” definitely is, and it sounds much better atthis 
I point While I didn’t wet my pants over this, I still wouldn’t mind owning it What 
I ashitty cover. Only four songs - this seems kinda chintsy if you ask me. Adequate. 

I (MW) 



■ T ,, , Fast-paced hardcore with crossover tendencies. Nothing too new here, and 

II think these guys would be big in certain NYHC circles. (TY) 

129, Arrasate, Guipuzkoa, SPA IN) 


Goofy -doofus with angst stuff in the tradition of the WHITEFRONTS or the 
WRESTLING WORMS (ie its got horns and it’s quirky) and even small traces of 
post-UBU DAVID THOMAS-isms. However, the lack of any decenttunes sorta 
turn this slab into a big clumsy, clunky record with low listenability. (HD) 

SILVERFISH “Fuckin’ Drivin* Or What” 12” 

How SILVERFISH got on ofthelr r hy a 

Baby Pig Squeal”, ^ o^beat songs on the B side, 

ehantof‘‘Hips!TiU!LI^Pow! „ that the produrtion here 



_ capita 

worshippables. SINISTER is...well...sinister. MONASTERY^ is not surprisingly I 
quite death-like and contains folks from SINISTER and a talented chap from the I 
much revered ENTOMBED. Sicktone Rec’s is doin’ it right Yet another contender 
for Earache’s crown in the 90*s. (CD) 

(PO Box 2, 7050 AAVarsseveld, HOLLAND) 

^^^^^^^ga^areUa/The Hills Have Eyes” 

I sounding like the SEX i hllt not hin2 to stand in line for. (KK) 


Two VELVET UNDERGROUND classics are covered here, but the sinaer 

L ? U M®**"**". Aside from that, both we? S 
are decent Still, I like the originals a lot better. (EC) 

_(TheCommunion Label, PO Box 95265, At lanta, GA 30347) 

[sTEPASIDE - “I’ll Take Darkness” EP 

Muddy sounding produicUon But 

vocals are interestingly^ outin^gruntmg 

I STICKS & STWES^CoupeFlowereCimTFTil^^ 

One new song this time around for this consistently outstanding hardcore 
outfit The other songs are covers of New Jersey’s P.E.D., and Bruce Springsteen, the 
DK’s “Moon Over Marin”, and a live version of their own “Saved”. (MC 
1 (Skene, PO Box 4522, St Paul, MN 55104) 

| SUCKSPEED - “Storm Bringer/Step Out” 

Wonder if Tim knew when he gave me this review ^ *as a DEEP 
I PURPLE cover! One of these guys used to be in a hardcore band I A"yway Uds 
I is definitely on the metal side. The flip even has an acoustic break to Uie ndddlt Hard 
I to tell what they are up to by their haircuts (one guy even has a skin). You decide, 


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Mr* laxjoof s/m/ff 

«tver P -oitxxl\\ij I 

3*0*1" votttA ft hi | y«> 

iWt fU*. ^“lasfliUlt: 

BACK /Wiw, 

7 bezels; 

also -CtHw 7x f,// 

III 4 ttli| 

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M V ✓ , 

I fy Cnft Mj 

CimH^EiL IHliJ^ir !NI£^Ji?ItS^ 


The first GD release from' this San 
Francisco outfit. 60 minutes of all 
new percussion and noise, with three 
live tracks. "The metal percussion, 
drums, guitar mayhem, and classical 
sounds make for a strong audio 
affront to the senses. 

This compilation GD of percussion and rhythm 
features 15 tracks by Formula 409, Muslimgauze, 
Dissecting Table, Crash Worship ADRV, Trance, 
memento mori. Pain Teens, Bast, Chop Shop, 
Master/Slave Relationship, Acandrum, Psy231, 
Plateau, Iao Core, and Turbo Messiah. Styles 
cover the map from Kastern to tribal to industrial. 

Each CD $12 post-paid in the U.S. Add $2 each in Canada & 
Mexico; add $4 each in Europe; $5 elsewhere. Payable by 
check/IMO in U.S. funds. Distributed by Subterranean, Cargo, 
RRRecords, and others. 

Many more items available. Write for full catalog. 

Charnel House Productions, P.O. Box 170277 
San Francisco, CA, 94117 - 0277 , U-S.A- 



College rock influenced stuff (ie. SOUL ASYLUM, DINOSAUR JR.). The! 
pace is upbeat and hopping. Musically very “catchy” if that’s what you like. ThisH 
record is riddled with “catchy” leads and decent song structure. At times regressing ■ 
into college rock. At times rising above. (MK) 

(Sonic Bubblegum, 157 Murdock St. #3, Brigton, MA 02135) 

j TSOL - “Live 91” LP 

TSOL play a rude, snappy set of punk tunes, 14 in all, including a fair I 

I representation of their vintage material. Some live immediacy is lost, but I imagine ■ 

I fans will find this a lively and boisterous treat. (SS) 

| (Triple X Records, Hollywood) 


The back cover states: “America’s worst rock-n-roll band - ever!” and I’m 
thinking “Wow, is this really the new FUGAZI record?”. A fun record in the 
GIZMOS/ANGRY SAMOANS tradition of simple stupidity. Did I mention that 
every song is great and I haven’t even listened to the second side yet ? (BD) 

(Radio X, PO Box 63, So SF, CA 94083) 

TAR - “Solution 8/Non-Allignment Pact” 

Totally solid. Cuts a mean groove, Soloution 8 is another winner from 1 
Chicago’s TAR. The flip is a cover of PERE UBU's classic “Non-Alignment Pact” 1 
that does it justice. Heard these boys dedicated a tune to me when they were here last, 1 
sorry guys, I was out of town. I won’t make that mistake next time, and we’ll do a I 
long overdue interview. Cheers! (ML) 

(Amphethamine Reptile) 


Heavier than I was expecting (if that means anything to you). A band based 
around the “Heavy Guitar Bible”, these two songs manage to keep energetic and 
interesting. The rockin’ music alone would have gotten this band a B+. But the 
packaging extra credit brings it up to an A. Funny as fuck if you can deal with it 

(Scratch Records, 317A Cambie St, Vancouver, BC V68 2N4, CANADA) 

10:07 - “Blood, Guts, and Penis” 2xEP 

Didn’t know what to make of this one at first, but after awhile, I started to like ■ 
it Obviously recorded for W (that’s cool in this case- probably works to their ■ 
advantage.) These guys were 5 years old, then, I’m sure, so that’sthat-Very£imk, ■ 
good hooks and such. Claims on the sleeve that only 100 copies exist Who the hell ■ 
are these guys? (ML) 

(Excursion Records) 

SUPERTOUCH - “The World Is Flat” LP 

The vocals are full with a feel reminiscent of HR (BAD BRAfNS). 

TREEPEOPLE - “Mistake/Ballard Bitter” 

Great angst-driven “pop”, reminding me at timesof earlier DINOSAUR JR. 1 
but which sadly facks the inK of their last split 7" or se«ng them hve. Having 1 
said that, the first four words of this review matter most (IH) 

(Sonic Bubblegum, 157 Murdock St #3, Brighton, MA 02135) j 

TSUNAMI - “ Flameproof Suit” EO 

SURF WEASEL - “A Mind of Your Own” EP 

Pretty rocking punk, really good guitar, metal and classical style. Unfortu¬ 
nately, the vocals are really boring, more like somebody talking. Makes the whole 

Melodic female vocals enliven this five-tracker; it’s essentially upbeat, 1 
power-pop with an arty edge which in its best moments should appeal to cooler 1 
college audiences. (SS) 1 

(3510 North Eighth St, Arlington, VA 22201) 

flPO Box 244A, Surbiton, Surrey KT5 9LU, UK) 

12 PACK PRETTY - “Foulmouth” EP 


SUSPENDED ANIMATION are decent, straight hardcore ranging from 
melodic to metal The lyrics for the two songs speak out against racism and 
comdemn casual sex as a “sin”. GROUNDWORK sound like the exact same band, 
with lyrics more specifically aimed at animal rights and sexism. Both bands are 
rather moralistic, straight-edge and at least one band member thanks God. (KO) 
(15778 N. Equestrian Terr., Tucson, AZ 85737) 

„ n , Sl a 5E y a*”,? hardcore * No tyrics included but with titles like 

Dead Head and “REM Sucks”, you get the idea. Old fashioned fun. (TY) 

(Dr Strange, PO Box 7000-17, Alta Loma, CA 91701) V * 

U.Y.U.S. - “Use Your Sense” LP 

Their second LP, one that came out last year but we missed reviewing it 
Fairly generic hardcore, the kind that can be fun on a 3 or 4 song 7", but which gets 
lost on a whole album. fTY) 

(PO Box 231472, Houston, TX 77223) 

SWEATY NIPPLES - “Chickensnake/Round Mound of Rebound” 

Well, the PRIMUS/MR BUNGLE funk/thrash thing has apparently hit 
Portland cuz that’s what these guys do. Plenty of changes, breaks, etc. Not my cup 
of tea (or coffee for that matter), but if you dig that white boy groove thang, this is 
it They spared no expense on the sleeve and record (vinyl & label). Maybe they 
should have spent a little more time on the lyrics and originality. (ML) 

(T/K Records, 3339 NE Davis, Portland, OR 97232) 

UNSANE - “Jungle Music” EP 

More of the big UNSANE sound that we’ve come to know and love. Although 1 
this time, the recording quality has lessened slightly, with what sounds almost like! 
a live mix, thus inviting further comparisons to PUSSY GALORE. But seriously,! 
“Jungle Music” is a tune that boils the blood like no other and the other two tunes! 


They play RUSH and VERBAL ASSAULT at the same time with a very 

concentrate on the ‘textural’ side of grind rather than just straight grind (a subtle! 
distinction here) good poop! (HD) 

(PCP Productions, no address) 

progressive/operatic female-voc ailed approach. If you live in SF, reminds of FOUR 1 
NON-BLONDES. Outside of SF, try FETCHIN BONES. Four songs. (IR) 
(Footlong Records, 3 Highland Dr. E. Greenbush, NY 12061) 

VACANT LOT-“Cyclone” EP ■ 

Tkir tr fnn nm\ mink it rnmpc in a onnH-lookinp sleeve. The sin&er suueaLs 

TONY ALL - “New Girl Old Story” LP 

Well, first off I have to admit that at first sight of this “new” ALL record, I 
became pretty excited since they had put Tony Lombardo ex-DESCENDENTS bass 
player on this one. But that didn't change anything at all, for ALL. ALL seem to be 
stuck. This sounds like any other ALL record. Silly pop punk with those same old 
‘boy meets girl, boy looses girl' lyrics. Oh well, maybe next time something good with 
happen. I guess that’s “ALL”. (HQ 
(Cruz Records, PO Box 7754, Long Beach, CA 90807) 

p ms is inn pup"puilA* l l turned in • g uuu*ivmvuig i 

out watered-down RAMONES vocals accompanied by irritating hamster harmo¬ 
nies. There are some forceful guitar leads better than TOMMY JAMES AND THE 

(Chaos Records, PO Box 315, New York, N 

WAT TYLER - “Appetite For Axl” 10” 

So... if you don’t know, WAT TYLER is what most people would call a “joke 
band”. (They never practice and live, they spend more time harrassing the audience 


Real cool in a raw sort of way. HC vocals over garagey hardcore music. It's 
great to see a band take a strong stance against hunting and at the same time not fall 
into catch-phrase expressions to convey their ideas. (KG) 

(Super J Records, 620 Humbold, Toledo, OH 43607) 

than playing). But be that as it may, this is a great record. While a lot of it is silly noise, 
when they really play a song, it's great Catchy punk-pop - great tunes. Julie, ex- 
DAN sings a couple, and some fantastic production makes this a ftm and solid 
release. Despite the lament of some TYLER fans that it’s “too good”. Oh yeah, 
shamelessly large photos of the cute band are included—wow. (GF) 

O^ger^u^er Records, the bottom flat, 3A Alexandra Dr, Gypsy Hill, London, 

TREEPEOPLE - “Guilt, Regret, and Embarrassment” LP 

An imoressive debut full-lengther from this Seattle-via- Boise band that 

sOTgwit^ w?to greatguiUrwrotwMdiMviffMcrinces poweror 
drive for the sake of complexity. (BD) 

(Toxic Shock, PO Box_4378VTucsoivAZgS73^___^^_^_ M ^^^ M 

WEIRD PAUL - “Lo Fidelity, Hi Anxiety” LP 

I have an embarrassing fondness for retarded and/or primitive, amateurish 
records but this is a little hard to stomach. Not weird or even funny, just annoying. 

Still I liked the previous single and 3 of the 25 tracks here. I'm not sure if this is all 
new material or a compilation of tracks from his many cassette releases. (BD) 
(Homestead, PO Box 800, Rockville Center, NY, 11571-0800) 

mzhbm Her 


#3 VP* r~ ^71 NGR 

1 |C &Wh»TeoAIW 

4-- “M™ 


(G?3\ ’ ~ f ~ 4 "^J ?AbATe$e 

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M +49 511/703320 Fax: +49 511 / 7000613 

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Send IRQ for Lost Sc Found Mailorder-List 

WONDERAMA - “Padre Dio: The Stigmatist/Out Of Focus” 

Raw warped slide guitar and spoken ‘locals” build into tangents~.and 
unpredictably gets tenser, grungy, faster. Side 2 is a combined MC5 (“Gold”)/BLUE 
CHEER (“Out Of Focus”) cover that is apt. Quite nice! (IR) 

(Ajax Records, PO Box 805293, Chicago, IL, 60680-4114) 

WORMS - “Brutalizer” EP 

3 heavy, dischordant, experimental songs from this Finnish band. Side B is one 
long 8 minute song that pushes the limit on song length while side A is thick, 
pounding and er«. brutal. (RR) 

(Maho Pop, PO Box 69, 40101 Jyv&skyla, FINLAND) 

YUCKMOUTH - “This Is It-” LP 

Really good record. Powerful rock and tight thrash punk. One of those band 
that defies easy classification. Switches styles-some of this I didn’t relly like. But it 
is all interesting and really powerful. At times the vocals drag and sound like Gary 
Floyd - but the music keeps it moving. Definitely for those who are tired of the same 
old same old. (GF) 

jConva^ionRecords, 26861 TrabucoRd. SuiteE143, Mission Viejo, CA 92691) 

V/A - “A Change For The Better” EP 

This five band comp from the makers of take a stand and Bombshell zine 
makes a good efTort at adhering to a Do It Yourself ethic. Includes GUT INSTINCT, 
generation of bands influenced by moshy New York hardcore. This record makes 
up in sincerity for what it lacks in production. (MK) 

(vicious Circle Records, PO Box 3607, Langley Park, MD 20787) 

V/A - “And Everything Nice” EP 

BABES IN TOYLAND and HOLE contribute one raw, abrasive punker 
each — but STP and L7 provide the power and class with high-powered, well- 
written rockers with passionate female vocals. A Bootleg, and recommended. (SS) 
(no address) 

V/A - “Back Again” EP 

What the hick is this ANAL FIST band all about? If lyrics like “Skins and art 
fags are fucking wrong, we’ll cleanse the scene and make it strong...” typify their 
attitude, well... choose for yourself. Eight other bands, too. Reviewing this reminds 
me of having to listen to a bunch of poor-quality demo tapes. (KG) 

(Community Chest Records, PO Box 808, Southwick, MA 01077) 

- ‘The Bottom Rise Up The Top” 8” flexi 

This kills! Eight inches of frantic, floppy power (I’m talking about the damn 
record, okay ?!!). A flexi that needs little said about it except in one playing it knocked 
™ °iL,on e of my buttocks. ASBESTOS wins this time but YELLOW LABEL, 
SLAVER, and JUNTESS all put up a fight in this musical battle royale. This rules 
the planet.~nuff sed. (CD) 


V/A - “Dur Doreilles” LP 

Featuring bands from the varied regions of France. All styles of music are 
represented here from pop to grindcore to dance/top 40, to RAMONES-style punk 
l^?~ 0 K cssive rock* Talk about all encompassing! THE ABHORED. VOODOO 
to saylhe^ast 1 ^!^ 01101 ^ * feW ^ are amon 8 the contributors. Eclectic 

(Productions Amanita, Ecole, 64 250 Louhossoa, FRANCE) 

V.A. - “Feel Lucky Punk?!!” LP 

If you don’t already have the “Killed By Death” series you’ll want this 
compilation of rare (and great) 70s punk obsurities. If you been keeping up with this 
sort of thing you’ll be bewildered by the pointless and unimaginative track selection 
as the majority of this has already been reissued. Stll “it rocks” as they say. (BD) 
'no address' 

V/A - “Grim Humor Presents...” SPLINTERED/CINDYTALK split EP 

A zine release that’s a split between two longtime UK bands. SPLINTERED 
is appropriately noisy and lumbering while CINDYTALK is atmophericand noisy 
dirgy (with trumpets and all). For fans of these two UK genres only. (HD) 

(Fourth Dimension, PO Box 63, Herne Bay, Kent, CT66YU_ 

V/A-“Lube Job”EP 

Mostly a Pittsburgh sampler with a guest appearance by NY’s S.F.A., who 
carry on the tradition of the NIIULISTICS. NECRACEDIA clock in with another 
realistically aware tune called “Black & Blue” about battered women. 
DOOM WATCH, who get punker every time I hear them, bust out a jam called 
“Lying Sack Of Shit”—could be about half the people in town! Newcomers 
SUB MACHINE round out the disc with a straight ahead punk song. I expect to hear 
a lot more from these guys. All in all a good comp, glad to see someone, in this case 
Doug Fedinick, still cares. (ML) 

(Rust Records, PO Box 81942, Pittsburgh, PA 15217) 

(Dionysus Records, PO Box 1975, Burbank, CA 91507) 
^^j^j^^j^^^cords^^fox 58, Newtonville, MA 021601 

V/A - “The Honey”- EP 

A four band sampler that comes w/ “New Kind of Kick” zine. STORM 
CLOUDS have a fuzzed out guitar with FLATMATES- like pop. SEND NO 
FLOWERS is smooth femaled vocaled midtempo guitar pop. 23 TILL has a 
sanitized neo *60 R’n’B beat with gruff vocsals. COD LOVERS are pretty tight (like 
LES THUGS) but their sound is a little too “modern rock”. Overall, approaches are 
varied but comes out a mite too slick to really grab. (IR) 

CJardalavfigen 64A, 582 59 Linkdping, SWEDEN) 

V/A - “Horizon Records Hardcor^ConJilation^S^^^^^^^^^^^^^^ 

££^3^^ restively. Overall, somewhat bland musi- 

jHonzotyU3Kings Rd., Mount Holly, NJ 08060) 

V/A - “No Exit, No Return” EP 

A compilation featuring PROCESS OF ELIMINATION, DEAD IMAGE, 
REFUSE TO FALL and ENCOUNTER. There’s something kind of interesting 
about this record, but I can’t describe it - maybe it’s the dumb TV ad sample of “I’ve 
fallen, and I can’t get up.” (KG) 

($3.50 ppd, Upstate Records, 283 Betsinger Rd, Sherrill, NY 13461-1208) 

V/A - “Ox Faces The Facts” EP 

This comes with issue #9 of Ox ‘zine, out of Germany. The bands featured I 
here are from NY and PA. SFA, NECRACEDIA, DOOMWATCH and 
SUBMACHINE. Four thrashy songs and they’re all good, too. Pick it up. (MW) 
(Ox’zine c/o Joachim Hiller, Joseph Boismardweg 5, 4300 Essen 14, GERMANY)! 

