MAXIMUMR0CKNR0LL
MAXIMUMR0CKNR0LL
MAXIMUMR0CKNR0LL
MAXIMUM ROCKNROLL IS A MONTHLY PUBLICATION. ALL WORK IS DONATED AND NO ONE RECEIVES ANY SAL
IMPROVEMENTS OR GO TO OTHER SIMILARLY NOT-FOR-PROFIT PROJECTS. ANYONE IS WELCOME TO REPRINT Af
ARY. ALL PROCEEDS ARE EITHER INVESTED IN TECHNOLOGICAL
SIYTHING FROM MRR, BUT PLEASE LIST MRR AS SOURCE CREDIT.
TO THE EAST BAY PUNK SCENE, AND ESPECIALLY THE BANDS AND LABELS:
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
months
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.
J
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 <
.in
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.
r GIRLS & WOMEN: '
(chicks, babes, fucktoys, sluts, stupid bitches, whores, holes, rape victims,
hey baby what's the matter why don't you smile?)
PISSED OFF?
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.)
MRR RADIO
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.
MAXIMUM
ROCKNROLL
A
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RADIO STATIONS: MRR Radio shows are available for
stations only . Requests for info should be on station let¬
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MAXIMUMROCKNROLL MAXIMUMROCKNROLL MAXIMUMROCKNROLL
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BACK ISSUES AVAILABLE:
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at same rates as stated above in sub info.
DEADLINES FOR NEXT ISSUE:
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!!
AD SIZES AND RATES:
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COVER: Cowboy Killers p: Jerome Chufhead
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READERS: if your local record or magazine
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too quickly and doesn’t reorder, please let us
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MICKKRASH
411-This Isn’t Me-LP
BRAIN TOURNIQUET-live
411-live
MECCA NORMAL-live
SUPERTOUCH-Flat Earth-LP
TSUNAMI-EP
SEPARATE PEACE/JUNCTION-split EP
SUCKERPUNCH-live
TRANSCEND-EP
DOWNCAST-R.I.P.
NATION OF ULYSSES-13 Point Program..!P
FUGAZHive
SAM I AM-live
JAWBREAKER-live
Why am I wasting this line?
CHRIS DODGE
V/A-The Bottom Rise Up The Top-8" flexi
GUILLOTINE TERROR-No God-EP
CAPITALIST CASUALTIES-The Art Of Ballistics-EP
SINISTER/MO NASTERY-split EP
V/A-They Ain't Seen Nothina Yet-EP
GREEN RIVER-Demos ’84-EP
MELVINS/NIRVANA-split 45
RANDOM CONFLICT-Shadows Of Existence-EP
HAKUCHI-Fall A Sacrifice To Delightness-EP
STEP ASIDE-I’ll Take Darkness-# 5
! DISASTER-War Cry-12"
ECONOCHRIST /Dt TON AT ORS-spiit EP
RANDOM CHILDREN-EP
INTENT TO INJURE-Reinforcement-EP
POWER ASSAULT-Pain And Misery-EP
KARIN GEMBUS
PAXSTON QUIGGLY-TP & live
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
JONESTOWN-EP
GITS-Second Skin-45
PHLEG CAMP-2xEP
V/A-Very Small World-2xLP
TAR-EP
ANGER MEANS-live
BRAIN TOURNIQUET-live
TRANSCEND-EP
Decaf soy mocha
WALTER & HOPE
NONOYESNO-Japanese Mondo Bread-LP
411-This Isn’t Me-LP
UNSANE-My Right-EP
SILVERFISH-Fuckin’ Drivin’ Or What-12"
STEELPOLE BATHTUB-Venus In Furs-45
NONOYESNO-Lederhosen Verbot-12"
MELVINS/NIRVANA-split 45
SEAWEED-Despised-EP & live
HALO OF FLIES-Music For Insect Minds-CD
GAS HUFFER-live
SISTER DOUBLE HIPPINESS-Heart & Mind-CDS
PAIN TEENS-Sacrifidal Shack45
MONSTER MAGNET-Spine Of God-CD
HOLE-Pretty On The Inside-CD
ICE T-Original Gangster-LP & live
BRUCE ROEHRS
SUICIDAL TENDENCIES-live
BLACK MARKEY BABY-Baby On Board-LP
PRIMUS-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
TRANSCEND-Dedication-EP
PSYCHOPORNADELlA-Lung-EP
MAJORITY OF ONE-One Man-EP
PINK TURDS IN SPACE/CHARRED REMAINS-split EP
UNSANE-My Right-45
CAPITALIST CASUALTIES-Art Of Ballistics-EP
TIMYOHANNAN
COMB-Kinda Like Beat’n Your Dog-EP
DISASTER-War Cry-LP/BLACK FLAG-Uve-EP
ECONOCHRIST/DETONATORS-split EP
FFF-Electric Violin Thrash-LP
411-This Ain’t Me-LP
FURY-lnsurrection-EP/SHOEFACE-EP
GITS-Second Skin45/L7-John Peel Sessions-EP
MALICE IN WONDERLAND-Drug War Babies-EP
MEANIES-Scum-EP
OFFSPRING-Baghdad-EP
SOULFORCE/HIATUS-split 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