V/A - “Pittsburgh Punk Ain’t Dead” 2xEP 

Quite a diverse sampling of what seems like plenty of local talent, some choice I 
cuts here, from the likes of SALT CHUNK MARY, SLUDGEHAMMER, | 
PLEASUREHEADS and five others. Real good stuff. A quality release. (MW) 
(NFO Records^io address) 

I V/A - “Silence Sampler #1” EP 

n A 3-band comp. with DIRT FISHERMAN, TREE PEOPLE and CAUSTIC 
RESIN. No amazing stuff here, except for the blowout cut by the TREE PEOPLE, 
which makes the two lighters cuts pale in comparison. (WG) 

(Silence, 1206 East Pike St, Suite 671, Seattle, WA 98122) 

V/A - ‘They Ain’t Seen Nothing Yet” EP 

A classic harshness collection with the indie spirit Five units assembled here 
to protest the imprisonment of poll-tax resistors. Crushing shit to say the least The 
expansive poster/booklet and sedate light-blue, pencil art cover make this look like 
just another dreary compilaion of forgettable bands. “Nay”, I say. This is powerfully 
muddy gargantua thrash with HIATUS, PSYCHO FLOWERS, DREADFUL, 
punishment for tax-happy eggheads. (CD) 

(Nabate, BP 92, 4000 Liege 1, BELGIUM) 

V/A - “Unknown Hardcore Drunkers Vol. 2” 2EP 

Eleven bands out of Japan, ranging from 1 1-2 1-2 hardcore to some fairly I 
accomplished metally - thrashy - growly stuff. Alter wading through a fewoftb e 
clunkers, there are quite a few raw, energetic songs here to satisfy even the most die¬ 
hard punk rockers. (MW) lADAW v 

(MCR Company, 157 Kamiagu Maizuru Kyoto 624, J APAN) 

V/A- “Very Small World” 2LP 

There are two ways of looking at this compilation (or any compHationreaUy). 
1) With 38 songs, there’s bound to be some real classics included. 2) With 38 songs 
you have to get through loads of shit to hear the good bands. Only you judge^ut ] 


(Very Small Records, PO Box 8223, Emeryville, CA 94662) 

V/A - “World’s in Shreds Vol 5" EP 

Another fantastlcShredder compilation with ERUPTED PEASANT FARM-1 
ERS (melodic punk with lots of “whoas”) DRVROT (™lodic h^dcoreleardng 
towards FUEL) and ICE FAN (mid-tempo melodic post-punk). Way to go—this I 
single “shreds”. (MH) 

(ShredderRecords, 181 Shipley St, San Francisco^CAgjlgT^ 


19 OCT-25NOV 




Zf yaijcaNheLp wi/A gjsLAe/f 

Pp.e.£erably Rinj: LENA 

2-11 vZZUXk 

oR WRite'-klEFERttR Str 23 
Hello Q(/fcksaNd 
BE SEE///J you ,. 



f I Make My Bed in Hell— 
Who Cares? 


nfc&un tjorma l.p. 


S\.C.h- UP. 
c/o A\ /RE FOS TER 








Spear and Magic Helmet 7 M - Seattle punk rock. Muggenhoferstr 39,8500 
Hard and driving with female screamer. $3.50 Numbeig, Germany 

eMpTy distributed by Caroline, Dutch East, Cargo, TCI, EFA, Semaphore, C/Z, etc.. 



Airmail postpaid rates: 















J.R. CD 














Sorry U.S. prices are so fucked 
blame the exchange rate 



“What Holds Us Apart” 7 " 

U K. pressing, mailorder customers get blue 
\/inyl copies. 


FST005: LIBIDO BOYZ "Hiding Away" LP 
FST008: UBIDO BOYZ "Childhood" 7" 
FSTOI3: DRIVE "GreaseGirls" MLP/CD 


FSTOI 7: WHEEL "Lessons of Tragedy" 7" 


“Two Years of Toothache” LP/CD 

The 2nd album; 12 tunes that give Big Drill 
Car and even Descendents a run for their 
money. Cover by Karl Alvarez. CD has 1 5 
bonus tracks. 




TEL; 0942 826598 • FAX: 0942 821469 

All orders shipped same day! 

In the USA try ordering from Blacklist 


“GreaseGirls” Mini-LP & CD 

8 superb "guitar-orientated" pop tunes. 
Combines the tracks from "Greasegun" & "No 
Girls" both EP’s plus one unreleased number. 



Tribe’: The California HC tradition lives 
on with Andy Anderson (ex-Attitude and now 
Two-Bit Thief)* The ingredients are all here- 
dirty. crunching guitars, gritty iron lung vocals 
and a heavy metal groove to hold it all together. 

HYPE 'Life's Hard ... Then You Die': This 84 
Canadian release Lakes things hack to the early 
days of HC. A prime example of the beginning 
shift from punk to HC. Hype's straight 
edge attitude is evident on their intelligent, 
critical lyrics that leave no rock unturned. 

HC COMPILATION There's A Method To 
Our Madness': A 19 song L'S punk rock 
compilation, featuring tracks (many 
unreleased) from the likes of Ludichrist, PTL 
Klub, Sloppy Seconds, Life Sentence, 
Amazing Grace, L'ltra Violence & more ... 

ATTITUDE 'Kein Schlaf Bis Deutschland': 
Departing from the punk rock norm of the 
early 80's, this record blends the heritage and 
tradition of both HC and heavy metal into 
a style that would influence hands to come. 

FEAR ITSLELF Til Death Do I s Part': 
Another great L'S punk'thrash band from 
Boston. Wild time changes and breaks with a 
hammering speed to hold it all together. This 
87 release includes bonus track "Werwolf's Life". 

NEGAZIONE The Early Days - Wild Bunch': 
A 89 Negazlone compilation, featuring 18 
songs of all previously sold out 7"es and split 
LP's they did with other hands. A definite 
must for all Negazlone collectors! 


A FREE CATALCXJUEt ALL (312)942-1764 CHICAGO, IL 60607-1911 

(312)942-1710& FAX: 1806 

By Heather (»y 

This month's question: 







4M* ‘ 

“My favorite live band is either Rorshach or Born 
Against because they’re both fuckin’ sick and dis¬ 
turbing and really awful, but they’re rad.” 

D an, age 2g, N e i» York 

“The Winona Ryders, absolutely, They rocked me. 
They rocked me blind. Also the Unsane, a band from 
New York City because they rock me hard.” 

Jeff Spaz age 28 , [OnnetJcut 
“My answer for favorite live band is Bora Against. 
They are a great live band because, number one, 
they’re all over the floor, they don’t stand there, and 
number two, they can be very arousing. Hey, Adam, 
it’s time for us to have our guy talk!!” 

Mike, age 22 , EaSt Bay 

“My favorite live band is Devo because I think 
they’re so fucking obnoxious. It’s pathetic.” 

G abi, age 20 , San FranCiSco 

“My favorite live band is definitely the 
Winona Ryders because they are so great.” 

Tim Murphy, age 14, Washington D.C- 
“My favorite band is Ben Hur because they have the 
ability to give you bronchitis or cure arthritis.” 

Bud, age 28, Ban IFranciSco 
“My favorite band would have to be the Winona 
Ryders because my heart has skipped many a beat 
during their show.” 

Epio, age 80, San PranCiSco 

“My favorite live band is definitely Garden Weasel 
because they are so sexy and exciting.” 

Brad Richman, age 19, North Carolina 

“My favorite band is My Mind’s Mind, or M3. 
They’re a North Carolina band, and they just fuckin’ 
jam live, just into-the-crowd type performances.” 

Aaron, age lg, Detroit 

“Blatz, not because they’re good, but just because I 
get to throw shit at them.” 

Sean, age 80, Petaluma,Ca 

“My favorite live band would have to be Peter 
Murphy because he’s got the best voice in the 

Gidon, age 18, South Africa 

«My favorite band to see would be Chumbawumba 
because they’re quite fun and they get 
dressed in different costumes.” 

Sledge, age 81, ArkanSriS 

“I like Agnostic Front live because they’re my favorite 
band and because they’re really fun and energetic.” 

Tait, age 19, Berkeley 

“My favorite live band that I’ve ever seen is 
Chumbawumba last fall because not only are they 
one of my favorite all time bands, but they used cos¬ 
tumes and props to get the message across in a dif¬ 
ferent way than most political bands.” 



The story of II OVZ N 
TWO «wi WM Fiton Ilie Irood: basi 

cally this movie deals 
Hare iianoii n«ri with a group of young 

boys growing up in then 
neighborhood. Con 
^ j g f trary to what you would 

V/ \ / V f expect, this movie 

doesn't deal with gang 
Jt life but with living in a 

W ^ violent neighborhood. 

^ Jr # %r It shows us the scary 

life in a black ghetto in 

' __ south central LA and 

j low different people 

deal differently with a situation that is basically the same for all of them 
The three main characters representdifferent stereotypes: The one with 
the opportunity logo to college because he had the right education, the 
one with the chance to go to college because he is a talented football 
player; and the third one, brother of the second, who will never make 
it to college. The movie relates to real life, and this creates a problem 
Docs the director have a message? Yes, a lot of the scenes have 
'educational' content. In the first part of the film, where most of the boys, 
are 13 years old, the main character gets lessons in responsibility from 
his dad, while the other boys don't. (Later on, the one that got the 
lessons turns out heading in the right direction, whereas the others end 
up fucked up.) Most oRhcsc scenes have a very .obvious message, 
mavbc a little bit too obvious, which makes you think: Did Bill Cosby 
move to the ghetto? The message that the director wants to give is 
Increase ThePeacc', and let black people lake control over their own 

' Vt S In trying to convince the audience that this is about real life, the 
director more or less fails. )ohn Singleton throws in so many issues (like 
sexism, unequal opportunity, racism, responsibil ity, violence, ctcct- 

era) that you can't see the forest anymore from all the trees. Some 
aspects arc done pretty good, like the constant sounds and lights from 
passing choppers, the way they portray the cops as donut-eating 
coffee-drinking racists (with the black cop showing off for the white 
one, who is about the only white actor in the entire movie and he 
setting of the neighborhood is realistic (maybe it s a little bit loo tidy) 
On the other hand, a lot of things are overdone: The father is too aware, 
the mother is too successful!, the girlfriend toe) square, and most other 
haraclcrs arc too onc-dimcnsional. There s also the inevitable irrital 

ine sex scene. , . , i 

h What's good about this movie is that it there is a clear message 
Hie director wants to tell us something and that is more than most dc 
Actually, this is one of the few positive thingsThat we can say about this 
movie. The story is acceptable, but certainly not good. The acting i; 
average, as well as the camerawork, so the comparison with Spike 
Lee's work is ridiculous. What remains, as said before, is the message 
But even this isn't always done in the most thoughtful way.dn the fina 
part, the boyz take revenge after one of them has been . c *; l T' 1c ,? rT I? r 

one of the group bails at the last moment (doing the right thing ), but 
still the ensuing violence is still shown in full, getting some ot the 
audience very excited. Also, when there's a scene in which female 
unfriendly language of the brothers seems to get criticized, it turns out 
to be the introduction to another nasty phrase. At moments like this, the 
movie misses the point. The message is not received, and therefore we 
have to conclude that the message is poorly presented. I erhaps it s the 
inexperienced director/writer or something else, we cannot teU. 

So actually there's not much left to rave about. It s odd that there 
ire so many positive reviews written about this movie. The press 
iviously likes films which deliver an ambiguous message, rendering 
cm typically Hollywood, and looking like cheap TV movies. What s 
ally bizarre about Boyz N The "Hood is that Ice Cube, who 
happens to be a role model for a lot of youngsters N tha Hpodz, plays 
the (css intelligent character with the violent attitude. Wouldn t it have 
been better if he was the clever one? 

Reviewers: Lance Hahn 
NlckToczek, The Big - 
I ger Tory Vote , (AK 
Press, 3 Balmoral 
Place, Stirling, Scot¬ 
land, FK8 2RD) $6, 
ppd 46 pgs. 

Still rabid after all 
these Years 
In Britain fascist par¬ 
ties have never made 
the transition from so¬ 
cial problem and politi¬ 
cal phenomenon to 
credible challengers for 
government. There is 
no one reason for this. 
Some argue that there 
is there is 

widespread anarchistic 
trait in British society, a 
mistrust of authority, 
beaurocracy and tyr¬ 
anny. Others point to 
the success in the 1930’s 
and 1970’s of brilliantly 
co-ordinated militant 
campaigns, forging a 
temporary alliance be¬ 
tween socialist and liberal opinion. 

Both explanations have a certain force, but there is another, 
possibly more significant, explanation. The Conservative Party has 
always maintained a place for authoritarians, nationalist ideolgues, 
white-anglo-saxon suprematists, fanatical anti-communists and anti¬ 
social ists. 

Churchill understood this well. When he was visiting Mussolini 
in 1927 he put out a press statement in which he expressed his 
admiration for 11 Duce, and said that if he had been Italian he would 
have been Fascisti. However Britain, he suggested, had “its own way 
or doing things” and dealing with the threat of communism. He can 

(LH), Mike Hughes (MH), Chris Randolph (CR) 
only have meant the Conservative Party. 

Nick Toczek is best known as a performance poet and streetwise 
man of letters, and The Bigger Tory Vote is his first piece of 
investigative research to be published. It is an account of that section 
of the Conservative Party in which the distinction between rascist and 
radical ultra-rightwing Conservative Party disappears. It is an impres¬ 
sive debut. Meticulously researched and relying mainly on primary 
source material, Toczek has only used secondary source material that 
can be varified elsewhere. If there is a problem with it though it is not 
an easy read. Though clearly written Toczek has jammed into the 
confines of a pamphlet enough information and scoops to fill a 
substantial book. As a substantial pamphlet however it is firmly in the 
tradition of investigations published by the Independent Labour Party 
in the twenties and thirties, by the Left Book Club and by the Labour 
Research Department, masters and mistresses of the genre for more 

than seventy years. _ 

As it happens I put down my review copy of The Bigger Tory 
Vote to read a newspaper account of John Major’s speech to the 
European Summit in Luxembourg on June 28th. In it Major called for 
a “clampdown” on immigration into EEC countries warning , other¬ 
wise, ofthe danger of a "right-wing backlash” like that experienced by 
Britain in the 1970s. As Toczek clearly demonstrates that bachlash was 
not restricted to overtly racist and fascist groups like the National Front, 
it also occured within the Conservative Party - in pressure groups like 
the Monday Club and Tory Action. Both of these groups are still active 
in the Party, and still rabid. While the outsiders like the National Front 
and British National Party have since been beset by schisms and 
organisational chaos, their fellow travellers in the Tory Party have 
consolidated their position. For example, Toczek reveals for the first 
time that Dr. Anna Bramwell, a Conservative admirer of Walter Darre, 
Hitler’s Reichsbauemfuher (National Peasant Leader), was in 1986 
briefly appointed to the position of Director or the Centre for Policy 
Studies - Thatcher’s own think tank. 

If you had any illusion that under Major’s leadership the racist 
and neo-fascist Tory tendancy was on the way out, the grey man’s 
speech in Luxembourg ought to have changed your mind. Whether it 
has or not you should read The Bigger Tory Vote, it is quite simply 
the best available guide to one of the most insideous forces in British 
political life. (MH) 

Parties and 
Elections in 

Corporate America 

and Elections in Corpo¬ 
rate America . 305pp. (St. 
Martin’s Press, i987) 

Reiter is a Political Sci¬ 
ence professor at the Uni¬ 
versity of Conneticut. He 
has written an extremely 
critical text on American 
politics, for use in college 
classes. In which he argues 
that the current party sys¬ 
tem has failed to serve the 
needs of the American 
people. In the book’s pref¬ 
ace, which makes for good 
reading itself, he explains 
why he thinks his text is no 
more of an attempt to brain¬ 
wash the student than all of 
the student’s other educa¬ 
tion, and why he feels so- 
called “objective” texts are 
really biased because they 
accept the current system 
without question, leading 
the reader to believe every¬ 
thing is working just fine. 
Reiter sees American poli¬ 
tics as a result of the “tor- 

porate Capital ist Setting” in 
which the few rule the many through economics. You, the MRR reader, 
are probably alredy aware of that. He also argues that American society 
pusnes for privatization of political views, to the point where it is 
almost a disgraceful subject to discuss in public. You probably knew 
that, too. But what Reiter provides which the average punker lacks is 
the ability to articulate, in simple but carefully chosen words, attacks 

Howard L letter 

• or! 

Q . 

g Q 

> jO 3 



_ aspect of the U.S. which pisses him oft. His sometimes snotty 

attitude and clear writing style make this book a pleasure to read. This 
is the textbook-which-tells-the-truth you wanted in high school, but 
never got. (CR) 

Iwona Blazwick (edi¬ 
tor), An Endless Ad¬ 
venture.^ An Endless 
Passion...An Endless 
Banquet A Situation- 
ist Scrapbook. [Lon¬ 
don: Verso 1989] 
What is it in the 
circles that causes such 
renewed interest in 
(non)” movements” 
like the Situationists? 
What are the elements 
to the psychology of 
people who have car¬ 
ried on this 
(non)”tradition” for 
over thirty years? 

For whatever reason, 
the alternative scene 
(punk, post-punk, all 
that shit) has been 
more than influenced 
by situation ist writer 
over the last five years. 
Suddenly, all the old 
quotes are popping up 
in fanzines. Song lyrics 
have more references 
to France in ’68. Names 
like Vaneigem and 
Debord are almost as 

know as Bakunin or Kropotkin. 

An Endless Adventure..., edited by Iwona Blazwick, points us 
in the right direction with the first cohesive anthology of situationist 



Vague. Lots to read here, really. 

More important than any one document, An Endless Adven¬ 
ture... manages to assemble them all in a way that gives a good feel 
for the history and legacy of the Situationists. The book takes us from 
the early days of the Situationist International to the SI in Britain. From 
there it leads King Mob in the late sixties and Suburban Press of the 
early 70s. That allleads right into Jamie Reid, McLaren and the whole 
punk explosion. Than of course there’s the whole post punk scene 
with Karen Eliot and Vague. 

I can’t help but compare this book to Lipstick Traces by Greil 
Marcus. Where that book almost romanticized with it’s anecdotes and 
the vision of one person, An Endless Struggle... iust prints out the real 
thing. No quasi-psychoanalysis or conjecturing, Blazwick manages to 
put tne whole story together without breathing a word. 

Not to downplay tne content, one thing that I found most striking 
about the book in the first place was the cover (non)”art”. Basically, 
three fourths of the front cover is taken up by a brown sheet of sand 
paper. Not only does this create a nice aesthetic texture. But it’s useful 
in destroying all the other book covers in the pretentious and self- 
absorbed post-modern section. (LH) 

Rolando Perez, On 
(archy) And Schizoanalyi 
[NY: Autonomedia 1990] 

Why would anyone 
want to tie together the likes of 
Nietzche, Noam Chomsky, and 
Sartre? Eiespite the intimidat¬ 
ing title and collection of top¬ 
ics, On An(archy) And Shizo- 
analysis by Roland Perez is a 
pretty quick read. Not to say 
that there’s no depth to it. But 
Anti-Oedipus it’s not. 

Having said that, I’m 
really having a hard time 
sumarizing the content in a six 
paragraph review. Each chap¬ 
ter is concise, leaving little 
room for repitition or style for 
that matter. The basic gist of 
the book is the idea that 
Nietzche’s “three metamorpho¬ 
ses” can apply to everyday life. 
“Towards a non-fascist or 
an(archical) way of life”? 

At any rate, al 1 the right 
parts are here. The first section 
starts with an almost 
deconstructionalist approach 
calling him an anarchist and comparing him to the anti-psychiatry 
movement of Deleuze and Guattari. By application of the “three 
metamorphoses”, Perez points out a gradual process towards non¬ 
fascism and structure. An interesting concept considering Nietzche’s 
ideas on hierarchy and general opposition to, well... anarchy. 

The next section leaves Nietzche behind and goes in for the 
attack on traditional literature. The death of God (neverleave Nietzche 
too far behind) means the death of the author. Not so much a statement 
so much as a call against the author and against the society of 

The general idea is an old one. To Fight fascism and power, you 
must fight the cause and not the effect. Society exists in this form 
because of the make up of individual psychology. 

An old idea, but in this book turned around against the linguistics 
of Noam Chomsky. One of Chomsky’s ideas is that the similarities in 
all languages suggests a commonality in all people. An innate 
characteristic of tne species. Human nature. That would be the true 
power in language, and in effect fascist. 

The final cnapter of the book is mostly a re-defining of Anti- 

Woman, says Sartre, is a j 
world, that consumes the work 
that she, as absence, can become * ^ _ 

girl blames ber mother for her castrated penis/clitoris. Tbe all- 
consuming voracious and devouring mother bos perhaps cut 

\ gaping mouth that eats up tbe 
'Id, because this is tbe only way 
me anything at aU. Freud*s little 

rism is necessary- progress impli< 
from the Situationist International. 

A lot of these articles we’ve seen before. “Who Are The 
Situatinists” by Jorgen Nash is here. Selections by Debord and 
Vaneigem from tne Situationist International are included as well. All 
the way up to the more recent contributions by Karen Eliot and Tom 

in with tbe penis -or as Sartre tells us in Being and Nothingness, 
it must be plugged up. 

You wonder how the pairing of Sartre and DeBouvoire ever 
came to be. * 

The book itself seems pretty simplistic. No great revelations here. 
It’s also sometimes hard to take these ideas entirely out of political 
context. But with all it’s faults it’s a good read, not nearly as steep as 
other books of this nature. Besides, who wants to read all of Aiiti- 
Oedipus anyway? (LH) 








P.O. BOX 51 • AUBURNDALE, MA 02166 


The greatest record ever made from the greatest band in the history of the universe. 

WARLOCK PINCHERS "Circusized Peanuts" 

(LP, Cass, or CD) 


(Although obviously none of this stuff tan match 
the awesome majesty of "Circusized Peanuts".) 

MELVINS "Bullhead" (LP, Cass, CD) 
MELVINS "Gluey Porch Treatments" (Cass only) 
ED HALL "Love Poke Here" (LP, Cass, CD) 
WARLOCK PINCHERS "Deadly Kung Fu Action" (LP, Cass) 
MELVINS "Ozma" (LP, Cass, CD) 
STEEL POLE BATH TUB "Butterfly Love” (LP, Cass) 
T-SHIRTS (Melvins, Steel Pole Bath Tub, 
Warlock Pinchers, Duh, Ed Hall, Bomb) 


MELVINS "Eggnog" 
DUH "Blowhard” 

LP or Cass S7, CD S12, T-Shirt SlO 
All prices postpaid in the U.S. 
Send a stamp for a free catalog 

BONER RECORDS, PO BOX 2081, BERKELEY, CA, 94702-0081, (415) 695-1154 


nVEENT TO l-VIl lli: 7"-;t.50 





LONG BEAC1I,CA .90015 ^ 




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290-C Napoleon St., S.F., CA 94124 USA (415) 695-0451 (fax) 824-9276 



Vertical Brando 



(Ex-Social Unrest) 


(Ex-UK Subs) 


Mario Pietryga (Ex-Upright Citizens) 
Ron Isa (Ex-Social Unrest) 

& Jacek Ostoya (Orange) 





6520 Selma Ave. Suite 1305 Hollywood, CA 90028 


Colored Vinyl 10" EP 

Long Beach, CA 
Colored Vinyl 




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Reviews by (MS) Martin Sprouse, (LH) Lance Hahn, (JX) Jux, 
(MW) Maz Wright, (KO) Katy Odell and (KC) Ken Coffelt 

When sending in a zine for 
review please include a complete 
address and a post paid price. 

UK RESIST #5 / $2.00 ppd 
8 1/2 x 12 - offset - 36 pgs 

Like any other well placed and consistant mouthpiece 
UK resist gets a similar review from us each and every 
time ... which I can’t really expand on. A convenient 
cop out if ever there was one! The table of upcoming 
gigs proves nostalgia’s on the up, a host of ailing 
punkers rise from die dead from this month onwards. 

POB 244A / Surbiton / Surrey / KT5 9LU/ England 

BALD CACTUS #7 / REACTION #1 / $2.00 ppd 
6 x 8 1/2 - offset - 58 pgs 

Noxious smelling print job. Otherwise it’s unusual only 
in the split format and ‘vegan kitchen’ feature. Errr ... 
fuck. It’s a zine, nothing more and nothing less. (MW) 
POB 135 / Harrogate / N. Yorks / HG1 5AX / England 

NO EXIT #4/3 stamps or trade 
8 1/2 x 11 - copied - 34 pgs. 

Mostly packed with stones from Alex and John about 
commercialism, trips and showplaces around 
Cleveland. Also has an interview with Simple 
Machines label and some zine and record reviews. 

Quite a bit here and a great price. (JX) 

John Xerxes / 2622 Pnnceton Rd. / Cleveland Heights, 
OH 44118 

NO KKK - NO FASCIST USA Summer/Fall $1 ppd. 
8 1/2 x 11 - newsprint - 24 pgs. 

Another interesting edition featuring events and news 
on a variety of racist issues. Sections include letters, 
newsbriefs, racism and the gulf war, Isreal’s part in the 
war, racism in law as well as a good piece on maybe 
justice-to-be Thomas. If you think racism is a thing of 
the past then you should definitely check this one out. 

220 9th St #443 / San Francisco, CA 94103 

TRUST #29/$4.00 ppd. 

8 1/2 x 11 - offset - 76 pgs. - German 
One of the better foreign zines - lots of reading and 
great layout This one has interviews with Moving 
Targets, Boxhamsters, Heiland Solo, Silvia Juncosa, 
Alein Boys, Israelvis, Seppultra, Primus, No CIF, 
Pigmy Love Circus and AOG. Plus plenty of reviews 
and snow happenings. (JX) 

Salzmannstr. 53/ 8900 Augsburg / Germany 

RUTABAGA #2 / $2.00 ppd. 

Well Rutabaga is getting the East Bay rep of being the 
“Neat Zine,” like in not sloppy, but I just think it’s 
plain cool AND I can read it Lots of stories in this one 
too: Pre-school punks, a good piece on the term ‘slut’, 
abortions, an interview with Spitboy and one with Jake 
Filth. A little too much name dropping (hey Razl, 
where’s my name), but a damn fine issue. (JX) 

POB 184/48 Shattuck Sq / Berkeley, CA 94704 

PRAXIS #1/ $2.00 ppd. 

8 1/2 x 11 - copied - 56 pgs. 

Get the fuck out of punk! All you fucked up vegan 
bashing, jock loving, rich white het male hardliners go 
someplace that tolerates the mindless shit you pass off 
as a religion like a football field or Metzer’s camp for 
tough boys. Fuck the propaganda in this shit rag. Stop 
tying in animal rights with fag bashing and telling 
women what they can’t do. Let this zine die. (JX) 

Matt / POB 752452 / Memphis, TN 38175 

TOKBOMB #4 / $2.50 ppd. 

8 1/2 x 11 - copied - 22 pgs. - French 
Interviews in here with D.B.T. and the Doughboys. 
This zine is from France also has comics, zine and 
record reviews. Seems pretty much standard fair. (JX) 
Mollard / Pres Fleuris 2 / Bat 2 Rue Laual / 42000 
Stepenne / France 

FLUKE# 1/$1.50 ppd. 

Cool cover and interviews with Plaid Retina, Tim 
Lamb, and Fugazi (yes, another one). Nice layouts and 
graphics but a little too many adds. (JX) 

POB 24203 / Little Rock, AR 72221 

WAFFLE #1/$2.00 ppd. 

Pretty slick cover on this one. Pretty good on the inside 
too. m it you'll find interviews with Steel Pole Bathtub, 
Road Kill, Firehose, Sea Monkeys, Chad Smith and 
More! Stories, comments and amusing anecdotes. (JX) 
Noel / Porter College #842 / Santa Cruz, CA 95064 

BREAKDOWN # 5 / $3.00 ppd. 

5 1/2 x 8 1/2 - copied - 56 pgs. - German 

Your basic half size zine here with interviews from 

Mutant Gods, Death Squad, Asphyx, Lunacy, 

Deathtrap and Agathocles, plus reviews, shows, and 
news. (JX) 

Rico Mendel / Schuhgasse 13 / 6330 Wetzler / 

JANE AND FRANKIES #2 / $3.00 ppd. 

Toronto strikes again with that great fun loving, 
anything goes het couple Jane and Frankie. And what a 
wonderful life it is as she and he bring us all the “Joys 
of Sex.” Articles on the “mainstream gay” debate, sex 
and sluts, a Bimbox interview, revealing photos and a 
hella funny piece to “dear Kristy McNichol.” Pretty 
cool. (JX) 

POB 55 / Postal Stn E / Toronto, Ont M6H 4E1 / 

THREE DOLLAR BILL #1 / $2.00 ppd. 

7 x 8 1/2 - copied - 40 pgs. 

As in “Queer as a.” a new homozine arrives from 

SF. And in it you’ll find an interview with Tribe8, a 
hell cool dyke band, a piece from the Radical Faeries 
(great name, uh), a great piece from Clay on being 
angry, one about punks AND queers and reviews and 
stuff I guess I should say here something like “good 
first issue,” but this one just didn’t seem complete or 
maybe I was just expecting a whole lot - ala 
homocore... (JX). 

POB 190176/San Francisco, CA94119 

PULP #6/$1.50 ppd. 

8 1/2 x 11 - offset - 48 pgs. 

Another great pulp issue just out as Chris gives plenty 
of stuff to entertain, amuse and ponder about. Stories 
about bikinis (ala Bikini Kill), the Flintstones, 
Highschool etiquete, an interview with an Olympian 
Punk, a peice from Candice on “girlness,” an interview 
with Calvin Johnson, caffiene ramblings, roomates, 
letters and lots of other Olymipian kinda things. Get 
this one cause it’s cool. (JX) 

POB 1504/Olympia, WA 98507 

FINSTER #2 / 250 and 2-290 stamps 
8 1/2 x 5 1/2 - copied - 24pgs 

A familiar sort of ‘zine, full of poetry, short essays, and 
cut n’ paste collage. The difference is that the usual 
focus is feminism and general ridiculing of the 
portrayal of women in media. Finster is put out by 
some highly creative chicks...(KO) 

1825 Eleventh St #6 / Areata, CA 95521 

FLESHY FOLDS #2 / 4-290 stamps 

8 1/2” x 11” - copied - 21 pgs 

Not too focused, this zine has some live show photos, 

a short feature on Assuck, and a long interview with 

Genitorturers. There seems to be an interest in leather 

and piercing fetishism. (KO) 

Des Jr. / PO Box 1825 / Manteo, NC 27954 

HOWL #10 / $7.00 ppd. 

12 x 17 - printed - 60 pgs. - German. 

The cover’s message seems to show how “big” an 
impression Poison Idea had on Europe. Of the many 
interviews (which make up most of this publication) 
the most interesting seem to be Long Gone John of 
Sympathy, Victims Family, Dogbowl, and the 
Lemonheads. Comes with a 7". (LH) 

Aignerstr. 3, 8000 Munchen 90 W. Germany 

8 1/2 x 11 - copied -14 pgs 

Mostly album reviews, a few rather poetic live show 
reviews, and a pretty deep interview with the Miracle 
Workers. (KO) 

POB 42691 / Tucson, AZ 85733 

BABYFISH #?/ $4.00 ppd 
8 1/2 x 11 - copied - 102 pgs 
A great, big, humonguos collection of collage and 
political commentary. Anti-imperialist, animal rights, 
poking fun at the media. I found it to be a little mind 
boggling, but certainly entertaining. (KO) 

POB 11589/Detroit, MI 48211 

BARBEQUE/$1.75 ppd 
81/2x5 1/2 - copied - 34pgs 
Another of Marc’s journals done up in chap-book 
format, this isn’t really a ‘zine. Last summer, he put 
out a similar journal called Monitor of Human 
Performance, all about his adventures working at a 
Woolworth’s. Barbeque is a little less focused, but still 
an insightful observance of the lives of ugly white trash 
he sees every day. His relentless negativity is 
sometimes a bit hard to stomach, but it’s an entertain¬ 
ing read. (KO) 

Marc Fischer / 234 Lloyd Lane / Wynnewood, PA 

SULJEV ZABAVNIK #5 / $3.00 ppd. 

5 1/2x8 1/2” - copied - 32pgs - Slavic 
Usually, when I review a foreign ‘zine, I am able to at 
least make educated guesses about the context from 
pictures and format, but on this one I am totally 
clueless. I can’t even begin to tell you what is in here. 
There is something about an “Atheist Rap”, but I don’t 
know if that’s a band, an editorial, or what. (KO) 

Stasic Momir / Moliyerova br. 2 ul.3 st. 13 / 21000 
Novi Sad / Yugoslavia 

ETAT DE CHOC #3 / $3.00 ppd. 

8 1/2” x 11” - copied - 50 pgs - French 
I took French in school, and although I don’t remember 
any of it, I can at least tell what’s in this ‘zine. It’s 
punk rock, kinda crusty-1ookin, and full of fun 
graphics. There are ‘zine and record reviews, comics, 
and several band interviews. (Idees Noires, 
Cadavreexquis, Gogol ler, Glad Nuts, FLQ, Monty 
Cantsin, Vermin) and some comic reviews. If I had 
paid attention in French class, I think I’d enjoy this 
*zine immensely.(KO) 

Dan / C.P. 5545 #C / Montreal, Quebec H2X 3M6 / 

GRIJNS #2/$1.75 ppd. 

5 1/2 x 8 1/2 - offset - 32 pgs. - Dutch 
A wonderful looking Dutch zine that has interviews 
with Assassins of God, Jeff Dahl and Jad Fair plus zine 
and record reviews. This issue also comes with a 
seperate booklet filled with more reviews. 

Graphically, the highlight here is the silkscreen 
wrapper that covers the front and back of the zine. 


Emiel / Madoerastraat 12b / 9715 HG Groningen / 

BORED IMAGES #2 / trade only (zine or art) 
small - copied - 24 pgs. 

A theme oriented zine thats content is based on found 
images and text. This issue is dedicated to Skinheads 
and in a round about way takes the piss out of them 
with ease. (MS) 

BM Active / WC1N 3XX / London / UK 


8 1/2 x 11 - copied - 44 pgs 

Here we go with a self-proclaimed emo-core zine. And 
while goofiness permeates the silliness therein, we tend 
to like this zine. Good photos, though reproduction 
could be better, and the interviews are alright (Fugazi, 
Samiam, etc), but it’s okay, really, it’s pretty good. 


POB 132 / Buckner, KY 40010 

| FANZINE reviews 

PRIMARY CONCERN #7 / $1.50 ppd 

7 x 8 1/2 - copied - 48 pgs 

What a lucky month it is when I get to review two of 
Marc Fischer’s projects. Well, for those of you who 
have been slow on the up-take, this is your last chance 
to check out one of the highest-quality punk publica¬ 
tions around. Aside from Marc’s phenomenal graphic 
abilities, he also knows how to dig up some highly 
entertaining informantion. This issue contains letters 
and art from a few of his incarcerated pen-pals, a long 
interview with Victim’s Family, and tons of reviews of 
‘zines, records, videos, books, and live performances. 
His live reviews are the best, because he tells you about 
all the assholes in the crowd in a most amusing way. 

Marc Fischer / 234 Lloyd Ln. / Wynnewood, PA 

CONFUSED #4 / $2.00 ppd 

8 1/2 x 11 - copied - 24 pgs 

Big, neat, and diversified. Interviews with Fidelity 
Jones, Big Drill Car, Sick Of It All, the Wongs, and 
Epileptic Brain Surgeons. There are record reviews, 
and a couple of feature pieces on the art of farting and 
the dangers of the “Hardline” movement Pretty cool. 

POB 41054 / 4141 Dixie Rd. / Mississauga, Ontario 
L4W 4X9/Canada 

SCAB #2/$2.00 ppd 

7 x 8 1/2 - copied -14 pgs 

This is the most hateful thing I’ve ever seen in my life, 
and I kind of like it S.C.A.B. stands for the Society 
for the Complete Annihilation of Breeding, and they 
are pulling no punches in their attack on hetero-sexual 
“breeders”. Just who qualifies as such is not clear, as 
they award Ben Weasel with the title of “hetero of the 
month” for his MRR column on the hatefulness of kids, 
and give explicit directions for Toronto queer-bashers 
on how to find and kill local homosexuals. “We queers 
are officially disowning those who identify as lesbian 
and gay.” Also targeted is William S. Burroughs 
because he’s old, racist, and a misogynist who has sired 
children. The back cover is a missing-child flyer on 
which they have scrawled “If you hadn’t bred, she 
wouldn’t be dead.” The reason I like this is that for all 
its senseless hatred, it’s the first original, radical 
viewpoint I’ve seen in a long, long time. (KO) 

282 Parliament #68 / Toronto M5A 3A4 / Canada 

SOMETHING SMELLS #5 / $3.50 ppd. 

8 1/2 x 11 - printed - 36 pgs. 

Though typical in content and style, featuring int’s 
(Bliss, Jawbox, etc.), reviews and so on, this is not 
typical in its high quality and production. This is a 
well-done fanzine, so if that’s what you’re in the mood 
for, pick it up. (KC) 

POB 20161 / Barrie / Ontario / L4m 6H2 / Canada 

HEADACHE #5/$3.00 ppd. 

8 1/2 x 11 - printed - 48 pgs. 

I don’t know what it is with the fanzines this month, 
but they are all pretty good. This one is a standard 
fanzine, too, but, once again, well-done. Covers mostly 
bands that I have never heard of. This is a good, 
intelligent mag, worth the interest. (KC) 

32 Queen St. / Invergordon / Ross-Shire / TV 18 0BW 

CHAOS COMIX #20 / $1.00 ppd 
8 1/2 x 5 1/2 - copied - 20 pgs. 

Though some of the jokes are funny and the art isn’t 
too bad, the big tum-off turns out to be the sexist 
quality of several of the cartoons. Not cool. (KC) 

Upper 348 Beckley St. / Victoria, BC / V8V 1J5 / 


KREATURE COMFORTS Vol.4, #1 /$2.00 ppd 
8 1/2x11- printed - 20 pgs 

This issue’s dedicated to collecting, focusing on 70’s 

S hemalia. Also reviews, etc., with no layouts to 
of, so why do I like this zine at all? I thing it 
must be something in the writing. It’s kinda funny. 