MIKE LA VELLA
THINKING FELLERS UNION-Lovelyville-LP
MUDHONEY-Every Good Boy Deserves Fudge-LP
HALO OF FLIES-Music For Insect Minds-CD
TAR-Solution 8-45
NONOYESNO Japanese Mondo Bread-LP
NIRVANA/MELVINS-split 45
UNSANE-Jungle Music-45
PAIN TEENS-Sacrificial Shack-45
OLIVE LAWN-Beautiful Feeling-EP
GNOME-13 Family 45
ERECTUS MONOTONE-Cathode Gumshoe-EP
KARL HENDRICKS-I Hate This Party-EP
V/A-Pittsburgh Punk Ain’t Dead-EP
V/A-LubeJob-EP
GAS HUFFER-live
MICHELLE HAUNOLD
V/A-Feel Lucky Punk-LP
ECONOCHRIST/DETONATORS-split EP
SNUFF-That’s Fine-12"
IRON PROSTATE-Rock’n’roll Nursing Home45
MEANIES-Scum-EP/POJAT-Pala-EP
411-This Ain't Me-LP
OFFSPRING-Baghdad-EP
BUDELLAM-TotHi Cap-EP
CENSURADOS-LP
V/A-World’s In Shreds Vol 5-EP
DMZ-1976-77 Demos-LP
LEATHERFACE-Not Superstitious-12"
RADICTS-Rebel Sound-LP
METAL MIKE-Wig Warn Bam-EP
DEVIL DOGS-Live-EP
MARTIN SPROUSE
NATION OF ULYSSES-13 Point Program-LP
BLACK FLAG-Uve-EP
ECONOCHRIST/DETONATORS-split EP
THE EX-She Said45
411-This Isn’t Me-LP
FURY-Resurrection-LP
THE GITS-EP
THEE HEADCOATS-Shouldn’t Happen-45
OFFSPRING-Baghdad-EP
V/A-Very Small World-2LP
SUPERCONDUCTOR-EP
Ben Is Dead-#14-zine
Pulp-#6-zine
Scab-#2-zine/Grijns-#2-zine
Primary Concern-#7-zine
CENSURADOS-LP
JALLA JALLA-Minnesota Plates45
POJAT-Pala Maata-EP
OFFSPRING-Baghdad-EP
MEANIES-Scum-EP
BLACK MARKET BABY-Baby On Board-LP
YUCKMOUTH-This Is It-LP
RADICTS-Rebel Sound-LP
12 PACK PRETTY-Foulmouth-EP
BLACK FLAG-Uve-EP
69 EYES-Barbarella45
V/A-And Everything Nice-EP
BHANG REVIVAL-I’m Not Talking-45
DEVIL DOGS-Uve-EP
GREEN RIVER-Demos 84-EP
JON VON
SEPTEMBER-OCTOBER
Punk/Hardcore/Garage
Industrial/Grunge/Noise/Thrash
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!
I
Fri Sep 13 - Thatcher on Acid,
Green Day, Cringer, Morphias,
Paxton Quigley
■ Sun Sep 15 - Spoken Word Extrava¬
ganza
■ 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
Poison
Idea
LATEST RELEASE!
DUE OUT OCTOBER 15th
7" 45 RPM SINGLE
FEATURING
MARIO the COP
"Punish Me" from the
■ Gilman Record Swap"
Sun Oct 27
call Dave at (510)524-8465
_ for table reservations
AN ALL-ACES MEMBERSHIP CLUB
LOCATED IN BERKELEY
SHOW INFO: (510)525-9926
BOOKING: (510)524-8180
P-I LP to be released
later this year.
POSTPAID U.S. $4.00 CANADA/U.K.$6.0C
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P.O. BOX 86333 PORTLAND, OR 97286
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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
January.
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
possibility.
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
purchase.
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
Dave.
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
statement.
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’
philosophy.
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
threatened.
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
61761
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
like BLATZ, BORN AGAINST, ANTI-SCHISM,
NAUSEA, FILTH, CITIZEN’S ARREST, RE¬
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
punksters.
Rob Coons/ PO Box 3431/ Olympic Valley, CA
96146
MRR,
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
“...like 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
another?
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
hardcore?
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
easy.
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
Flusum-GermanywithSONSOFISHMAELfrom
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
.SOUTHERN' HOSTILITY
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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-
* RAKE, RADICAL *
& REVOLUTIONARY
T-SHIRTS & BUTTONS
T-SHIRT DESIGN
T-flhirto - $10
Buttons - 1«.$f
2+ .. 75* ea.
US postage paid
5E UN
COMBATIENTE
a POR LA
** INDEPENDENCE
SEND
A STAMPED, SELF-ADDRESSED ENVELOPE
I FOR OUR MAIL-ORDER CATALOG:
H.ED TABLE PRINTS
W - UINTAH 1224
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
ago.