1916 Madison Ave ./ Memphis, TN 38104 

JT MAGAZINE #4 / $3.00 ppd. 

11 x 17 - printed - 16 pgs - Finnish, 

This is pretty strange, and judging from its odd size and 
appearance, I really don’t know what to say. It’s not in 
English, yet features Snuff, Anti-Cimex, D.O.A., and 
more. It’s glossy, too. I give up. (KC) 

Vvolikaisentie 10 / 95420 Tomio / Finland. 

BUTT UGLY #5 /$1.00 ppd. 

8 1/2 x 11 - printed - 28 pgs 

I am compelled to say that this magazine is good and 
interesting. Well-produced, good layouts, 
intellingently written. Features are pretty basic; 
interviews (Jawbreaker, Jawbox), reviews, opinions, 
etc., but peihaps it's the time and care put into it that 
makes it better than average. I dunno. It’s just good. 

1408 E. Roberta Ave./Waukesha, WI 53186 

ROTTEN FRUIT #10 / $1.50 ppd. 

8 1/2 x 5 1/2 - copied - 40 pgs. 

The articles and opinions are pretty interesting, the 
skate photos are a little dull, the reviews are mill, the 
poetry exists, and the cover is kinda funny. All in all, a 
decent rag. Rather cool. (KC) 

1058 Beddingfield PI. / Westerville, OH 43081 

UNSILENT MINORITY #1 / $1.58 ppd. 

8 1/2 x 5 1/2 - copied - 36 pgs. 

Zine with straight-edge hardline stance. Articles on 
animal rights and pro-life. Pretty scary. Interviews 
with straight-edge bands. Don't order it (KQ 
3843 Main St, N.R /Columbia Heights, MN 55421 

VERA KRANT #16 / $3.00 ppd 

8 1/2 x 6 - printed - 24 pgs - Dutch 

The gorgeous printing job alone, featuring 3-4 color 

layout, makes it quite attractive to look at, but that’s all 

I can do - look at it- since I don't read Dutch. Really 

neaL (KC) 

Oosterstraat 44 / 9711 NV Groningen/050-128776/ 

CACTUS PRICK # 2 / $1.00 ppd. 

8 1/2 x 11 - copied -14 pgs 

The Didjits and Spunk interviews fill half the zine with 
a ton of photos and so forth; the other half is reviews 
and rantings. There’s not a lot to it, but it’s still kinda 
cool. Low budget (KC) 

1265 E. University, #1014 /Tempe, AZ 85281 

NOIR & ROUGE #21 / $4.00 ppd. 

8 1/2 x 11 - offset - 36 pgs. - French. 

L’anarchie pour la France. Another slick issue of this 
cool anarcho zine from situ-land. Great layouts, long 
detailed articles (as far as my limited french goes, 
anyway), and even a sense of humor and personality. 
Recommended. (LH) 

BP 22. 75660 Paris / Cedex 14 / France 

HOUSE O’ PAIN #6 / $2.00 ppd. 

8 1/2 x 11 - offset - 44 pgs. 

Pretty slicksters here. Generally good interviews 
(Naked Raygun, Jawbox, Moral Crux, Bom Against) 
and very clean layouts. It’s nice to see Jawbox able to 
explain their side of that weird MRR letter controversy. 
Pretty detailed with lots to read. (LH) 

POB 120861 / Nashville, TN 37212 

LOCAL ANESTHETIC #1 /$1.50 ppd. 

8 1/2 x 11 - offset - 32 pgs. 

Good lookin’ for the first issue. Not always the stuff 
that I’m into (AntiSeen, Redd Kross). But interesting 
reading all the same. Clear layouts and an interesting 
Dead Boys interview from 1987. (LH) 

7 George Ave. / York, SC 29745 

SCAM #1 / pay if you want 

8 1/2x11 - printed - 60 pgs. 

It’s sloppy. It’s handwritten. It has nothing nice to say. 
It’s pretty punk. If they only knew how unpunk and 
sissy the bay area really is. A good read for the most 
part. (LH) 

lggy / 425 NE 4th Ave. Apt. B / Ft Lauderdale, FL 

NO OTHER WAY #4 / $1.00 ppd. 

5 1/2 x 8 1/2 - xeroxed - 24 pgs. 

Well, they can say and believe whatever they like. But 
I don’t buy into this religious shit. If you believe that 
freedom comes from servitude, this is for you. For me, 
that’s the antithesis of punk. Shite. (LH) 

POB 5072/Sacramento, CA 95817 

GRUMBLEBELLY #5 / stamps or trade. 

8 1/2 x 11 - copied - 30 pgs. 

Contains bits of Life Is A Joke, so you know it’s hip. A 
good mixture of political, spiritual, and well, whatever 
articles. Interesting layouts with a cool cover drawing. 
Extra points for having book reviews. (LH) 

2622 Princeton Road /Clevland Heights, OH 44118 

THE IDEA #9 / $2.00 ppd. 

5 1/2 x 8 1/2 - xeroxed - 28 pgs. 

Quite an interesting little zine despite the boring cover. 
Good interviews (as you would expect) from Sofahead 
and Fugazi. A cool Snuff tour diary (I love those 
things) and an article on bootlegs. But what a gross 
yellow! (LH) 

8 St Pauls Rd. / Thomaby, Cleveland / UK 

ANARCHY IN PARADISE #2 / 50* ppd. 

11 x 17 - newsprint - 4 pgs. 

I still think it’s sort of a silly name for an anarcho zine 
from Hawaii. Something like “Kill Haole” would be a 
little better. Still, a good read for local and world news. 
Just wish it was a little longer. (LH) 

2233 Kalakaua B205A #1261 / Honolulu, HI 96815 

ADVERSITY #6 / $1.00 ppd. 

8 1/2 x 11 - copied - 30 pgs. 

The cover boasts a list of bands with really mean 
looking logos. Still, smart folks here including Bom 
Against, Extreme Noise Terror, Filth, EOW, Destroy, 
Media Children, and Filth. Poems, reviews, and scene 

HONKIN’ DOG #5 / $2.00 ppd. 

8 1/2 x 11 - copied - 22 pgs. 

Generally good political stuff. But I swear, I’m so sick 
of the old ^evolution vs. revolution” arguement If 
we’re evolving, the future looks bleak. I prefer bombs 
through the bank windows. (LH) 

POB 48059 / St. Albert, Alberta T8N 5V9 / Canada 


8 1/2 x 11 - offset - 28 pgs. 

I hate zines that smell like perfume. Lots of metal and 
more mainstream stuff with too many adverts for my 
liking. Some interesting articles and a Pegboy 
intervew, however. (LH) 

POB 226 / Bensenvill, IL 60106 

KICK IT OVER #26 / $3 ppd. 

8 1/2 x 11 - offset - 48 pgs. 

They’re back and with a whole new line up. I’ve 
criticized before, but I’m still glad they’re around. Lots 
of politics from an anarchist perspective (although I 
still feel at times it's more liberal than anarcho). I like 
the cover slag of Les Miserables. Like a whole new 
beginning. (LH) 

PO Box 5811 Stn A / Toronto, OnL / Canada M5W 

TOGETHER #3 / $2.00 ppd. 

5 1/2 x 8 1/2 - copied - 44 pgs. - German. 

Don’t let the name fool you. This is not a straight edge 
zine. I can’t read it. But it looks nice and has lengthy 
interviews with Hammerhead, Emils, Jury, Crivits and 
more. I think one question is “what are your influ¬ 
ences?” because every so often there’s this long list of 
bands. (LH) 

Michael Friedlich / Rheinstr. 22 / 4223 Voerde 2 / W. 

LOGOMOTIVE #1 / $4.00 ppd. 

8 1/2 x 11 - offset - 40 pgs. 

Another new queer positive zine from the bay area and 
it’s a nifty one. Most of the information/ erotica/ 
whatever isn’t really aimed at me. But it’s all a good 
(and sexy) read all the same. Pictures too! (LH) 

Sunah Cherwin / POB 3101 / Berkeley, CA 94703 

HEY LADIES! #3 / 75* ppd. 

5 1/2 x 8 1/2 - copied - 36 pgs. 

This is really pretty nice. Article-wise, I like that 
there’s a mix between political concerns and personal 
insights. Too much of either can become superfluous or 
self-indulgent Nice mix of both here. The good 
handwriting adds something as well. Interview with 
Monsula (who you know and love) and other stuff. 


Don Siemer / 102 Shango Hall / Suny At New Paltz / 
New Paltz, NY 12561 

DEAD SCENE ZINE #3 / $1.00 ppd. 

5 1/2 x 8 1/2 - copied - 16 pgs. 

This hardcore zine has interviews with Straight 
Forward, Refuse To Fall, The Detrimentz, Inner 
Strength and Shelter. The conversations are pretty 
minimal and far from confrontational but it might give 
pood insight as to the narrow focus that some 
interviewers have. (MS) 

RT. 5 / Box 5368 / Boeme, TX 78006 

ln/2 x 11 - offset - 48 pgs. 

And would you expect anything other than greatness? 
This time around, the articles are written better, the 
interviews have more depth, and the layouts look like 
they are aimed with a computer and know how to use 
it Good interviews with Trusty and Dan Siskind 
(mostly Dan anyway). Best of all is the absolutely 
hideous Econicnrist centerfold. Essential. (LH) 

PO Box 8722 / Minneapolis, MN 55408 

OX #9 / $5.00 ppd. 

8 1/2 x 11 - offset - 52 pgs. - German. 

A really good looking zine here. Long interviews with 
Chumbawamba, Poison Idea, and Majority of One to 
name a few. Nice looking layouts. Seems like they put 
a lot of time into the review sections which is cool. 
Comes with a record too. (LH) 

Joachim Hiller / Joseph Boismard Weg 5 / 4300 Essen 
14 / Germany 

AMOK #15/$5.00 ppd. 

8 1/2 x 11 - printed - 72 pgs. - German. 

Hi Bemd, I still can’t read it and I loved Mannheim. 
Anyway, this is another great issue for this fine lookin’ 
zine although they do manage to interview that shit 
band Cro Mags. Makes up for it with Econochrist. 
Everything seems to be done in detail and if you speak 
the language, there’s a lot to read. If not, there’s a lot of 
cool photos. (LH) 

Pranckhstr. 21 / 6700 Ludwigshafen / Germany 

BEN IS DEAD #14 / $2.00 ppd. 

8 1/2 x 11 - offset - 56 pgs. 

THE best issue so far. I’m not saying that just to be 
nice. This is really the best Lots to read, good to great 
interviews, lots of reviews, and a sense of humor. Well, 
sorta. A great read all the way through. (LH) 

PO Box 3166 / Hollywood, CA 90028 

RIPPING THRASH #6 / $2.00 ppd. 

5 1/2x8 1/2-offset-40 pgs. 

A solid music zine that has its attention on the 
international punk scene. This issue has intervirews 
with Antidrasi, Citizens Arrest, Toxic Trash, Identity, 
Squales, No Fraud and G-Anx. There are also several 
pages of reviews, a bunch of contact addresses and 
some intersting opinions. (MS) 
c/o Steve / 25 Elms Road / Stapenhill / Burtoii-On- 
Trent / Staffs / DE15 9AQ / England 

STARK REALITY #7 / 2-290 stamps 
small - copied - 28 pgs. 

A similar idea to Cometbus but a bit rougher around 
the edges. The content is made up of short rants, 
political graphics, short stories and an interview with 
Sockeye. Interesting for the first couple of minutes than 
things start to lack depth. (MS) 

1206 Monroe Ave. / So. Milw., WI 53172 

FUNCTION #1 /$1.00 and a stamp 
8 1/2 x 11 - copied - 28 pgs. 

An interesting zine that has one of the longest 
interviews with Downcast that I’ve ever read (it lost 
my interest after a while a could of used an editt job). 
THe rest of the zine is made up of reviews and politics 
editorials abvout religion, pro-choice (not pro- 
abortion), anti-hardline and the wonders of hemp. 

Good intentions but somewhat simplistic. (MS) 

20946 Bryant St #31 / Canmoga Park, CA 91304 

CAMBRIDGE! CAMBRIDGE! #3 / $3.00 ppd. 

8 1/2 x 12 - copied - 40 pgs. 

A music lovers zine that has a huge write on Henry 
Rollins, an interview with the editor of Suspect Device 
zine, a talk with Color Factory and a article on ALL. 
There are loads of reviews and several paghes 
dedicated to collectable punk records. (MS) 

26 Union Lane / Cambridge / CB4 1QB / UK 


8 1/2 x 11 - printed - 40 pgs. 

This gives me a fuckin' headache. Computer generated 
comic book which I guess is supposed to be about a 
soldier coming home (in a very abstract way). I guess 
it's pretty good for what it is. But in this format I find it 
hard to absorb (it was an effort to read it all the way 
through). The price is steep. But it does come with a 
cool poster and euro disco flexi. (LH) 

The Working Press / 85 St. Agnes PI / Kennington, 
London SE114BB 


RHETORIC #1 / SI.00 ppd. 

c/o Brad Marta / 461 Rivcrmoor Dr. / Waterford, WI >V 

RAPID FIRE #4/$1.00 ppd. 

RD #2 Box 3370 / Bristol, VT 05443 l 

THE MELTING POT complete set / 2-290 stamps 1 
12001 97th Ave. N. / Seminole, FL 34642 

PUNK PALS #20 / 3-290 stamps 
POB 13391 / Berkeley, CA 94701 

HIGH SCHOOL FAG #3/$1.00 ppd. 

Jeremy / POB 812 / Reading, MA 01867 

OFFICER FRIENDLY #5 / $1.00 ppd 
Box 471631 / Charlotte, NC 28247-1631 

HAND OF GOD #1/2-290 stamps 

2622 Princeton Rd. /Cleveland Ills., OH 44118 

SAADOO #11 /290 stamp 
POB 2561 / Globe, AZ 85502-2561 

TWISTED IMAGE #32 / $1.00 ppd. 

1630 University Ave. #26 / Berkeley, CA 94703 

FLEM #1 /S1.00 ppd. 

Jason Terd / 2804 8th Ave / So. Milw., WI 53172 

LONG SHOT #5/750 ppd. 

POB 546/Furlong, PA 18925 

RAKE #3/290 stamp 

c/o Footlong / 3 Highland Dr. / E. Grcenbush, NY 

EL BRUJO #2 / $1.00 plus 290 stamp 
POB 1964 / Ventura, CA 93002 

SPEAK UP, PEASANT LICKER #2 / 290 stamp 
c/o Jeff/442 Rtej 146 / Clifton Park, NY 12065 

HUH? #3 / $1.00 plus 290 stamp 

Box 118/4712 Ave. N / Brooklyn, NY 11234 

SLAM BRIGADE #4/$1.00 ppd. 

Urban Alert / BP 21 / 93340 Le Rainey / France 


c/o Denise Scilingo / 5406 Grand Ave. / Western 

Springs, IL 60558 

HUNCH #3/$1.00 ppd. 

c/o John Olson / 212 Highland #122 / E. Lansing, MI 

DAWN IS UGLY #5 / $1.00 ppd. 

7 Creek Rd. / Camp Hill, PA 17011 

NEGATIVE COFFE EVIL #1 /290 stamp 
POB 45 / Woodstock, GA 30188 

NO SCENE ANYWHERE #5 / 290 stamp 
c/o Bill Burg / 7453 Evening Way / Citrus Heights, CA 

DASHIDABIDAH #4/ $1.00 ppd. 

3745 Miramar Way #11 / Santa Clara, CA 95051 

EUPHORIC METASTASIS #1 / $1.00 ppd. 

250 River St. / Waltham, MA 02154 


215 W. 26th / Mpls, MN 55404 

FOOD FOR THOUGHT #2 / $2.00 ppd 
25 West 13th St. #5-N-N / NY, NY 10011 


LARD GORE #3/750 ppd 
POB 8722/Mpls., MN 55408 

MOUTH #15/$1.00 ppd. 

POB 2069 / Decatur, GA 30030 





vnM'Ci(>)i OTrrm 
Poi»*y in tos 

ACOnr A ca 9|»,T, 










LP-S7.00 U.S., $ 10.00 ELSEWHERE. T $3.50 U.S.. $5.50 ELSEWHERE (POSTAGE PAID). 





A \ 


v\ \ 

I, The two most important 
I and powerful forces in 
I the known punk 
% universe unite for a 
% workout on two tunes by 
1 the late, great Dead Boy/ 
\ Lord of the New Church 

...Stiv Bators. 

A loving tribute. 
Stiv Lives!! 

Available at all discriminating record stores or 
from Triple X mail order: P.O. Box 862529 Los 
Angeles, CA 90086-2529. Catalog #51100-7; 
$3.50; overseas customers add $3.50 per item- 
CA residents add 8.25% sales tax. 

Open Your Eyes • b/w 
Flamethrower Love „ 


© 1991 Triple X Records 






Also Available; ft re . n t posiPMO 

-Blllleeeaauuurrrrrgghh-The Record” 41 -band, 64-song compilation ^ ru PW® 1 * oHW. «» st ' 

•PINK TURDS IN SPACE / CHARRED REMAINS - 8 song split e.p. ^ ' U.S. 0HU ’ 

•STIKKY‘Cuddle* - 9 song e.p. * n _ ■ .i rtw , 

•NO COMMENT "Common Senseless- - 9 song e.p. $3 • 0R QUERS[AS surface HAIL J>|3p A H 3m 


Iwordsare 2Z7<v] exclusive (LAdee DA) distribution by SanFran.CA94142-0843 

7" e.p.'s! 



*ratfl „ ,«^ ecVa parachute 


Par *gr 9 



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«Pe t 

p *r*U ( 



paralysis Par *bol& parasol 

This 3 song EP by The 
PARASITES is their best ever. 
It's on special multi-colored 
vinyl. Catch Paramania now! 

These three new 7" 
singles cost $2.50 each. 

We’ve given some new 
bands a chance, and you 
should too. Killer tracks from 
West Virginia's DRYROT, 
Indiana’s ICE FAN, and KPF 
from the Bay area. 

Orlando X leads SPECIAL 
FORCES on their 1st release 
in 3 years, with Tang on 
guitar, Oscar on drums, Lint 
from Op Ivy on bass, and Bill 
Collins from MDC on guitar. 

"The World's In Shreds" compilation singles, $2.50 each: Volume 2 with JAWBREAKER, 

Fresno hardcore bands. Volume 4 with THE UNDEAD, STICKS & STONES, PARASITES 
and 3 more New Jersey bands. Still in print - JAWBREAKER'S "Busy" 7", $2.15. 

PARASITES' "Last Caress" 7" $3.00. Also albums by DROOGIES, JAWBREAKER, and _ — _ . . — - ,. 

PARASITES, $6.50 each, LP or cassette. Checks payable to Blacklist, 475 Valencia St., — Bkorm 

S.F. CA 94103. Include $1.05 postage 1st pound, 43C each additional pound U.S. 4th Class. DISTRIBUTED BYMORDAM RECORDS 

HEADCHEESE T-SHIRTS!! BrianStorm, Siamese 
Terror, Needle Teeth and more. Designs and colors 
like no others. $9.95 (plusS&II). SASE (or$l .00) gets 
our color flyer/ordering info. Headcheese, PO Box 
21207, Denver, CO 802221. (Artist inquires welcome). 

ATTENTION GOTHS: I’m looking for tall gothic guy 
named Mark(7). I met you 2/91 on Greyhound headed 
from L.A. to Chicago. I was in Christian Death t-shirt 
w/ gothic girl. I must explain something. Dave, 9 
Alvin PL. Rochester, NY 14607 

BLAST! Yeah that’s right, they rule. Young dude just 
heard of hardcore, needs some connections. Looking 
for L or XL shirts, Wishingwell or not, good shape or 
not. Be cool,sell meyourold shirts. Is there an address 
to order new Blast stuff ? Also can anyone tell me 

SELLING MY record, tape and T-shirt collection, 
records from the 60’s, 70’s, 80’s. All kinds of music 
from folk to punk, please send your want lists: Bob 
Farrington, 7 Florence Drive, Clark, NJ. 07066. (201)- 

MISFITS/SUBPOP SALE: All original-IIaloween, 
Evil Live, Xightof the Living Dead, 1 lOrror Business, 
Marilyn, Walk Among Ls:all 7"s.Sam Iiain-Infinitum 
& Unholy Passion on red, 3 Undead 7" signed by 
Bobby Steele. DO A' w/Biscuits. Call for prices & a list 
of SubPop & Zero Boys single. Lori or Jay (317)272- 

LOVE AND DEATH. Death rockers/industrial rock 
folk in the Los Angeles area. contact us forexpedictions 
to underground clubs, performances and the street 
scene. Write to Rock Renaissance, POBox 1400, 
Burbank, California 91507. 

LOOKING FOR W/.Vl teen to 21 for friendship or pen 
pal, someone into thrash, IIC or metal? (also sexually 
“open mided”). If you’re in school (wrestling or in 
football team?) or not, check it out, and write or call 
to: Hick, POBox 1382-MHH, Hi Sutters st SF CA 
94104-4903.(415)922-6401 (collectok) Sk 8 TV dudes, 
skateboarder’s, bodybuilder's, US.V1C, drummers wel¬ 
come too. Go for it' Later. 

I DETONATORS/ECON OCHRIST split 7". $3.00 post¬ 
paid. Checks or money orders to: Insurrection Records, 
P.O. Box 4314, Santa Rosa, CA 95402. $3.50 Canada 
or Mexico $5.00. Anywhere else. U.S. funds only. 

EASY TO LIKE, hard to know. Just moved toSFfrom 
TX and don’t know anyone in the Bay. Friends de¬ 
sired, pref. self reliant lesbians 16-20, anyone who 
enjoys slamming and especially anyone who will let 
me bum rides to Gilman. Gabriel, 253 Mangels Ave 
SF, CA 94131 

I TRADE: Headless - flexi, Anti Septic - lst/last 7", 
Confuse - all, C. Cocks - all, Shuffle - Violence of Oi 
7" and more! Your list gets mine. Kazuyoshi Kanai, 
734-1, Koubetto, Annaka, Gunma, 379-01, Japan. 

MISFITS, SAMI IAIN, DANZIG records and others 
many colored for sale. Send a stamped enveloped 
with address to: Sal Aartsma, POBox 1132, Patterson, 
NJ 07509 Tel (201) 278-3630, ask for Sal or Mike. 

les area Spanish project. Into peace, anarchy, Crass, 
Conflict, F.P.I., revolution. No place to practise yet 
but a lot of desire. Call or write: Benjamin, 844 Laveta 
Terrace, Los Angeles, CA 90026, Tel:(213) 250-7426. 

fanzines for cheap? Contact me, I’m getting desper¬ 
ate. Paul Emil Experienced $1,50ppd. Samiam, you 
owe me a shirt! Paul Steffens,33 Jefferson Ave., Kearny 

REBELLION. Art and music. Punk/HC/OI The ob¬ 
ject. Conformity? Post-modern. Pleasure/pain. Anti¬ 
generic. The scene? Identity. Materialism? Your re¬ 
sponse. Write tome: Atom,PO Box 020154, Bklyn.,NY 

FUCK AUCTIONS, for trade only: Infest 12 ”, Wide 
Awake 7”, Pagan Babies (gold)7 M , Reason 2 Believe 
(Soulforce) 7", new Y.O.T. (clear) 7", Brotherhood 
(red) 7”, Ilalfoff (red) 7”. See other ad for wants, Paul 

WANTS: Beefeater “Need A Job” 12", Larm/ Stanx 
12", original Deep Wound 7", Jesters of Chaos EP’s, 
and Bum (pink) 7 , also Inside Out (blue) 7”. See other 
ad for trades. Write to: Paul A.,554 Howard St., 
Pasadena, CA. 91104 

FOR SALE: 7” Fear-Fuck Christmas-$15. 7” Sonic 
Youth-N.M.E. “With My Ears” live, and “White 
Cross”-$15.12”EP Misfits “Evil”, live German press¬ 
ing $10. Red Hot Chillipeppers square 10" of “Taste 
’The Pain” $16. Renee, 2126 S.E. Belmont, Portland, 
OR. 97214 

WANTED: Germs Anything!! Bootlegs, 7", albums, 
| videos, etc, etc, etc. Also open forum for discussion. 
Jennifer Martin, 35708 Chestnut, Wayne, MI 48184. 

hardcore records including all rare releases by I)OA, 
Big Boys, Misfits, Sub Pop, Subhumans, Crime, Germs, 
Dils, etc. etc. Will trade for UK punk. Many rare 
11ems. B1 itz 1 st, Chaos U K, U K Subs, GB11, Anti Pasti, 
Vice Squad, etc etc Writeto Mark Egan, 14 Aberdeen 
Grove, Armlev, Leeds, W. Yorkshire, England, LSI2 

LOOKING FOR my girlfriend. She probably lives in 
Orange County, CA. She’s between 20-35 years old, 
down to earth, any race, and pretty. We share a lot of 
interests: the beach, old/new punk (The Damned to 
The Dwarves) as well as other music and related 
activities. She also doesn’t mind that I ride, smoke 
and drink (not too much). I am 31, 165 lb., bm./bm. 
Tattoos, good-looking 5 f ll". Write or send photo + 
phone to: Scott, 2052 Newport Blvd. #81, Costa Mesa, 
CA 92627. 

ATTENTION GOTHS: 1 am a true child of god, losing 
all hope and living by bread alone. You know the 
bands 1 need to know you’re out there, the shit- 
act ion’s about to begin Dave, 9 Alvin PI, Rochester, 
NY 14607 

SELLING RECORDS to raise enough $$ for record 
label. Rare records by Germs, Kilslug, Fix, Morbid 
Angel, Die Kreuzen, Melvins, Agnostic Front, Gang 
Green, Nun Slaughter, DYS, Meatmen, Stooges, Fear, 
Negative Trend, and more. For complete list send 
SASE, stamp or IRC’s to: Ben Gilbert, 122 Beckers 
Lane, Manitoo Springs, CO 80829, USA. Ph. # (719) 

HARDCORE FOR SALE: Project X 7" (band running 
on cover); Underdog 7 (black); YOT “Can’t Close... “ 
7” (first press); Gorilla Biscuits 7" (banana vinyl); 
NFAA 7"; lusted “We’ll Make...” 7" (first press, yel¬ 
low), Judge 7 (New York Crew: blue on Rev.); Unit 
Pride 7"; Breakaway 7". Send bids. Desperate. Will 
sell collection as u whole! Robert, 2775 Ganic, Castro 
Valley, CA 94546. 

WARNING: ALL TRADERS!! Avoid at all costs 
Achille from Eugene. Or, has anyone actually re¬ 
ceived anything from this flake? I have wasted a lot of 
money , time and effort on this loser and have been 
ropped off in return. If anyone knows this douche bag 
or lives in Eugene, give him a swift kick in the ba 11s for 
me. I’d appreciate it. 

SALE: BEAVER (pre-GI) 7". Still have some left. SI 5 
($18 averseas). Also (Misfits, Samhain, Danzig, many 
items), Big Boys/Dicks, Crucifix, Jack Tragic, Token 
Entry, Iron Cross, SOA, Germs, Subhumans, Minor 
Threat, more. . . Want: Victims - Annette, 
Sodom(Japan), MichiroEndo, Kjott, Forgotton Rebels 
- Tommorroe 12” + Kaddafi 7", Freestone, Dirt Shit, 
City X, Betong, Hysteria, Psycho Surgeons, Rocks, 
Heart Attack 7". 3513 Barklley Dr. Fairfax, VA, 22031. 

TECHNICOLOR YAWN ZINE is a classified musix 
and penpals ad fanzine. Classified ads are free but 
please limit your ads to 100 words. Deadline for issue 
#lisOct.lstso hurry and send your ads to: Technicolor 
Yawn Zine, c/o Vomitorium Productions, 322 S. Broad¬ 
way Redondo Beach, CA. 90277. 

BARF- O-RAMA fanzine needs your contributions. 
Send all poems, reviews, ads, etc. Issue #1 is out, for 
a copy send at least 2 or 3 29 cents stamps for postage. 
Please send all contributions and letters to: 322 S. 
Broadway, Redondo Beach, CA. 90277. 

SUB POP 45’s. Lazy Cowgirls (clear) $23 Rapeman 
(clear) $50 Fugazi (green) $50 Blood Circus (red) $50 
.Swallow (gold) $46 Honeymoon Killers (red) $15 
.Green River “Rehab Doll” (green)LP $24, 
Soundgarden “Fopp” 12" $15, “P. Victory” (red) $10, 
Rezillos “Can’t Stand” UK LP $26, X Ray Spex “ 
Germ Free” LP $50. Send wants. Mathies, PO Box 
23184, Seattle, WA. 98102. (206) 285 4615. 

LOOKING FOR Fix, Vengence, to purchase. Write to 
Dave, 3912 Hueneme Rd.,Oxnard, CA 93033 

DET ON AT ORS/E C ON OCHRIST split 7". $3.00 post¬ 
paid. Checks ormoney orders to: Insurrection Records, 
P.O. Box 4314, Santa Rosa, CA 95402. $3.50 Canada 
or Mexico $5.00. Anywhere else. U.S. funds only. 

about M.A.D.; did they have vinyl? Cliff, put down 
your shaver and let me know. Dave, 927 Capuchino 
Ave., Burlingame, CA 94010. 

FOR SALE (all originals): Germs “Lexicon Devil”: 
Child Molesters “ Wholesale Murder” &”Blorp Esette”; 
Big Boys “Frat Cars”; Naked Raygun “Flammable”; 
VKTMS “Midget”; GG Allin “Gimme Head” 
;Koro;Weirdos; Dils; X; Urinals; Social Distortion; 
Avengers; Meatmen; Cripple; Minor Threat 1st; 
Necros-IQ32, Youth Brigade (DC);Misfits “Night Liv¬ 
ing” plus more! send SASE to Flounder, PO Box 
24491, L.A..CA 90024. 

MORBID, passionate (beyond flesh), female, pariah 
poet seeks vampires or those who love vampire's to 
write to and mingle souls. If you understand why I 
hate those who are not “of the knowing” write and 
send me pictures, art, poetry, blood, whatever. Ask 
me questions, tell me your soul, show me truth and 
beauty. Brenda Rose, 11709 55th Ave. SW Tacoma, 
WA 98498. 

ANY FEMALE PERSON who wrote to Chris and 
Nate (from MRR #98) who got their letter sent back, 
please send it again. The address is 634 Leslie Drive, 
Apt.F, Salinas, CA 93906. Those who didn’t write, it’s 
your loss. Thank you. 

HEADCHEESE T-SHIRTS!! Radical designs and 
colors. Needle Teeth, Magician’s Nightmareand more. 
For color flyer and ordering info, send S.A.S.E., $1.00 
(U.S ), or 3 I.R.C.’s to Headcheese, PO Box 21207, 
Denver, CO 802221, USA (Artist inquires welcome). 

SELLING MY record, tape and T-shirt collection, 
records from the 60’s, 70’s, 80’s. All kinds of music 
from folk to punk, please send your want lists: Bob 
Farrington, 7 Florence Drive, Clark, N J. 07066. (201)- 

MISFITS/SUBPOP SALE: All original-IIaloween, 
Evil Live, Night of the Living Dead, Horror Business, 
Marilyn, Walk Among Us: all 7"s. Sam I la in-Infinitum 
& Unholy Passion on red, 3 Undead 7" signed by 
Bobby Steele. DOA w/Biscuits. Call for prices & a list 
of SubPop & Zero Boys single. Lori or Jay (317)272- 

LOVE AND DEATH. Death rockers/industrial rock 
folk in the Los Angeles area. contact us forexpedictions 
to underground clubs, performances and the street 
scene. Write to Rock Renaissance, POBox 1400, 
Burbank, California 91507. 

LOOKING FOR W/M teen to 21 for friendship or pen 
pal, someone into thrash, I IC or metal? (also sexually 
“open mided”). If you’re in school (wrestling or in 
football team?) or not, check it out, and write or call 
to: Rick, POBox 1382-MRR, Hi Sutters st, SF, CA 
94104-4903. (415)922-6401 (collect ok) Sk8-TV dudes, 
skateboarders, bodybuilders, USMC, drummers wel¬ 
come too. Go for it! Later. 

EASY TO LIKE, hard to know. Just moved to SF from 
TX and don’t know anyone in the Bay. Friends de¬ 
sired, pref. self reliant lesbians 16-20, anyone who 
enjoys slamming and especially anyone who will let 
me bum rides to Gilman. Gabriel, 253 Mangels Ave. 
SF, CA 94131. 

TRADE: Headless - flexi, Anti Septic - lst/last 7", 
Confuse - all, C. Cocks - all, Shuffle - Violence of Oi 
7" and more! Your list gets mine. Kazuyoshi Kanai, 
734-1, Koubetto, Annaka, Gunma, 379-01, Japan. 

MISFITS, SAMHAIN, DANZIG records and others 
many colored for sale. Send a stamped enveloped 
with address to: Sal Aartsma, PO Box 1132, Patterson, 
NJ 07509 Tel (201) 278-3630, ask for Sal or Mike. 

les area Spanish project. Into peace, anarchy, Crass, 
Conflict, F.P.I., revolution. No place to practise yet 
but a lot of desire. Call or write: Benjamin, 844 Laveta 
Terrace, Los Angeles, CA 90026, Tel:(213) 250-7426. 

fanzines for cheap? Contact me, I’m getting desper¬ 
ate. Paul Emil Experience#2 $1.50ppd. Samiam, you 
owe me a shirt! Paul Steffens,33 Jefferson Ave., Kearny 

REBELLION. Art and music. Punk/IIC/OI The ob¬ 
ject. Conformity? Post-modern. Pleasure/pa in. Anti¬ 
generic. The scene? Identity. Materialism? Your re¬ 
sponse. Write to me: Atom,PO Box 0201 54, Bklyn.,NY 

FUCK AUCTIONS, for trade only: Infest 12", Wide 
Awake 7", Pagan Babies (gold)7", Reason 2 Believe 
(Soulforce) 7 , new Y.O.T. (clear) 7", Brotherhood 
(red) 7", Halfoff (red) 7". See other ad for wants, Paul 

WANTS: Beefeater “Need A Job” 12”, Larm/ Stanx 
12”, original Deep Wound 7", Jesters of Chaos EP’s, 
and Burn (pink) 7”, also Inside Out (blue) 7". See other 
ad for trades. Write to: Paul A.,554 Howard St., 
Pasadena, CA. 91104 

FOR SALE: 7" Fear-Fuck Christmas-$15. 7" Sonic 
Youth-N.M.E. “With My Ears’* live, and “White 
Cross”-$15.12" EP Misfits “Evil", live German press¬ 
ing $10. Red Hot Chillipeppers square 10" of ‘Taste 
The Pain” $16. Renee, 2126 S.E. Belmont, Portland, 
OR. 97214 

ATTENTION GOTHS: I’m looking for tall gothic guy 
named Mark(?). I met you 2/91 on Greyhound headed 
from L.A. to Chicago. I was in Christian Death t-shirt 
w/ gothic girl. I must explain something. Dave, 9 
Alvin PL. Rochester, NY 14607 

hardcore records including all rare releases by DOA, 
Big Boys, Misfits, Sub Pop, Subhumans, Crime, Germs, 
Dils, etc. etc. Will trade for UK punk. Many rare 
items. Blitz 1st, Chaos UK, UK Subs, GBH, Anti Pasti, 
Vice Squad, etc. etc. Write to Mark Egan, 14 Aberdeen 
Grove, Armley, Leeds, W. Yorkshire, England, LSI 2 

LOOKING FOR my girlfriend. She probably lives in 
Orange County, CA. She’s between 20-35 years old, 
down to earth, any race, and pretty. We share a lot of 
interests: the beach, old/new punk (The Damned to 
The Dwarves) as well as other music and related 
activities. She also doesn’t mind that I ride, smoke 
and drink (not too much). I am 31, 165 lb., brn./brn. 
Tattoos, good-looking 5’H". Write or send photo + 
phone to: Scott, 2052 Newport Blvd. #81, Costa Mesa, 
CA 92627. 

ATTENTION GOTHS: I am a true child of god, losing 
all hope and living by bread alone. You know the 
bands. I need to know you’re out there, the shit- 
action’s about to begin. Dave, 9 Alvin PI, Rochester, 
NY 14607. 

SELLING RECORDS to raise enough S$ for record 
label. Rare records by Germs, Kilslug, Fix, Morbid 
Angel, Die Kreuzen, Melvins, Agnostic Front, Gang 
Green, Nun Slaughter, DYS, Meatmen, Stooges, Fear, 
Negative Trend, and more. For complete list send 
SASE, stamp or IRC’s to: Ben Gilbert, 122 Beckers 
Lane, Manitoo Springs, CO 80829, USA. Ph. # (719) 

TECHNICOLOR YAWN ZINE is a classified musix 
and penpals ad fanzine. Classified ads are free but 
please limit your ads to 100 words. Deadline for issue 
#1 is Oct. 1st sohurry and send yourads to:Technicolor 
Yawn Zine, c/o Vomitorium Productions, 322 S. Broad¬ 
way Redondo Beach, CA. 90277. 

BARF- O-RAMA fanzine needs your contributions. 
Send all poems, reviews, ads, etc. Issue #1 is out, for 
a copy send at least 2 or 3 29 cents stamps for postage. 
Please send all contributions and letters to: 322 S. 
Broadway, Redondo Beach, CA. 90277. 

/SUB POP 45’s. Lazy Cowgirls (clear) $23 Rapeman 
(clear) $50 Fugazi (green) $50 Blood Circus (red) $50 
.Swallow (gold) $46 Honeymoon Killers (red) $15 
.Green River “Rehab Doll” (green)LP $24, 
Soundgarden “Fopp” 12" $15, “P. Victory” (red) $10, 
Rezillos “Can’t Stand” UK LP $26, X Ray Spex “ 
Germ Free” LP $50. Send wants. Mathies, PO Box 
23184, Seattle, WA. 98102. (206) 285 4615. 

LOOKING FOR Fix, Vengence, to purchase. Write to 
Dave, 3912 Ilueneme Rd..Oxnard, CA 93033 

BLAST! Yeah that’s right, they rule. Young dude just 
heard of hardcore, needs some connections. Looking 
for L or XL shirts, Wishingwell or not, good shape or 
not. Be cool, sell me your old shirts. Is there an address 
to order new Blast stuff ? Also can anyone tell me 
about M.A.D.; did they have vinyl? Cliff, put down 
your shaver and let me know. Dave, 927 Capuchino 
Ave., Burlingame, CA 94010. 