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
world?
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¬
tion?
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
write.
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
writer.
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
truth.
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
shit.
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.
Mess
' “ & ' OPINIONS EXPRESSED. ARfi SOXJSiX
COLUMNISTS AND ARE NOT MRR EDITORIAL PQLJQ^
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
Ernie."
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-
pened,
_ liately
suck the dangling heartstrings of the plain¬
tiff.
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.
ENDNOTES:
—>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.
ECONO CHRIST
OUTNOW
NEW EP - $3 PPD
WRITE FOR WHOLESALE
ANOTHER VICTIM
& OVERSEAS PRICES
Probl^ilfD^led-SQrry!!!
s* VERMIFORM
^g~j]P.O. Box 1145
§|||/=^7j Cooper station
NY, NY 10276
send SASE for catalog/info
cute
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‘
column.
—> 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
own.
—> 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
Park.
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
to-
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 - ^
ish
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
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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
possible
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¬
vidual.
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
_outpost_
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
then.
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\
10276.
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
wo
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
it.
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¬
slavia."
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
movement.
'They want to buy us," he said.
"Who?"
"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<
heme.
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
although
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
lifetime.
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
truth.
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
didn'1
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
toxins.
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
project!
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
ties.
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
happenings.
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 ' ; ' :
■
L0L1APAL00ZERS
ALICE DONUT, LES THUCS & JELLO BIAFRA ON TOUR SEPERATELY THIS FALL
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°/.
GALLOPING CORONERS
HdoUftimse*
NOMIANSNCl
Uo. Ad Cuddy
Ooi&felP/CS/CO VIRUS97
tYmks'i {test with w mains fat dbm
rmfifa in Yutp an fair lost row Hm HI)
HACK
Row-bead
r VIRUS 99
{ftmAMnkamts h gator gttagt grange
dHock, fmm$ form Brong Stong folk.)
ALICE DONUT
The finest Ass
ir ft/Q VIRUS IDi
(Iky'fttakogmim'swoif^wilklh^
vented to acdbrnedmimltetfaff)
TowfCjrafi
if/a/cs muss?
together with Steel tde Sah M &
May. Mte^fdteopttfar)
r MBS*
(tit Hmgtrte qwdypse rob im tern. The
totetsik 'smM to the States?)
NomANSNO
P.O. BOX 424756, SAN FRANCISCO, CALIF. 94142
•ULCE- M Ponls SI »l«f“ 10** (ltd. 1000)
obnoxious »cua rock (p Inkwax)..
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total sotonlc death oatal.$5.00
SIMISTER/MOKASTERY split 7 M ....daath/
.tlelt " / *-t“™MBE0..klllir....$4.0O
INFEST-a«w 7 (10 songs)
(CAL.)h«avy-duty eya-gouaIn'...$4.00
ASSUCR/O.L.O. split 7" op
****kack In stanchy stock*****,.ik,00
rEAR OF COO-7"
raprosslng w/1 unralaasod trak.S5.oo
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aanlac no Iso stanch.$4 00
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ABOMINATION-lp.wicked alck
Chicago grind attack..ladyends.$t,00
CHRONICAL 0 IARRMOEA-"Last Judgaaant"
fast/no Isy/aora aatal Ish/good..$4.SO
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haavyduty/I ns ana/death/grInd. . .$4.00
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- m,nd *r I nd I ng.. . ,S4.00
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ocve!S! S r.| 7 '. <a *••**».$4.00
PSYCH0-"LIva..7"
,itd$4.oo
IRFEST-"SI avo" 12"
“**/■•* l«c/thrssh.$$,00
BRA INST0RM-"NIghtasra" 7*'
arSISf 1 1 OUt « r 1 «*attack$4.00
BEMEDICTION*".Terror" Ip (UK)
***• 1 9 r 1 nd/skAFALH/spI at terwax.$4.00
sI!e"J* ,e 5** and MCTUREOISC
of 4 I u r r/w 11 h I y r I cs . . $ 7.00
1 F-•Tast/aalodlc(FL)$4.00
OEAD-7 . .4 I rge/death/aataI.$4.00
SEXORCI ST/EXTREME SMOKE 57 split 7"
17 songs faroclous b1urr.......$4.00
4 . fi.ALL IM ANO BULCE-"Lagal Izo Kurdor"
tcuaay/creiy/yunk/fuck In/rock. . SJ.50
A.C./PSYCHO SPLIT VMS VIDEO
FAST/toud/nolzy/1ntcrvlow..Si 5.00
EVERSOR-"CatacI»ya" Ip (ITALY)
t*•*/■•taIlsh/thr«sh/raal good.$4.50
AMTISCHISM-7" live In studio
vary Intense peace thrash.Si.50
PUNGENT STEMCH/BEMCOICTION 7"...$4.00
EXTREME NOISE T ERR0R-"LIva 7"
nu C HT k .S!)i ?T5l.SK;:j;-i;; ; j; JS -»*-**
^/A BEAUT IFUL MUSIC FOR BEAUTIFUL
PEOPLE COMP 10"..w/splattar wax
♦IHSTACATORS.LIBIDO BOYS....7.S7.00
0ESTR0Y/0ISRUPT spilt 7"
...awasoao OOOM/grlnd..$4.00
SANITY ASSASSINS-yeraan 7".$3.50
KOINOMUA ATTOIAHTA/AMTI spilt Ip
graak punk and thrash.$7.00
DEMISE-8" PICTURE FLEX I ..LIVE..S4.00
V/A"H OU S E ARREST PUETRORICAH COMP 7"
*e£2 VP0C * 1TE SOLUTION.N OM ORE ... S3. SO
GENERAL SURGERY-7".