FOR SALE (all originals): Germs “Lexicon Devil”; 
Child Molesters “ Wholesale Murder” &”Blorp Esette”; 
Big Boys “Frat Cars”; Naked Raygun “Flammable”; 
VKTMS “Midget”; GG Allin “Gimme Head” 
;Koro;Weirdos; Dils; X; Urinals; Social Distortion; 
Avengers; Meatmen; Cripple; Minor Threat 1st; 
Necros-IQ32, Youth Brigade(DC);Misfits “Night Liv¬ 
ing” plus more! send SASE to Flounder, PO Box 
24491, L.A., CA 90024. 

MORBID, passionate (beyond flesh), female, pariah 
poet seeks vampires or those who love vampires to 
write to and mingle souls. If you understand why I 
hate those who are not “of the knowing” write and 
send me pictures, art, poetry, blood, whatever. Ask 
me questions, tell me your soul, show me truth 
beauty. Brenda Rose, 11709 55th Ave. SW Tacoma 
WA 98498. 

ANY FEMALE PERSON who wrote to Chris and 
Nate (from MRR #98) who got their letter sent back, 
please send it again. The address is 634 Leslie Drive, 
Apt.F, Salinas, CA 93906. Those who didn’t write, it’s 
your loss. Thank you. 

CROSSING COUNTRY next Spring or Summer and 

wants to come or will give us a place to sleep, your 
letters are welcome. Otis, POBox 2392, Ocean Bluffs, 

ULTRA VIOLET EYE songs available for compila¬ 
tions. We’re on several discs w/ Sonic Youth, Mr. T 
Experience, Redd Kross, others. Write soon as we’re 
currently “contact free”. U.V. Eye, 842 Folsom St. 
#101, San Francisco, CA 94107 

SLAP OF REALITY: Anyone who has written to us 
over the past two months, sorry for the delay! We’re 
back from tour now and everything should be back to 
normal soon! T-shirts are still available for $9 ppd 
and 7 "s for $3 ppd. Stickers free (send a stamp). Thanx 
to everyone who put us up, gave us shows, and fed us 
on our summer tour. See ya next year! Rob/Slap of 
Reality;2009 Waikiki Way, Tampa FL, 33619. LP out 

BRAZILIAN NON-PROFIT traders looking for any 
other traders around the world. We can get you 
everything from super hero land, “Indiana Collor”. 
We are interested in records (old/rare/recent), t-shirts, 
tapes...Your list get our list with all available (and 
ndt) stuff from here. Write to: Manoel, Rua Manoel 
Gaia 1636, Capital, S.P. 02313, Brasil or: Adriano, Cx. 
Postal 17072, Capital S.P. 02399, Brasil 

SPENCER MAK (Lobotomy exchange Records) is 
still waiting for a reply from the following (they all 
owe me money for the One Blood EPs): Sakis/Indus- 
trial Suicide in Greece ($26), Blacklist ($21), Joris/ 
Bonds of Friendship in Belgium ($26) ThorstenTohte 
in Germany ($39), Michael Krapf in Germany ($26). 
Also, the following owe me records: Fountain Records 
(Chain of Strength and End to End EP’s), Which Way 
Records (Generation of Hope comp. EP’s), Revelation 
Records (Quicksand CD single), Dave/ Infest (thenew 
Infest EP), and Dean Jones (UK) (Rea Noise EP). 
Please write as soon as possible. It’s been too long! My 
address is: Spencer Mak, 4981 Hwy#7 East, Unit 12A, 
Box 21, Markham, Ontario, L3R INI, Canada. 

SOUL ASYLUM WANTED. Especially need live tapes 
and all 7" records. Also want Jesus Lizard, Rapeman, 
Unrest, Meat Puppets, Urge Overkill, etc. Will buy or 
trade. Paul Kangas and Rich (Green Bay), where the 
fuck are my tapes? Don’t trade in MRR if you guts 
aren’t going to be cool about it. Get off your asses. 
MarkStelmach, 15A Jefferson St. Madison, WI. 53711, 
(608) 257 8719. 

- (Kids) $45 , Flex Your Head 
On stage (clear) $20. 7"s 
, Mourning Noise $15, 
Others. Call (919) 758 1770. 

WANTED: L7 1st release on Epitaph Records, Smell 
the Magic tour t-shirt x-1 only, photos & flyers. Other 
wants... Twin Peaks - anything, Nirvana - 1st 7", live 
L7, Buffalo Tom, Nirvana, Mudhonev tapes . .. send 
lists to Matt, PO Box 9161, Waukegan, IL 60079. 

KNIFE SPEAK POETRY ‘zine #1 out now w/poetry- 
art from Kevin Seconds and many more ... $2 ppd. 
Knife Speak #2 out in Sept, with poetry from Kevin 
Seconds, Pop Conrad, Cliff Hopkins + more ... No 
Checks! Looking for contributions for #3 Knife Speak, 

T-I_A1<>1 TIT_ 1 _,_ TT CrtfllO 

HARDCORE FOR SALE: Project X 7" (band running 
on cover); Underdog 7" (black); YOT “Can’t Close... 

7” (first press); Gorilla Biscuits 7" (banana vinyl); 
NFAA 7"; Insted “We’ll Make...” 7" (first press, yel¬ 
low); Judge 7" (New York Crew: blue on Rev.); Unit 
Pride 7"; Breakaway 7". Send bids. Desperate. Will 
sell collection as a whole! Robert, 2775 Ganic, Castro 

PEOPLE OUTSIDE California in the continental US 
“Threat By Example” for only $7.50 postpaid or “You 
Don’t Have To Fuck People Over To Survive” for only 
$9.50 postpaid or both for $16. Checks or money 
orders payable to: Insurrection Records, POBox 4314, 
Santa Rosa, CA 95402. You won’t find these killer 

PEN PALS WANTED! 16 yr. old female into Jane’s 
Addiction, Fugazi, Primus. All-life vegetarian. Purple 
hair, green martens . . . Need creative, open-minded 
friends to rescue me from small town blues! Fast 
response guarenteed! Em, 402 Woodland Rd. Easton, 
PA 18042. 

Valley, CA 94546. 

books cheaper than this. 

NEED A FRIEND who’s honest, vegetarian, loves 

WARNING: ALL TRADERS!! Avoid at all costs 
Achille from Eugene. Or, has anyone actually re¬ 
ceived anything from this flake? I have wasted a lot of 

SUPPORT A.L.F. SWEDEN Order “Civilisationens 
Bakgaid” benefit comp 7" with The Sun, Svart Sno, 
Dom Dar, G-Anx, No Security. Includes booklet and 

jane’s Addiction, is open-minded and loves writing 
letters? Then you’re reading the right ad! Write me. 
Em, 402 Woodland Rd. Easton, PA 18042. 

roppixi off in return. If anyone knows this douche bag 
or lives in Eugene, give him a swift kick in the balls for 
me. I’d appreciate it. 

SALE: BEAVER (pre-GI) 7". Still have some left. $15 
($18 averseas). Also (Misfits, Samhain, Danzig, many 
items), Big Boys/Dicks, Crucifix, Jack Tragic, Token 
Entry, Iron Cross, SOA, Germs, Subhumans, Minor 
Threat, more. . . Want: Victims - Annette, 
Sodom(Japan), Michiro Endo, Kjott, Forgotton Rebels 
- Tommorroe 12" + Kaddafi 7", Freestone, Dirt Shit, 
City X, Betong, Hysteria, Psycho Surgeons, Rocks, 
Heart Attack 7 .3513 Barklley Dr. Fairfax, VA, 22031. 

NOW AVAILABLE: Penis Surprise “Value” 7” Ep. 
11-songs. Masters of punkrock. $5.00 ppd each cash 
only. To: Maho Pop Records, P.O.Box 69, 40101 
Jyvaskyla. Finland. 

($4), Totalitar “Snabb Livsgladje" new 7" ($4), Dorn 
Dar “Skrattar...” 12 ($10), No Security/ 

Valvontakomissio split LP ($12). All prices postpaid 
air, world (cash only). Edelberry Records c/o S. 
Hakeskob, Polstjamevagen 2 4tr, 554 64, Jonkoping, 

ATTENTION: All you S.E./ posi bands, labels, zincs 
which are interested in selling their stuff (also demos, 
t-shirts, stickers) in Europe. Should write us! We’re 
serious folks! Also a compl 7" on the way, send your 
tunes to us!K.M.K./P.M.A.Rec’sc/o Jan,POBox 122, 
8800 Roese Lare, Belgium/ 

RECORD SALE - Greatly discounted! Misfits, 7Sec- 
onds, Youth of Today, M.D.C., Septic Death, maga¬ 
zines too! Hurry! Free list! Mike 8711 49th Ave Col¬ 
lege Park, MD 20740 

RECORDS FOR SALE: All sorts of hardcore and 
straight-edge LP’s, 7"s cassettes, cassette singles and 
demos. I’ll sell cheap or else trade fir DC type stuff. 
Please write for a list. Scott, 154PincSt. NTonawanda, 
NY 14120. 

LATIN AMERICAN readers! Hi! 22 year old British 
fanzine writer (UK Resist) coming to live in Argentina 
and visit Colombia/elsewhere for a year from Sep¬ 
tember. Would live to meet you and exchange stuff. 
Please write to Jake Lagnado, 28 Avenue rd.Isleworth, 
j Middlesex, TW7 4JN, England. Don’t worry- I’ll still 
recieve mail sent after I leave. _ 

RAPID FIRE Magazine - Issue #4 Now Out. 5 1/2 X 8 
1/2, 16 pages, He shows, more! Send $2.00. To: Rfm, 
Ild#2 Box3370, Bristol, Vt 05443. 1 week 
delivery+postagepaid. Rat Dog of Rat Dogs Army. 

BORED? ME TOO. Write me and send me fun stuff. 
18 year old girl living in the Pittsburgh area into 
Rollins, Rad Religion, Naked Raygun, Mr. T Exp., 
Soulside, Op. Ivy, Fugazi, Jawbox, Jawbreaker, etc. 
Tell me where your at and what your doing. Lisa I). 
108 Truman Dr. Monaca, PA 15061. 

SEND A STAMP FOR 7" LIST U.S. Indies, U.K. and 
Aussie Imports, Am Rep, Subpop, Busstop, Merge, 
Sarah, Scat, Noisville, Estrus, Rave, Drag City, 
Dogmeat, Insipid, Public Bath, K, Seminal Twang, 
Leopard Gecko, Moist, Ajax, Glitterhouse. Rare and 
out of print. New and old- Pier Platters 56 Newark St. 
Hoboken, NJ. 07030. 

lation incl. first LP Halloween, tracks from “Black 
God” & Unkind-EP; 28 tracks 82-91. Also available 
Kaaos LP Ristiinnaulittu re-release. LP USA/Asia 
S10 airmail, $8 surface; europe 6L/20DEM. All ppd 
KILL CITY, Box 47,00531 I Ielsinki, Finland, Europe 

TERVEET KADET EP Message, Riistetyt EP 
Tuomiopaiva, Sancho Panza 7": My generation, Mama 
& Darkbreakers 7": The President, Spanish Fly 7": 
Here she comes, Siouxie 7": Travelling Song. EP/7": 
$4 surface, $6 airmail. All ppd. Kill City, Box 47, 
00531 Helsinki, Finland, Europe. 

IK RESIST #5 $2 surface/S3 air. 8 1/2 x 1 1 printed 
36 pgs. PC) Box 244A,Surbiton, Surrey, KT5 9LI l K 

ENGLISH GUY. 25 and vegetarian moving to LA in 
November. I’m interested in music, art, literature, 
writing and travel. Would love to hear from a girl with 
similar interests for communication. Trust and long 
lasting relationship. Real, full love can still be found. 
I know it. Write to me: Folder 12, 90 Grange Drive, 
Swindon, Wilts, 5N3 4LD, England. 

TRADE/SALE: Anti-Cimex: Anarkist Attack 7” , 
Shatter LTD: Syo paskaa LP, CCM: both7"\s, DOA. 
Triumph of the Ignoroids 12”, Xecros: Early Days 7", 
Skrewdriver: 7"’s, Terveet Kadet: Message 12” (10 
copies exist!) + many many more, 20 page catalogue 
for IRC or your lists, Looking early US punk/hc 
records, write to Alternative Action, Box 74 SF- 
11101 Rmk Finland 

ALTERNATIVE ACTION presents: Maho Neitsyt: 
Ottaa paahan ep, Hybrid Children: Reveal your 
charms ep, Terveyskeskus: Pimeys ep, Terveet 
Kadet: Kadet suo jelee ep & Message ep, Riistetyt: 
Laki ja jSrjestys ep & Tuomiopaiva ep + hundreds 
more, list your 7" , send your order to: Alternative 
Action box 74 Sf-11101 Rmk Finland 

NEED A COVER PHOTO for your next record? Es¬ 
tablished, but unconventional fashion photographer 
wants to expand into the record photography busi¬ 
ness Alternative labels preferred. Contact 
Dpnnadieu, 17 N Elizabeth, Chicago, Ill. 60607, 
U s a Serious inquiries only. 

Polloi, etc. records tapes/fanzines. Over 400 items. 
Send S1.00 for full 30 page catalog to BBP, 90 Grange 
Drive, Swindon, Wilts, SN3 4LI), England. 

breaker, J from Bushwacher, lots of reviews, articles 
by cool people, etc. $1 to 7781 Avenida de Carlotta, 
Tucson, AZ 85704. 

7"ERSALE- TeriyakiAsthma#1 -$30.00,Fix-“Jans 
Room” - $65.00, Desecration w/flexi - $30.00, Cat 
Butt “64 Funny Cars” - $25.00, Chunk “What Do I 
Do" (60ID) - $25.00, Savage Beliefs - $20.00, Faction 
“Corpse” - $15.00, Endangered Species Boy - $25.00, 
Dope Guns #2 - $30.00, #3 - $25.00, #4 - $20.00, Brian 
Wybenga, 744 Marcia S.W., Wyo, Mich. 49509. 

AGONY... Yet another trendy Homo-zine for alien¬ 
ated hipster types everywhere ... $3 cash only to 
Agony, 1805 E. Lafayette PL, Milwaukee, WI 53202. 
(Mailed in a plain envelope so Aunt Leona won’t open 
it...) Issue # 1: Death, Pain, Alienation... Also — Bad 
homo poetry, Die Kreuzen, Billboard Mutilation, dated 
retro punk-krock art, plus - - plenty of other stuff for 
frustrated Fags & Dykes. 

FOR SALE: Amen: Paranemia LP US$14, 
Rythmihario: Surman Siipien Ilavinaa LP US$14, 
Anti-Cimex: Absolut LP US$13, No Security/ 
Valvoniakomissio split LP US$12, II.II.II.: Aporellos 

JUGHEAD’S REVENGE - 7 inch on blue vinyl avail¬ 
able for $3 US, $4.50 foreign. Make checks payable to 
Brian Preiss. You’ve seen the Flipside and MRR inter¬ 
views, now hear it. Jughead’s Revenge, 1414 N. Foller 
ave, Hollywood, CA 90046 

PUNK SHIT FOR SALE: Fugazi-SubPop (green), 
Fear “Fuck N inas”, Bad Religion 7" (original), Green 
Day “Slappy" (test pressing), Rapeman “Inki’s Butt 
Crack” (SubPop), MDC all 7's, Really Red “New 
Strings” 7", Screaming Trees double 7" (1st press- 
colored), Melvins/S.P.B.Tsplit (colored), Afgan Whigs 
SubPop single (1500 pressed), Meatmen “Cripple” 
(7”, Flexi promo), Gorilla 7" and 100’s more! Send 
bids to. Auction, 2009 Waikiki way, Tampa FI,, 33619 
USA. Send SASE for full list of 7"sand I,P’s! Thanks! 

UPSTATE RECORDS: “No Exit, No Return” comp 
7" with: P.O.E., Dead Image. Refuse to Fall, + 
Encounter. First press of 200 on clear vinyl out now. 
2nd press of 200 out soon. Out soon new P.O.E. 7" ep; 
6 new powerful tunes. Send stamp for info or orders 
to Dave Palmer: Upstate records 283 Betsinger 
Sherrill, NY 13461-1208 Oh-the 7" is 3.50 ppd. No 

SCROTUM PRODUCTIONS list isava for $1.00 loads 
of hot stuff. Also advertise your thing in the journal of 
hate $2.00 1/4 page, $5.00 full page. Bands write. Also 
Louisville Kids who have old maurice, Fadein Out, 
MFG recordings get in touch. Current issueof T.J.O.F. 
only $2.00 to: Jason 414 North view Dr. Shep. KY 

I ,P US$14, Riistetyet: Tuomiopaiva EP US$7, Tervert 
Kadet: Message EP US$7, Terveet Kadet: Unkind EP 
US$7, Totalitar: Snabb Livsgladje (Demo 86) EP 
US$5. All prices are postpaid from: Finn-Records, e/ 
o Jari Juho, Vasterg 15B, 63344 Eskilstuna, Sweden. 

FOR SALE: Terveet Kadet: Kindet Suoselee EP US$6, 
Mahoneitsk: Ottaa Paahan EP US$5, Irstas EP US$5, 
Sons of Ishmael: Sing Generic Crap EP US$5, F.2.o: 
Den Felande Lanken EP US$5, Jesus Exercise: The 
Voice of Profit EP US$5, Radioactive: Herra EP US$5, 
No Security EP US$5, No Security/Cruel Maniax 
split EP US$5, all prices are postpaid from: Finn- 
Records,c/oJallo Lento, V.Storg7B, 63342 Eskilstuna, 

ATTN CANADIANS, Viletones. freak searching for 

ATTENTION: Distributors, labels and consumers. 
New stuff from Campary records. Soulstorm LP (ex- 
Infemo) $11, Klamydia “I Really Hate You” EP $5, 
Momido 7/SS 20 split EP $5, The Loud debut EP $5. 
Wholesale list for $1. Labels can trade. Campary 
records, Friedrichstr, 110/4000 Dusseldorf, 1/Ger¬ 
many. All prices includes airmail. 

GRINDCORE: Yeah, I’m broke and selling these slabs 
of chaos to the highest bidder! Here’s what I got: Fear 
Of God 7" (clear), Filty Christians/G-Anx split 7", 
A.C. 88 song EP, Morbid Angels “Thy Kingdom” 7" 
(original, white vinyl), Atta/Pareni split 7" (yellow 
vinyl #261), Napalm D live tour”, Napalm/S.O.B split 
7", Heresy “Neverhealed”, Pungent Stench/Benedic¬ 
tion split (test pressing), 7 M.O.N “Our Culture” 7" 
(orange #81), SM 70 first 7", Gastunk fan club 7” 
(marbled vinyl), Chicken Bowels EP, Morbid Angel 
“Blessed Are The Sick” LP on 5"X7" box set. Also lots 
of death metal and HC goodies. Send SASE for list to: 
Grind Auction, 2009 Waikiki way, Tampa, FL 33619 

COMING SOON UNITE #4. Send material for review. 
Ad rates: full page-$20,1/2 page-$10,1/4 page-$5, 
business cards - $2.50, classified ads under 40 words 
- $2. Send to James Newbery, 823 Hylan Blvd. 
Grasmere S.I. N.Y. 10305 

EARLY ORDERS now being accepted for Unite #4. 
Ints with Enoughsaid, Krack, Born Against, Snag, 
Dog Tired, Sleeper, Doughboys and more. Send 2.00. 
James Newberry, 823 Hylan Blvd. Grasmere, S.I. NY, 

IN STOCK - we’ve got Misfits “Horror Hotel” 7"s (ltd. 
no. to 300) .$5.00, Larm “Straight On View” LPs 
sealed $8.00. Germs “Forming” 7"s (ltd clear 1000) 
$4.00. U.S. postage please add $2.00, foreign add 
$4.00. Please make m.o./check to Rick K., Vacant 
Street Records, 2611 Via Campo, Suite 228, 
Montebello, CA 90640. 

FOR SALE: X Claim complete!!!! The records go to 
the highest bidder! Thomas Doering, I lasenwin Keler 
Str. 75, 4630 Bochum 5, Germany 

FOR SALE: Misfits - Night of the Living... 7", 3 Hits 
from Hell 7", Evil Live 7", Walk Among Us 12". All 
records orig. Night of the Living ... Live 12" black + 
mamor, Die Die My Darling. The records go to the 
highest bidder! Thomas Doering, Hasenwin Keler 
Str. 75, 4630 Bochum 5, Germany. 

trading: BGK 7” and Blitz any 7", Gang Green any 7”, 
Discharge any 7”, Heresy flexi and 7” and 150 records 
more. I need; SFA 7”, Go 1st 7”, and the Revelation 
stuff (old) and more!!! Send lists to: Thomas Doering, 
Hasenwin Keler Str. 75, 4630 Bochum 5, Germany. 

LOOKING FOR RESPONSIBLE and diligent people 
to trade records with in Japan, England, Germany, 
Sweden, and Finland, for such bands as Asta Kask, 
Star Club, Fuck Geez, Disarm, OHL, Chaos Z, One 
Way System, and the Business. John Abram, 346 N. 
La Jolla Ave., Los Angeles, CA 90048. (213)658-5166. 

FOR SALE: (Make an offer!): Awake! “Beliefs” (1st 
press), Brotherhood 7" (red), Warzone “East Side” 7", 
Straight Ahead 12", Unity 7", Wasted Youth “Reagan’s 
In” 12" (original), Jfa “Blatant Localism”, Appendix 
“Parock” (Finland, 1st press), Adolescents “Welcome 
to Reality” (original with picture sleeve), Fugazi Sub 
Pop 7" (signed by band). Anthony W., 3120 Bloomfield 
Ln. #1011, Auburn Hills, MI 483236 

DIAMOND HITCHHIKER Cobwebs #93: Christian 
Death, Sleep Chamber, Diamanda, London After 
Midnight, black tape..., Eleventh Hour, Fakir Musafar, 
Tim Renner, Terri llauens, dcathpunk deities, 
magiekians, artists, writers... , erotic suicide notes, 
S&M Dungeon, morbid tancewritings, deathpunk 
penfriends... cemetary news from around the world... 
more... $3 cash + 2 stamps: Box 0162, Hampshire 
College, Amherst, MA 01002. 

Bauhaus, pickles, cats, and poetry. Seeks correspon¬ 
dence from gothic and new-waver guys who wear 
make-up, love black, don’t drink, smoke or do drugs, 
and love to write letters, (good luck, huh?) —Girls... 
all punks, goths and new-wavers, write!!! Please 
hurry. I’m lonely, in a new town, and getting desper¬ 
ate.— Dregs, 2000 Paradise Rd. #3202, LaswVqgas, 
NV. 89104 


RARE 7” RECORD AUCTION, including: MDC, Poi- 

ATTENTION HC/SE/punk band, labels, etc. Send 
LP’s, CD’s 12"s, 7"s demos, whatever^ for HC/punk 
radio show starting in Sept. Covering Fairfield 
County,CT/ Putnam County, NY area. Sena to WXCI’s, 
Everything Good and More, 181 White St. Danbury, 
CT. 06810 or call (203) 792 8666. Ask for Dave S. or 
Dave L. 

MUST SELL: Misfits orig. Beware 12" in very near 
mintcond., Misfits orig. Halloween 7", auto’d, and 
a few bootlegs (no higher than $20 for a boot) only 
serious offers please. No trades. Dave-283 Betsinger 
Rd, Sherrill, NY 13461-1208 

son Idea, Wretched, Disorder, Terveet Kadet, Raw 
Power, N.O.T.A., Cancerous Growth, Shotgun Solu¬ 
tion, Newton Neurotics, Double-O, False Prophets, 
Rattus, Kaaos, and Agent 86, to name a few. Tons 
more, just send S.A.S.E. for list to Matt Petersen, 58 
1/2 E. Green St., Apt. 1, Champaign, IL 61820. Willing 
to trade for ska and oi records. 

FLAME STILL BURNS #1. A zine of insightful inter¬ 
views. “These are pretty good questions, the best I’ve 
had in an interview yet.” - Ray Cappo. Interviews w/ 
Porcell, Verbal Assault, and Ray Shelter. $2.00 ppd. 
to: Brett Anderson, 96 West Main St., Mendham, NJ 

NOISECORE-GRINDCORE Vocalists! Please write! 
Chaotic crusty Uk bassist/lyrixist seek extreme sing¬ 
ers with veiy raw harsh gruff vocals - rawer the better 
- Aaaarrgggghhhh!! Lets communicate, build 
noisegrind internationally! Write! Pete Vandor, 79 
Darwin Rd, Ealing, London, W54BB, England, Uk 

AUCTION: MDC - Multi Death, and Dead Children 
7"ers, Discharge - Realities of War 7", Broken Bones 
- Decapitated 7", Accused - Return of Martha (orig.) 
LP, Sex Pistols - My Way (Sid), Biggest Blow 12", 
Dead Kennedy’s - Kill the Poor/Insight 7". Send bids 
to Andy, 2120 Rupert St., Vancouver BC, V5M 356 

YO MAN, I want your negatives or photos of cool 
straight edge bands. I’ll buy or trade for 'em. I am also 
looking for Cleveland Indians memorobilia; cool hats, 
shirts, cards, etc. Write to: Jake, 1400 Milwaukee A ve, 
South Milwaukee, WI, 53172 

18 YEAR old seeks others into punk, anarchy, draw¬ 
ing, and tatoo’s. Listens to Ministry, Cramps, Minor 
Threat, Dk’s, and Dead Boys. Will answer all letters. 
Send pic if possible. Tiger Peart, Whiting Forensic, 7 0 
O’Brien Dr., Middletown, CT, 06457 

COFFINS!: Mr. Coffins says: You don’t have to die to 
rest in Peace! Coffins galore from $300.00 up! Coffin 
Bookcases, Custom Coffins, Coffin Tables & Props; If 
you can think of it, and we don’t have it- we’ll build 
the damn thing! We ship! We rent in the S.F. Bay 
area! Call Before It’s Too Late! Mr. Coffin 1-800-678 
doom or (415) 695-9065 

THE ZINE THAT NEVER WAS... Although reviewed 
in Mrr and Flipside, this zine didn’t exist... until 
now! 1 Charrette’s Eye View #1 is out now. Send $1.50 
(stamps too, please) to see why they made me do this! I 
Cartoons, cannibalism, rantings, images and old toys... 
Charrette’s Eye View 242 Rathgar St. Fall River, 
Mass. 02720- The birthplace of Lizzy Borden 

WI I ATS THE WORST SMELL you’ve ever smelled? 
Bad Religion, Bazooka Joe, Bliss, Crawl/Child, 
Jawbox, Mud, Overthrow, Phleg Camp, and Shoefly 
tell theirs in Something Smells #5. 36 8 l/2"xll" 
offset pages $3.50 postpaid (it cost me $ 1.95 to mail to 
the U.S. - that’s one thing that sucks about Canada.) 
Naw address: PO Box 20i 61/ Barrie Ont./ L4M 6142/ 

LOOKING FOR PEOPLE to trade tapes, articles, and 
interviews with, who listen to the likes of Death In 
June, Current 93, Sleepchamber, Coil, Christian Death, 
Lustmord, Six Comm, Skinny Puppy, and other goth 
and industrial. Also anyone who has interests in the 
Prisoner series, Miorbeao, runes, lycanthropes/ hor¬ 
ror, or similar interests, please write: Wraith Rd #2 
Box 398 Birdsboro, PA 19508 

ART ANI) MADNESS is an alternative music zine 
looking for any contribution. Labels send for free 
ads. Bands write if you want to be interviewed. Also 
send records, tapes for review. Free classifieds. Den¬ 
nis Pena/ Prolongation Gangallo 420/ Lima 13/ Peru 

REPLACEMENT guitarist wanted for Gothic death- 
metal band. Carnivore,old Caltic Frost/Hellhammer, 
and some Napalm Death and Sodom influence. 
Lengthy repetoire, some live experience. Serious 
only, no time wasters, no poseurs, no B.S. Must live in 
Nassau/Long Island, N.Y. area and have own equip¬ 
ment. Call (516) 294-5776. Leave message. 

PUNK PAPER Doll Coloring Book send $4 pp (Usa 
only) to Marginal Arts, P.o. Box 2494, Virginia Beach, 
VA 23450-2494. Senseless fun for all ages and most 
mentalities. See ff5#43 Artifacts Review. 

PUNK: UNNATURAL AXE 7" “Three Cord Rock”/ 
"Tonight we Fight" $15.00 pp Skrewdriver “All 
Screwed Up” promo poster (Pre neo 1st Lp) Rare 
$10.00 pp tubed. Dead Boys T-Shirt $16.00 pp 
Wanders Lp (Pre Lords Of The New Church with Stiv 
Bator’s and Sham 69’s Treganna) sealed. $15.00 pp 
Inquiries send S.a.s.e. to: D.Giovanni P.O.Box 46881 
Mt. Clemens MI 48046. Money orders only! 

RESIST WISHES to welcome aboard new drummer 
Ty Smith of Illinois Namland/Poison planet ‘zine 
Imfamy. We also wish to apologize to those folks we 
missed on tour when our van died after only three 
shows. See you next time for sure! Lastly, we wish to 
apologize to anyone who has had problems with (or 
feels ripped off by) Media Blitz Productions/Mark 
Landers. Hopefully those problems are in the past. 
Write us, ok? Resist - 1951 W.Burnside, Po Box 1654, 
Portland, OR, 97209 

TRADES: JUDGE - “Vivo en Wnyu" 7" boot (350 
made), Napaln Death -"Enslavement...” (with Gate- 
fold”, Poison Idea - “Darby Crash..." 7" (blue), other 
P.I stuff too. Wants: old bay area stuff, Wipers - 
European boots/live tapes (Wipers fans please write!), 
Hendrix boots, trap sampler comp 12 , “10-24-79” 
live comp Lp, etc. Ward Young - 3206 Se Rex, Port¬ 
land, OR, 97202 

posters, etc. I have lots to trade or I will buy. Deane 
Clapper 14007 Rebecca Drive, Philadelphia, PA 19116 

DOING A ZINE about the observation of various 
people drinking their Evian water (folks in bands, 
other scenesters, all manner of people!) sense of 
humour required. Everyone gets a free copy. Send 
contribution to Greg - Po Box482 Paoli PA 19301 

LIMITED SUPPLY. Open zine IV comp - one song 
each by Geko, Edgewise, Admiral 23 mm. Mention 
this ad - $2.00 each post paid, whole sale $1.25 each (5 
minimum). Open Po Box482 Paoli PA 19301 

28 YEAR OLD gay male would like to meet another 
gay or bi guy in the area. I’m a vegeterian and am into 
human and animal rights, some kinds of punk music, 
rock music from the sixties, punk magazines, people 
to talk to, traveling, and art. Rick, Po Box 4642, East 
Lansing, MI 48826 

DO YOU WANT TO KNOW the sexual fantasies of 
over 50 band members including those of GBI I, Babes 
in Toyland, Chumbawumba and loads more? It’s all 
in Dregs #4, the sexual fantasy special along with 
readers’ fantasies, articles, letters, Fugazi, and 
Subhumans interviews, reviews, cartoons, gossip, 
penpals and more, a bumper 48 pages for $2 ppd from 
Duncan Dregs, P.O. Box 110, Liverpool, L69 8I)P, 
England. Send in your classified ads and penpal ads 
for the next issue, it’s free. 

WANTED: American Oi and Oi-core LP’s, 7"’s, tapes, 
etc. Fuck politics, I’ll take anything American, old or 
new. Especially Youth Defense League - demo+7" EP, 
The Press/Radicts split LP, Iron Cross 7" EP’s, 
Moonstomp LP, Kicker Boys LP, The Uprise 7 n EP, 
and the Negative Approach 7 n EP. Write to: Shane, 
100 W. Broad St. Apt. 217 Quakertown, PA. 18951 

HARDCORE SUCKS!! But not Sheer Terror. I’m 
looking for their “Live at CBGB’s” 7” EP, original 
press LP on Starving Missile Records, both demos 
“No Grounds for Pity” and “Fall From Grace”, and 
anything else: T-shirts, videos, flyers, etc. Write to: 
Shane, 100 W. Broad St. Apt. 217 Quakertown, PA. 

photographer looking to hear from my fellow photog¬ 
raphers everywhere. If you photograph bands, pub¬ 
lish a zine, or take part in any other related activities, 
please write. I will write back. Write me at: Keith 
Robb 1216 Lincoln Ave. Cuyahoga Falls, OH 44223- 
2227 _ 

FILTH!!!! Desperately seeking any/all Filth live 
tapes, flyers, razors, etc., from their tour, or else¬ 
where!!! Filth rule!! Esp. want those live tapes!! 
Write Matt/Box 571/ Bayside, CA/95524. Thanks!!! 

ORDER THIS now! “I Sold My Trombone (for rock’n 
roll)”. An 8 inch flexi compilation, limited to 500. 
Includes Humidifier, Thompson’s Disease, and Face 
Of Decline. Only $2.50 postpaid, US cash only. Bug 
Scratch, 5321 South Loop 289, #713, Lubbock, Texas 

DWIGHT YOAKAM! Looking for Dwight Yoakam’s 
debut EP (before hehit the major labels), it’sprobably 
somewhere in the Hollywood area, where it was re¬ 
corded. Also, anyone who is into rockabilly or country 
& wants to Write. Mimi Taplin house room 311 Cleve¬ 
land OH 44106 

2 VEGAN PEOPLE are going to Europe in early ’92. 
We need places to stay in England, Ireland, Nether¬ 
lands, Germany, Spain, Holland, Italy, anywhere and 
everywhere. We dont smoke or drink either, or do 
drugs. You can stay with us if you come over here. 
Please write! John C., Po Box 410183, San Francisco 
CA 94141-0183 

HELLO EVERYONE. Function zine issue one is fi¬ 
nally out. It’s $1.00 (and two stamps). Issue one has a 
downcast interview plus reviews and opinions on 
abortion and religion and more. To: Dawn Williams 
20946 Bryant St. apt.#31, Canoga Park, CA 91304 

INTRODUCE YOURSELF!! Faith No More, Janes 
Addiction, Dayglo Abortions, Bad Brains, Cult, RKL, 
Spiderwork!! JohnArispe, 834 Plaza Serena, Ontario, 
CA 91764. 

A LITTLE MATTRESS (In A Big World). A publica¬ 
tion for creative writing, innovative music and 
wackiness. This issue has an interview with Raymond 
Scott Woolson, and the story, The King of Piss. $1 
(cash). Box 7441, Trenton, New Jersey 08628. 

WANNA CHECK out some of the best current IIC?So 
just send us $4 (Europe)/$5 (elsewhere) and we’ll 
return you a copy of the See in’ Red/Sanctions split 
7"EP. If you like raging music with meaningful lyrics. 
This one’s for you! Also ask for the 4th Slam Brigade 
zine. Write to: U.A B.P 21, 93340 Le Rainey, France 

RARE RECORDS, shirts, tapes, CD’s, stickers, badges, 
and more for reasonable prices, We carry hundreds of 
punk bands such as: Angelic Upstarts, 999, Crass, 
Misfits, The Dickies, and Agent Orange. Old and new 
stuff. For big catalog send two stamps to: Dr. Strange 
Records, P.O.B 7000-117, Alta Loma, CA 91701 USA. 
“Just like my colon, we’re getting in more shit every¬ 
day.” _ 

STIV BATORS WANTED: Videos, audios, posters, 
anything on Lords, Dead Boys, solo. I will buy or I 
have lots to trade. Deane Clapper 14007 Rebecca 
Drive, Philadelphia, PA 19116 

FOR SALE- Bad Brains (Live Iguanas EP, Pay to 
Cum, red), E.N.T. (Desperate EP) Inside Out (Above 
All EP, red, 150 pressed) for $15.00 each. Please buy, 
I’m really behind on bills. If you can send me a dollar 
or more to help, I will write you a nice thank -you note. 
I’m always looking for friends! Danny Hicks/ 709 S. 
Wood St./ Pryor, OK 74361 

INFEST!! LP’s for sale $ 12 ppd, Assault 7 'EP’s $3.50 
ppd, Hot Poop #1 $1.50 ppd, Citizen Arrest 8” flexi 
$3.50 ppd and Profax 8" flexi $3.50 ppd. For Euro¬ 
pean orders add $2 per item. Otherwise prices ppd in 
the USA. Rebound Records c/o Ryan Sikorski, 10 
Alexis Ct., Holmdel, NJ 07733. P.s. - send specific 
want listsorcall (908) 264-2877. Sellingwhole collec¬ 

TRADE: WORST 12+7", Rocks 12", Bad Religion boots, 
Misfits boots, Zero Boys 7" boots, B.M.B. 1 CT boot+org 
LP, PL7"+12". Want: Rocks 7”, Big Boys 12" (towel), 
Undermine first 7", World War XXIV 7", Chosen Few 
7", Cartoon Rockers 7", La Femme 7", S.Stiletto 7". 
Please send list to Henk Smith Middenweg 13b 1098 
AA Amsterdam, Holland 

GOT SOMETHING to say? I’m starting an opinion’s 
zine, and contributions are needed, any good thoughts, 
ideas, issues, etc. write a column and send it to: Mike 
Howard, 371 N.32nd, Battle Creek, MI 49015 

fessional underground mag from Germany. If you 
have news, bios, demos, records,... about death, trash, 
grind, noise, please send us the stuff. We can support 
you throughout a circulation of 20.000 copies full- 
coloured. Vampire is only written in german lan¬ 
guage. Distributed in Germany, Austria, Switzer¬ 
land, and the countries around Germany. Inside we 
have stories, reviews about records, fanzine’s, demos, 
EP’s,... and posters. So, don’t wait with your answer 
and stuff, to provide us with it. OK labels, fanzines, 
radio-stations, fans, tape-trader,... We hear from 
you!!! Vampire, Quellenweg 37, 7340 Geislingen, 
Germany. Vampire is published by Turbo Music Ger¬ 

SALE: (Seven inches, 15$ each) Halo of Flies “Human 
fly/I’m a bug” (Gold), Angry Samoans “I) for the 
dead” (blue), Bad Brains “Live at iguanas”, GBH 
“Give me fire/Mantrap”, GBH “Catch 23/Hellhole”, 
DRI “Violent Pacification”, Batallion of Saints 
“Sweaty little girls” (White), Gang Green skateboard 
shaped picture disk “We’ll give it to you”. Write first. 
Paul Holstein 1515 Sashabaw Ortonville MI 48462 

I WILL FUCK ALL OF YOU For a $2. The Probe #1— 
Exclusive interviews with Mr. Bungle, L7, Melvins, 
A.M.E, Arcata’s Hunk of Funk, BlUchunks, and shitty 
record and zine reviews. Plus photos of everybody’s 
anus. The Probe P.O. Box 5068 Pleasanton, Ca. 94566 

UK HARDCORE GIG GUIDE: Send info on UK gigs/ 
tours to be included in newsletter. Send promoter’s 
name/contact number. A communication breakdown 
has occured in the UK; no one knows what’s happen¬ 
ing. We have good methods of distribution. Send info 
or S.A.E. for copy. Mai and Sean c/o Tabby Cat 
Villiage/ 48 Ingram St./ Wigan/ WN67NE/ UK. 