Insana CARCASS Ilka attack....S4.00
MORTAL TERROR/AURAL CORPSE SPLIT LP
°' * on 9*/"olfy/loud.S4.50
DON DON T-SHIRTS..bIack shirt.SlO.00
F•V.K. T-SHIRTS. ............,.$io 00
FUCK. 6EEZ T-SHIRT ..black.SlO.00
A x /i
m
cTIO/y R EC.
AILORDERl
PABOJC 623 KENDALL SQ.
CAIV)BPIDGE.MA02ia2 USA
MAKE MONEY OROER TO JOHN WOLFE
ALL ITEMS POSTAGE PAID IN THE U.S
CANAOA AO 0 50< PER ITEM
OVERSEAS ADO $2.00 PER ITEM
***** C0M | NC SOON*********
A.C./PSYCHO SPLIT 7"
vIcIou»/sIck/a1 I naw/awasoaa. .S4 00
SHUB NICGURATH CASSETTE (MEXICO)
ultlaata death »t*nch$4.00
?£•••**-cSCi 1 »** * p " t
.o'silj* * h,t tr,n ‘ .»»•*•
approach styled hcss.00
DISRUPT — "Refusa Manet" 7"
1 • n t • n » a assau I ts ....$<• ,O0
POST MORTEM-"..Ractua" 7" . p
(BOSTON) ...twl ,tad thrash.S3.50
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SAIRAAT MIEIET-J" ( F 1 NLANDi-S4.00
fait/naliy7thrafth/Flnnl»h»tyleSk.OO
COWBOY KILLERS-7" (UK)
rad wax nasty punk ♦ thrash...$4.00
P.T.L.KLUB-"Nobody Caras Anyaora" 7"
....fast/thrash/rars/l laltad...$4.00
D 0 OMWATCH- M C ran kIn 21" 7".$4.00
SYSTEMATIC MARSMURDER-7"..
lots of songs, .nolzy thrash.$4.00
S.0.C.-7"..thay sound IIke.early
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..fast as shit grlndln blasts.S3.50
ACTIVE MINOS-7".."Capital Isa" ap
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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
UNOERMIME-2nd 7"
» oun * to POISON IDEA..$4.00
RAP«.D TEENAGERS FLEX I (3 song s ) . . 2 for$3.00
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VIOEO COMP w/MORBID ANGEL,GOREAPHOBI A.
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W.Ceraan/nolty/thraih/ainy songs...$4.00
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raally graat harsch thrash.$4.00
ER-lp. .fine yrI nd/1egendi.$8.00
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Jap grind a 11 ack . . . wa 11 s...$5.50
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0 IRC£-"Sou1ft tore" 1p(NJ) . .aata 1 thrash$4.00
EMTOMBEO-LIva 7"..(Curopreited)
original I ln«-gp. . ..limited.$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"
..raal slallar to 0 I SCHARCE(radwax)$5.00
INCANTATl0 N-"E vIl"7"..dark/daath_$4.50
HAITUS-7"(Balgula) *
...E.N.T. stylad g r I nd.haavy.$4 00
GREY SP IKES-CASSETTE(S*x*H.t*)no I«y. S3. 50
YOUTH CONE MAO/URCENT FURY S P$. I T 7"
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6.C.ALLIN T-SNIRTS..."MlC up ASS"..$10.00
» THE WAR’S OVER! " -GeorgeBush
THE RECESSION’S OVER! " George Bush
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 "
Mint 4 - The Thing 7" DreamheadMustere Precautions^
Mint 5 - Garden Variety 7" S/T COMING SOON $3.00
Y% All Prices Post-Paid Add $1.00 Overseas
MINTaTONE Call or wrtte: iRi^^Cma^av^Blvd
ry i wive sw'iIo how^ny him
ARTICLES OF FAITH *
BLACK MARKET BAj
ZERO BOYS
JONES VER Y " RADIO WAVE " LP / CP
_ iv; / . / ■■ ‘ ^
DISTRIBUTORS / SHOPS: GET IN TOUCH / PAX (49)(Q)40 7827^
PLAGUE CHAIH SAWNG LP
POISON IDEA RECORD COLLECTORS
TOXI C REASONS INDEPENDENCE .