LOOKING FOR VIDEOS of: Neurosis, Jawbreaker, 
Crimpshrine, Samiam, Christ on a Crutch, Cringer, 
Nausea, and Bom Against. Also looking for pen pals 
into any of these bands. Other interests include mor¬ 
bid art, comic books, graffitti, and freestyle biking. 
Ralph X/ 6678 Ardleigh St./ Philadelphia, PA 19119 

WINONA RYDER WANTED. Any stuff especially T- 
shirts or film merchandise. Will trade records/film 
stuff, or whatever. Write telling me what you’re into. 
Melanie/ 522 Warrington Road/ Abram/ Wigan/ WN2 

FOB TRADE: Rudimentary Peni “Farce” 7", Flux 
“Neusmell”, Negazione 1st 7", United Mutation 1st 
7 n , a bunch of Sub Pop singles club 7" EP’s (Rollins 
Band, Rapeman, Mudhoney/Sonic Youth, etc,) 
Middleclass “Out of...” 7 n , White Zombie “Pig...” 7" & 
“Psycohead...” 12" EP, Bad Brains “Destroy...” 12", 
Wasted Youth “Reagans In” LP, StSlSg 13 LP, old 
Chrome stuff, and lots more, your list gets mine. 
Please write. J.C./ P.O. Box 410183/ San Francisco, 
CA 94141-0183 

PASSIONATE OBSESSIONS: yellow forest leaves, 
fairy tales, trance, lurid poetry, night flowers, 
dionysian priests, white necks or sleeping boys, twi¬ 
light, slave boys in bondage, tantra, theatre or cru¬ 
elty, hells or bosch, torture, asylums, castration, 
drowning, crucifixion, Chinese sacrificial hymns, 
trappist monks or Gethsemani, Tibetan sacred temple 
musik, Vienna boys choir... Aiwass+Ophelia BoxO 102 
Hampshire College Amherst, Mass.01002 

THE EARTH isn’t dying, it’s being murdered! Read 
“Ecodefense - a field guide to monkey-wrenching” 
and find tons of ideas and information on ways to stop 
the bastards who are making a buck at our planets 
expense. $12.00 postpaid U.S. (14.00 cover price). 
Checks or money orders payable to: Insurrection 
Records, Po Box4314, Santa Rosa, CA, 95402 

IIEY CURLSTIES: have lots of old english and 
europeanllC. Amebix, Conflict, Discharge, Varukers, 
Crude Ss, Mob 47... Search for old L'.S. - 1IC. DOA, 
T.Reasons, DC, CA. Send lists to: Markus Mainka, 
Karl Legien Str , 4A 5810 Witten 3, W Germany 

.1UST RELEASED on Dr. Strange Records I)SR #6: 
Rhythm Collision LP, “Pressure” great punk rock 
from L.A. First 500 on colored vinyl. DSR #7: 
Guttermouth 7” EP, “Ralls”- their powerful second 
release. And DSR #8: 12 Pack Pretty 7" EP, 
“Foulmouth”. Cool melodic punk rock, first 500 on 
colored vinyl. Prices: LP: $7.00 US, $10.00elsewhere. 
7" ‘s: $3.50 US, $5.50 elsewhere. Check, cash, or 
money order to Dr. Strange Records, P O P 7000- 
117, Alta Loma, CA 91701 USA 

t-POP: I need Sub-Pop singles. Colored or not. 
Neworold. Must be mint. Tad-Jack Pepsi, L7 - Shove, 

I ——^^ Send price lists or call to discuss. Mark Henderson, 
YO MAN, WANNA TRADE? Have SLF, Damned, I 118 Monsen, Rd Concord, MA 01742. 508-371-0909. 

Buzzcocks, Lurkers, Cockney Rejects, Sham 69, X- 1 - 

Ray Spex (LP), rare 7" 4 s/LP’s. Search old US HC. 

Write for lists. Marcus Mainka, Karl-Legien-Str. 4A, 

5810 Witten 3, W-Germany 

JESSrLALX Ye s vou on 5 1 st and 1 Iarvard of Tulsa, 
OK, call me or send mo vour address so I can return 
your 45 (rave tape I lello to the rest of the Tulsa punx 
who I haven’t seem since 1 moved (Ed, Drew, Harley, 
Chad M & Concept Ruk Munster and others) Danny 
Hicks/ 509 S Wood St / Pivor, OK 74361 

EVEL KNIEVEL! Looking for toy motorcycle set or 
related items. J. Hunter PO Box 195 Tulsa, Ok 74171. 
ALso, if any D.C. folks could get me a good video copy 
of Kingface on “Rockin’ DC”, Pd appreciate it. 

CAN’T FIND YOUR MUSIC? We have it! TheA-List 
is your lifeline to new sources for alternative music. 
To get on the A-List, rush your name, address, and 
$3.00 to: A-List, P.O. Box 461300, Hollywood, CA 



I WANNA GET INTO TAPE TRADING. Looking particular for 
Li Post*, Shrapnel (NYC), Block Randy but afl lists art 
welcome. Have rarities by DK, Buzzcocks, Germs, GG, Mis* 
fits, Satan's Rats, 7 Seconds, Sham 69, Skrewdriver, Freeze 
| etc Jaime, 17 Howes rd, Marshfield MA 020SO. Remember, 
BANDS needed for comp. tape. All styles are welcome, as long | home toping is killing the music industry! 
as it's funny and/or obnoxious. Send tape (up to S songs) to: 

POBox 21422, Oakland, CA 94620-1422 M\l\i 

(trades welcome too). 

DOWNFALL (UK) - 6 track demo out now. Raging English 
hardcore. $3 ppd World, Li.50 UK ppd. Protest through 
expression. Write: Simon, 67 Blackscotch Lane, Berry Hill, 
Mansfield, Notts. NG18 4PF England. Fuck complacency, fuck 
entertainment, fuck hardcore as a commodity. 

VIDEOS! OVER i 000 shows available! Too many to list. Punk, 
hardcore, industrial, skumrock, unbelieveable stuff! For Euro¬ 
pean or USA systems! Send $1 big list, fast service, no rip- 
offs! P. Demattia, 8 Haddon Road Hewitt, NJ 07421 USA. 
Phone (201)853-4420. 

RARE PUNK MOVIES ON VIDEO! Punk in London 77 - 
Adverts, Lurkers; X-Ray Spex, Jam, Clash, Wayne County, 
others! Interviews. Raw Energy - rare 1978 film. X-Ray Spex, 
Slits; GenX, Bolan. Both excellent quality. $15.95 ea. money 
order US format only. Jim Russo, 136 L Main #33, Bloomsburg, 
PA, 178)5. (Canada add $2 per tape). 

ASASEL PRODUCTIONS are looking for bands for an interna¬ 
tional compilation-tape. Send in your listenable recordings. 
Free copy after release. List with cool demo- and comp. - tapes 
for I .-$. Asset Productions, c/o Dirk Glaser, Josef str. 7, W- 
4410 Warendorf 1, Germany. 

OUT NOW! Dead Reid demo #1. 12 songs of cyber-syntb- 
industrial music. Electronic weirdness to warp your mind. Get 
your copy now for $4, $5 foreign. Write to: D.F., 1045 Human 
way, Roseville, CA 95678, U$A. 

VIDEOS FOR TRADE!! Chili Peppers, Janes Addiction, Fugazi, 
Cro-Mags, Agnostic Front, Voi Vod, Sepulture + many, many 
more! Also audios for trade! No rip offs + very reliable. 
Especially looking for White Zombie, Plasmatics, Alien Sex 

team-up. Bizzare, perverse, over 18,1 /2’ vhs or 3/4", full 
credit, payment in copies, the sicker the better, Mark Heinar, 
P0B 268018, Chicago, IL 60626. 

I DISENGAGE: Vietnam Syndrome Overcome. First demo by 
1 new S.f. band features 3 songs 'as relentless as the military 
action they condemn! For a copy with lyric sheet and stickers 
. . Ave,SF,CA 

send 6 stamps to: 2290 40th J 

,CA 94116 

UK/DK 60 min. video documentary on early 80's British punk Fiend+Janes Addiction - any hardcore. Send a cool video and 
with Vice Sguad, Adicts, Blitz, Disorder, Business. Excellent I'll send you one in return, or send list. Thanks! Kev, P.0. Box 
guality $15 US format only money order: Jim Russo, 136 E. 5461, Laurel, MD 20726. 

Main #33, Bloomsburg,PA, 1781$ (Canada add $2) 

VIDEOS AVAILABLE! On all world systems! Punk/hardcore/ 
industrial/ movies too! Dictators, Rollins, Butthofes, Misfits, 
Bad Religion, Thunders, Dead Boys, Mudhoney, Dickies, Cramps, 
Samhain, Helmet, Descendenfs, Neubauten, Ramones, Skinny 
Puppy. GG Allin, Meatmen, Gwar, Psychic TV, Y0T, BOId. / 
Seconds, Replacements, Swindle, Decline, More! Next day 
service! $1 big list! P. DeMattia, 8 Haddon Rd., Hewitt, NJ 
07421-2329 USA Phone (201) 853-4420. 

VIDE0/AUDI0 FOR SALE or trade. Established traders send 
your good sized list for mine including everything from C.O.G. 
and Coffin Break to Helmet and Sonic Youth to uodflesh and 
Napalm Death. Lots of punk, hardcord, noise, thrash and 
grindcore. Nothing to trade? Send two c29 stamps for my list 
with way cooler prices than those other 'big guys'. Traders 
with small collections send postage also for list and response. 
Fastest service and response. Write - Alternative video/ 
audio, c/o Jay, 1026 Thomas Blvd. Mundelein, IL 60060. 

P00TLY NAUCH selling tape cheaply. This isn't the stuff 
reviewed in MRR 98 nor the B siaes sold from Brecksville 
Ohio. This is our strange professionally recorded stuff. Only 
$2, profits to GG c/o 110/, 2233 South Higland. Lombard, ll 

NOW AVAILABLE, the debut release by Chicago's Alternative 
Thrash Kingpins, 'Bug'!! 5 certified smash hits. Only $2 
bucks, plus tree sticker. Write to:Bug c/o Richard L P0 Box 
1246, Oak Park, IL 60304-0246. 

BATCAVE RECORDS: New Yorks best cassette mail order. 
Featuring the Underground Army, Primevill Unknown, Rick 
Blaze, Johnny Black, Gary Knoxx, Christa Faith, Lucy Knight, 
David Peel, The Bohemians, The Blazing Angels, send S.A.S.E. 
to: Batcave Records 13 E17th St. NY, NY 10019. 

SANTA BARBARA* CA based hardcore band. Likeness to No- I YOUTH BRIGADE/J.FJL - live cassette, 2 shows, 24 track 
FX, R.K.L.. Melodic Vocals... 11 -song demo. Cro2 tape. Only I job, chrome cassette w/cover, Dolby B/HX pro. Just $5 to: 
2 and a half $, Section Eight 464 Reed St. Goleta, CA 93117 | Danny Hicks, 709 S.Wood St, Pryor, OK 74361 

HELP! Switzerland! Kesir Enterprises PH Box 3000 Berne 
ordered a video from me! It came back "no such address". 
Does anybody know them? I need the right address! Hardcore 
Video, 8 Haddon Rd., Hewitt, NJ USA 07421. (201) 853- 

WANTED: Sonic Youth Goo demo. Sister, Daydream videos. 
Live, demos and unreleased stuff from Cnmpshrine, My 
Bloody Valentine. Isocracy, Mudhoney, and tapes of early 
Halo of Flies* and Drunks With Guns. Tor trade: Doubles ot 
Subpop, Amrep, Dwarves, Drunks, Flies, Surfers live 85-87 
and videos of Fugazi, Hyenas, Spahn Ranch, Soulside, more! 
Matt, 310 Isbell, Howell Ml 48843. 

SPEAKEASY - Red And Gold, the new six song cassette is 
available for four dollars postage paid to: David P. Neeson 
Rm223 Verder Hall, KSU„ Kent, OH 44242-0001, Melodic 
Hard Sounds. Soothes yet punches. Get it. 

RESIST - Our 7 song croz "Liberation" is still available for the 
low, low price of $2 ppd (Usa) and $4 ppd (world). It comes 
with stickers and lyrics etc. - so order now! 8 songs debut 7" 
ep with poster insert + colored vinyl. Also available for $3 
(Usa) or $5 (world). Write us! Resist c/o Ward Young, 1951 
W. Burnside, PO Box 1654, Portland, OR, 97209. 

GREEN DAY: live video. Filmed in Little Rock at Yuio's on 
August 17,1991. Lots of cool stuff. Great quality recording. 
A really, really cool show. 1 hour, 5 minutes long. $10.00 
each.To: Matt Bullard, 8303 Winterwood, Little Rock, Aikan- 
sas, 72209. No checks. 

PROCOSTIMUS -11-song demo out now. 7 studio songs, 4 
rehearsal. Brutal grinding hardcore. Send $1.50 plus 4 
stamps ($3.50 foreign-US cash only) to: Greg King, 8680 The 
Fifth Green, Atlanta, GA 30350. 

POISON GIRLS - 'The most original of the early UK anarcho- 
punk bands', have their first two deleted LP's out on 
cassette. 'Chappaquidick Bridge' and 'Hex' caome with full 
lyrics on quality chrome tape. Available from: Active 
Distribution, BM Active, WCIN 3XX, London, UK. Send $ 
notes or cheques On UK Sterling only) made out to 'J. Elliott'. 
For one tape £4.50/$7, both taprs £8/$12. 

UK/DK documentary on early 80’spunk/skin scene with Vice 
Sguad, Exploited, Disorder, Blitz, Adicts, Damned, Business. 
60 min excellent quality TDK-EHG tape. NTSC format only. 
$17.95 ppd. Money order to J. Russo, 136 E Main #3$, 
Bloomsburg, PA 17815 

DANZIG- videos live Germany June '91 1 London '88.110 
min together, good qual. DM 40 or $25. R. Thomas, 
Gerresneimer Str 16,4000 Diisseidorf 1, ‘ 

VHS/PAL only! 

, Germany. European 




i m 

P.O: BOX 12*1 : 

YONKFRS. NY 10710 ' 


... until further notice, SKENE1 Records is going 
to discontinue direct individual mail order 
service. At the present time we are unable to keep up with the orders in a time and cost 
efficient fashion. We are ost doing this in an attempt to distance or alienate our customers. All 
letters requesting information or with questions and comments are welcomed, encouraged 
and will be replied to as soon as possible. Mailorder is simply at a point where Blacklist and 
other mailorder services can handle it cheaper and quicker. Since we were not able to give 
mailorder the priority it deserves, we felt it best to temporarily put it on hold... in the mean¬ 
time, all old orders are being answered and all currently available SKENE! releases are available 
from Blacklist in S.F. and many from BY PRODUCT Mailorder (run by Kent McClard). 

Records still available* 

#14 'Can You Break Through?"* comp LP/CASS 
#15 Anger means "Not Human Anymore* 7’EP* 

#12 Fuel / Angry Son split 7* EP* 

#10 Green Day "Sweet Children" 7" EP* 

#6 Walt Mink / Gneissmaker split 7" EP* 


#17 Sticks + Stones "Coup Flowers Can't Fail" 7" EP* 
#18 Deviators "21st Century* 7" EP 


Bob Evans LP/CASS/CDf 
Sticks + Stones LP/CASS/CDf 
Trenchmouth LP/CASS/CD 
Bad Trip LP/CASS/CD 
Dog Tired LP/CASS/CD 

t Manufactured and distributed by 
Twin Tone Records, (612) 872-0646. 
•Manufactured and distributed by 
Twin City Imports, (612) 645-0227. 

Hgual LP/CASS/CD* 
Trusty T EP 
Awake 7" EP 
Double T Comp EP 

Send 2- 294 stamps for complete information on SKENEI Releases 

SKENE! RECORDS PO BOX 4522 ST PAUL MN. 55104 (612) 649-1576 


Records & Stuff We Sell: 

60. FUGAZI ‘Steady Diet of Nothing’** © 
59. HOLY ROLLERS ‘Fabuley’ & 'As Is' CD © 
58. HOLY ROLLERS ‘Fabuley’* © 

57. NATION OF ULYSSES ‘ 1 3-Point Program' t* (£) 

55. SHUDDER TO THINK No. 54 &'Ten Spot' ® 
54. SHUDDER TO THINK 'funeral at the Movies' t 
53. DAG NASTY ‘Can I Say’ & ‘Wig Out at Denko’s’ CD (D 

52. JAWBOX ‘Grippe’** © 

51. SOULSIDE Combines 2 L.R S and 7 " © 
49. GRAY MATTER CD (48 & Take it Back’) © 
48. GRAY MATTER ‘Food for Thought’* © 

47. FIDELITY JONES 2-song 7” ® 
46. SHUDDER TO THINK ‘Ten Spot’ 1 © 
45. FUGAZI ‘Repeater’ & ‘3 Songs’ CD ® 
44. FUGAZI ‘Repeater’ 1 © 

t Also available as cassette *Available as CD, price code © 

3819 BEECHER ST. NW, WASH.,DC. 20007 


Guide, including postage, 

in U.S. $: 











12" EP 



1 1.00 















Please send us a 
stamp for a full 
list of records. 

Please note our 
new prices. 
They are higher. 







P.O. BOX 288 


BERKELEY, CA 94701-0288 


PERMIT No. 1153 


Threat By Example 
by Martin Sprouse 
This book documents the 
philosophies of 27 people 
involved in the punk com¬ 
munity. The book's con¬ 
tributors use various forms 
of expression and come 
from a variety of back¬ 
grounds. Through words 
and images, each contribu¬ 
tor describes the personal 
ideologies that have moti¬ 
vated them to live their lives 
against the grain. 

136 pages 
two color cover 
$8.00 ppd. (U.S.) 

$9.00 ppd. (Elsewhere) 
£7.00 ppd. (Europe)* 

You Don't Have To Fuck 
People Over To Survive 
by Seth Tobocman 

From the co-founder of 
World War 3 Illustrated 
comes this collection of 
comic strips, graphics and 
illustrated stories. Seth 
Tobocman's work concen¬ 
trates on the day-to-day 
struggle with America's so¬ 
cial and economic injus¬ 
tices. Captivating black and 
white images that lack 

136 pages 
8 1/2 x 11 
full color cover 
$8.00 ppd. (U.S.) 

$9.00 ppd. (Elsewhere) 
£7.95 ppd. (Europe)* 

Pressure Drop Press, POB 460754, S.F., CA 94146 
California residents add 8.25% sales tax. 

Send 2-290 stamps for complete catalog. 
‘European orders: AK Distribution, 

3 Balmoral Place Stirling, Scotland, FK8 2RD 
All European orders payable to Ramsey Kanaan.