OFFENDERS W&MUST REBEL / FIGHT BACK 7”
umTED MUTATION FREAKS OUT
‘ • <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
in.
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
work.
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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%
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
cheap.
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
GDMkCPLwN
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
oneANDtwoANDthreeANDfourAND.
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 :
G-
A*
o
m
rrrjarT
m
J|
|////
' / '
A
;///\
CO uwiT
1 1. ** M
1 i- "S M
l ^
V ^ ^ S
Here's an old fave of mine/
'Louie Louie":
C A
€
x>
i
TKbtAjvef- 3 * f
t
P-MVTWv - -7-
Coopt -- >t
$TR.<*- "*
=Fi=?=
iii:
I 2. * S
ir i- vj.
Hi
33:
be
/ 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"..
s
Rhythm/*'*•'*'*
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-
au^n—
It reall
connect
eTc.
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:
fip=—]
A
3 A
THuAW D"f:—--
“MM
«
#
SJ t--x.
OOP O Q
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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TZS!
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[M M «a tv.mihivmtxh--? .■v.ajazoL
777 77777 7777T777
/ X / Y / Y / Y /*/*/*,* / Y / Se / K s
G(Ogo5
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
for).
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
Livermore?"
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
mohawk).
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
understand...
dOOft
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ARTICLES
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
difficulties.
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
revolution.
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
posts.
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
immortal.
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
effort.
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
honestr
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.
cause
line from the Bad Religion campus that
Christy is a nice girl, but just not equipped to
tsfim
J
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¬
lets.
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?!
MRR NEWS
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
Convicted
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
appealed.
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
expect.
“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
said.
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
country.
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
nation’s
banks. With
t h e
overthrow of
General
Noriega this
govern ment-
cartel
alliance was
destroyed.
(Jefferson
M o r I e y ,
“Bush’s Drug
Problem-Ana
Our s', "
Nation, 8/
27-9/3/88)
In the
wake of the
U.S.
invasion, the
drug trade in
Panama was
rivatized.
o longer
were drug
shipments
under the
control of
Panamanian
officials but
rather were
placed in the
hands of
hundreds of
small drug
smugglers.
As one
diplomat in
Panama
P r
U
ft
Despite the U.S.
invasion and the
removal of
Noriega from
power,
drugs continue
to flow through
Panama.
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/
90)
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
Panamanian
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
government.
Allegations of
government
complicity in
money laundering
go as high as
friends and
associates of the
president and
attorney general.
(Freed, S.F.
Chronicle, 5/1/
91)
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
MOSCOW
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.
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
barricade
just manned
by the punks
and the
anarchists.
It was very
surprising
for me ana
for everyone
else to see
that. People
said they
didn’t expect
young
people to go
over there
because
before that
they were all
very
apathetic,
rsi o b o d y
bothered
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
perestroika
started. Before
that, people
believed
everything the
government
said and
everything the
newspapers
said. But once
pe restroika
started, we got
access to all the
information that
was hidden
before. So
people are
much more
suspicious now.
When
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
lik.
thi
pei
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
funny.
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.
own
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
street.
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
our
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
Demonstration
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
Existence.
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RECORDS
CONNECTICUT
—
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
GROUNDWORK, ANOTHER WALL, CAGE,
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
oys.
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
dissonant.
New bands include fuzzy acoustic band
GNU FUX and loud power tno FREAKBABY
-— -- 'eggp
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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
TION, NOXIOUS, and PRESSUREHEAD. Un¬
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
time.
TWISTED CRY FOR IIELP is the band I
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
changed.
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
14624.
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
and
ideas
o f
the
in the Philadel¬
phia area in-
c 1 u d i n
CHIL-
invh}
me-
R E
FLEC-
T O
HEAD
MAD PLAN
ETS (now de¬
funct)
PRONETHEUS
TRASHED and many
bands now starting to
g lay out like DOUBLE
NAPPY DOGS, and
PUBLIC DE¬
SCENT. Plus the
bands that have
been around
for awhile like
THROTTLE,
and LINES
OF OPPRES¬
SION. There
have also
been doz¬
ens of
shows
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
SLAPSHOT,
WRECKING
CREW, and
DARE TO
DEFY were
supposed
to play at
Revival but
only DARE
TO DEFY
showed so
EDGE¬
WISE
played
with them.
In De-
c e m b e r
SHELTER
(who recently
have been
staying in the
area) played
with LINES OF
OPPRESSION at a
warehouse show.
DIZRYTHMIA was
supposed to play this
show but when the two
other bands found out
that if DIZ¬
RYTHMIA did
play, they
would not
make as
much
ril9DVTUfllllA
i n
volved.
T h e r e^
has been
an explosion^
of new bands
turing lo¬
cal names
with some
of the big¬
ger names.
Way
back in Octo¬
ber RANDOM
CHILDREN,
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
DIZ-
FWHWV
off the
bill. How¬
ever, that is
justwhatlheard
so I can’t say for
sure that that is what
happened.
In January KICKSTART T. V. hosted
a benefit bash at the Climax Theatre on South
Street. RANDOM CHILDREN, INVID,
DIZRYTHMIA, and PROMETHEUS TRASHED
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¬
DOM CHILDREN.
In March the “storm" hit. Drexel Uni¬
versity put on a benefit show for a conscien-
kT^fiooGh)
\rOBoX
■SMrA
^ 5 A
CA. '
°i^oo
feCoflK
\ M/UL
A)R^A*
Mo Wo\^f
three new 7” s
FTTIlSFlRS
HEROIN
and
VINYL COMMUNICATIONS
P.O.BOX 8623
CHULA VISTA, C A 91912
THE EX © SERIES
£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
series.
* 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...
SUBSCRIPTIONS
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.)
FURTHERMORE...
End of August SCRABBLING AT THE
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).
THE EX/RALBdR
P.O.Box 14767
1001 LG Amsterdam
Holland
write to me.
Brian Sokel/ RANDOM CHILDREN/ Elbohead
Records/ 206 Montgomeiy Ave/ Oreland PA,
19075
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
Bluegrass.
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)
584-6241.
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 -
2470.
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-
0068.
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.
In June RANDOM CHILDREN, INVID,
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,
FRACTURE, DOUBLE SNAPPY DOGS, and
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.
DIZRYTHNIA and GUTTERSNIPES have re¬
cently released a split seven-inch as well.
RANDOM CHILDREN, FRACTURE and INVID
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-
* SUNSPRING
40207.
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
address.
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
producing,
dybbuic
while they are
there. Expect a
7" on Self De¬
struct in the
fall. EVIL TWIN
THEORY/
1435 Rufer
Ave./ 40204/
581-0580.
DYBBUK has
added ex-SO¬
LUTION UN¬
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
40241-1517.
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:
SOBERING CONSEQUENCES report¬
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
MONKEYWRENCH, PUREBLOOD, and RE¬
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
blood!
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
soon.
A new band from Newport News is
SPOON, which features members of AS ITj
STANDS, DEVICE, and TRIAL BY JURY. Self
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
bvoaimia
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Lookout ^.K^fe-PS, fio. B^>c (1*374, Q>&fc'ezEu£Y) CA
in the near future, it is called The Underlying
Truth and will have interviews with EDGE¬
WISE, UPFRONT, NAKED ANGELS, and BAT¬
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
DEAL T
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.
Mainly because NOTHING HAS BEEN GOING
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
scene.
’ 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
JOE, BEDLAM HOUR, PORN ORCHARD and
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
occasions DEAD ELVIS, FLAT DUO JETS,
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-
rTTJ--
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.
axe
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,
SNOUT, ROGUES GALLERY, Flat Duo Jets
(with dexter false suicide alert arrest), GG
ay the locals
rst god
__by
thousands....
Scott Corkem/ Box 5340 / Hilton Head Is
land, SC 29938
lOVlSWW
JL^vX
Mm
eguli
atalc
genre music. A SASE will ge_
og and neat stickers + other free
you a cat
stuff.
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.
PSYCHO-A-GO-GO (ex ACID BATH) just
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
updated.
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/
(504)469-1950).
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
in LITTLE BUNNY FOO- TOO. FISHWIFE got
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 -"-^-- ™
seen
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, CA92117...you 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
CONSERVATIVE ITCH. CROSSED OUT are
planning on recording their 7" soon, they
nave a aemo.They are Taster than a madman
beating off. Reach them at Box 2812/
Leucadia, CA 92034. PLASTICMAN played
some shows and smoked some dope. They
kicked Chuck Vermin out, filling in is Bobby
iScfxlonE
IS RE-RELEASING THE INFAMOUS 1987 EP
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NAZI SKINHEADS GET OUT!
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the response to our JUST SAY NO TO
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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
heir first LP. CENTBRZA DEI IUMANIZACIJO
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
band.
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
1
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
Macedonia).
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
JSity
' 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
CENTER ZA DEHUMANIZACIJO c/o Dusan
i ledl/ Livadna 46/ 62000 Maribor
PHONE BOX VANADALS c/o Blind Dog
Records/ p.p. 60/ 41020 Novi Zagreb
SEXAc/o Idle Valley / Palmoticava 29/ 41000
Zagreb
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
>#
4
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.
-A
2^
K.U.D. IDIJOTI
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
show.
CHISEL
Debut Seven-Inch
ASSEMBLY
RECORDS
P.O. Box 332
Dunn Loring, VA
22027
$3 U.S./$4 Can./
$5 World
Payable to Chris Magoulas
RECORDS'
3t* RANDOM CHILDREN
i"
H.K
4 4.00
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H-StfJb 7“
H.oo
4 4.00
Z. DiZ^HH M /A/6onERSNlP€$
5fUT7''
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'll. ORDEAL
H-SOK\b 7"
42. CD
* 3.00
1 . RANDOM CHILDR 6 N/MAD PlANEfS
spur r
4 3.00
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CHEOS MACCOuTTOgeiAAIsaKeu
ffu&t/'c-lote. Poste/e
£LB 0 HEAl> RFCORbS « Zofc rtyrtgoiuern Ave^Ofelwd PA Wcr?# u.s.A.
■. 'Vi
\J PC/LASER PRINT HELL!
UNDERMI/RESDLUIJON ■ "CjniitlJiuP split V ip
STRONGHOLD ■ V ep (Ohio HCj
BURN • 7” ep (NTHC SupHjMiip’Rmlalinn)
INSURGENCY • V ep ('81 dens ob viofll
RELEASE • "Ho Linjit 1 V ep
STATEMENT ■ "Djb’I Sunriline Me' 1 7* ep
QUICKSAND • 7" ep (Reirelnlinn)
END TO END • 7* ep (feundalinnl
BORN AGAINST • “Ui»i Ti Be Warpra?*;" V ep
"Opes Zins" • Cnmp. 7" (Alnlral, Edjtviie}
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
PUZELEHCAD - "See Thra” V ep (ABCNORIO)
LAST GASP - "Hnpplnen Erer Atler* 7” ep
GLUNE ZINE 11 ■ Mph.'Sl. Peel HC $1.5 US $1 Ter.
WORD TO THE WISE #2 • Straight Edge $! US $1 Far.
NO ANSWERS #10 • Bera Apalml 805 Crew.
+ Bara Againil ilexi. $t US $i Far.
CITIZENS ARREST • "Celauni" U" $5 US $10 Ter.
BROTHERHOOD • «A» Think At Bln jP 12* $7 US $12 Ter.
sentence
ALL NEW 3 SONG 45: "MORE PUNKS FOR PROFIT''
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
stage.
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
“What’s
the
Truth?”
CD. It
sounds
like
current
Ear¬
ache
bands.
Their
vinyl is
avail-
a b 1 e
through
Rise
Above
Records
in UK.
And FI-
N A L
BOMBS
“Doom
Day"
C D .
They
are in a
D i s -
charge
and
&
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,
BATTLE ATTACKER, PILE DRIVER, and FVK.
“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,
DEATH SIDE, ACID, RAPES, etc.). ROSE
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,
etc.
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.
t
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INTERVIEWS
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
time?
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
“sound”?
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
know...
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,
Greece.
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
influence.
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
need?
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
be.
MRR: Tell me about your following in Eu¬
rope.
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
home?
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.
Doherty
I only saw
SLOPPAGE
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,
disbanded.
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
Nate Kato of URGE OVERKILL
(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¬
thority.
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.
s'
DANGEROUS CASSOWARY ENTERPRISE
BRINGS YOU
T-SHIRTS
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CRINGER
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All shirts, postage paid, are:
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Elsewhere $13
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Make checks/money orders payable to:
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WARDANGE RECORDS
-Ji w
WAR ONE: CITIZENS ARREST—A Light in the..: ep
WAR TWO/VRFM FIVE: CITIZENS ARREST— “ColOSSUS" Ip
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 ^
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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¬
list.
An in-depth
interview with
the people
behind the
scenes at the
Epicenter
Zone, San
Francisco's
punk rock
record store
and
communitry
center.
Louanne Voskans
and
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¬
ness.
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
my
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
you?
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
library?
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
it?
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
District?
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
now.
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¬
nity.
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
Francisco?
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
activities.
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
what?J.
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
constraints.
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
them.
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
terms?
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
Epicenter?
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
mundane.
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
it.
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
some.
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
ways.
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
possible.
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 fmd.it 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
authoritarian.
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
inequality?
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
thought.
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
don't.
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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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
eye?
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
if
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.
though.
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
record.
Bart: I litter and recycle.
MRR: What was your favorite live performance that you
played?
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
PSI
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
Florida...
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
INTERVIEWS
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
point.
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
sona?
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
opportunities.
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
INTERVIEWS
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
when?
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
Francisco...
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.
Nothing.
MRR: So, when the 7”
was released, was it
easierto get gigs? It was
released really early
anyway.
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
airplay?
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
recognition...”?
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
producing?
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
INTERVIEWS
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. . .
Nothing.
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
speak.
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¬
ERS?
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
England?
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
INTERVIEWS
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
released?
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
DEVO, the WEIRDOS, BLONDIE, RICHARD
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.
INTERVIEWS
INTERVIEWS,
DAYS OF WHINE AND NEUROSIS:
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
myself.
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
shack.
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-
ounce.
P: Forty ounces of anything. Milwakee's best
forty-ounce.
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
waving...
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
time?
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
outside.
E: Interview's over!
LOST DISCOGRAPHY
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.
1991)
Killswitch split single w/Pain Teens (Spank,
1991)
compilations:
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
lately.
e
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.
o
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.
INTERVIEWS
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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
crowds??
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
knows?
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
wmmw
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rm
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
INTERVIEWS
#•
!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...
Byeeee....
I
• 1
...it *•»» • •?
*
i,
it-!
IV v /
m a
£tt!
’••V; A
NEW!
CLUB
"Mother East’
Be a bright young lad and pick up
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Headcoats "Earl of Suave" 7” Australian Import $5.
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Hammerbox self-titled LP (C/Z) $6.95
Poison Idea Teel the Darkness" LP Import $7.95
Monomen "Stop Draggin’Me Down" GokJCD$12.50
MELVINS "With Yo Heart" 7" $5.00
BAD RELIGION "Along the Way"
VHS Video (Import) Back in stock! Recorded live
all over Europe. Full color pack and pro dub! $26.95
FUGAZI "Steady Diet of Nothing" LP/CD $6.50/8.95
Shudder to Think ’Funeral" EP$4.95
The Fluid "Clear Black Paper" LP $7.95
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Cynics live VPRO" 12" Orange vinyl. $5.95
JAWBOX "Grippe" LP $7.50
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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.
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"Jley babj,...let i UiAaca an yeA GnA^ii Glut bincjle and da the jjly!
/
Rocket Scientists "Pithe He|met"7”
Out of this world revved up hemi-rock from
Delaware's only band that matters. A bug
infested Amazon love song on one side with a
buttplug in yer nose anthem on the flip and it's
all wrapped up in a deluxe Coop penned
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edition of 1.500 . ES720 S4.00 ppd.
.IJciiu U_ lie iistnis. Cl ruf-t CL lull
Get the next six Estrus Crust singles as well as
some groovy "members-only" bonuses. Just send
us $20 ($25 Canadian $30 foreign) and you're in!
NEXT CHUNK: MONO MEN "BOOZE" 7" EP
Estrus Records P.O. Box 2125 Bellingham WA. 98227 USA
NO JOKE
TRAGEDY OF THE MASSES
•available now*
•NO JOKE "Tragedy of the Masses" T'/Cs.
3 songs of brutal hardcore from this New York
band. Cassette single will be out in one month.
$3.50 n. america / $6 elsewhere
•COUNTERPUNCH "Within Reach" T'ep
Powerful Arizona straightedge band with a sense
of urge and energy. Now in it’s 2nd
pressing. $3.50 n. america/ $6 elsewhere
•RECOIL 1991 demo tape
The newest in a long line of Memphis bands. $3 n.
america/ $4.50 elsewhere
•STATUE logo shirts (XL only)
$10 n. america/ $13 elsewhere
* make all checks payable to Jeff Johns
COMING SOON
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& more shirts.
mM
STATUE RECORDS
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60514
Thank Heaven For Little Girls
LP/CD/Cass
Lucky Tonight
3-song 7" 45
Still Available:
Blood, Guts & Pussy
LP/CD/Cass
Thrash-Trash-Rock n Roll
More brutal filth pop speed rock
from the world's sickest band.
Look for the Dwarves on tour -
banned at a club near you!
For a free catalog write Sub Pop:
P0 Box 20645, Seattle. WA 98102
CD/Cass distributed exclusively by Caroline
SOJHB
By Krlss P. Bakkln
Really Red Discography
All on CIA Records
Crowd Control/Corporate Settings 7" 1979, released
1988
Modern Needs/White Lies 7" released between 1979-
SI
Despise The Moral Majoritv 7" live ep, again, between
1979-81
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
Band:
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,
Ma'am.
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
inastylethatfit
the music per¬
fectly, and was
a big inspira¬
tion to a gen¬
eration of punk
drummers in
Houston.
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
Houston...
with
IflftECORDlMC, ARfHTS
REALLY RED
Really
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.
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!
COMMING SOON
Illegitimate Sons of Jackie O,
(tulsas' own noise / trash Gods)
The Divergants
(the best HC band in Dallas)
Third Legs’
(2nd release)
ALSO AVAILABLE
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(this band is the Christ on a crutch of Texas)
Scratched Record T-Shirts
(XL, XXL 2 sided/2 color - Black)
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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,
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jc,...
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)
AUDIOSTENCH/SATANIC DEATH - split EP
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) ( *
BIG DRILL CAR - “Batch” LP
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)
BLACK FLAG-“Live” EP
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
^55^^^S^^^Sraograph^Je?MEP
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)
[cSsURADOS - LP
■ 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)
CHISEL - EP
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)
COMB-EP
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)
NECRA
LLstvJ.
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rwh a ‘ ?
l_ F* / C S $ 7
BOTH L_F»s ON
ON E CD $ 1 O
WORLD 1 LP or 1 CD $12
2 LPs $20, NO CHECKS
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• 451 W. BROADWAY 2N •
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4th
The
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$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.
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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)
DEEP TURTLE-EP
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 know...like
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,
ENGLAND)
DOUGHBOYS - “HAPPY ACCIDENTS” LP
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)
[eCONOOMST/DETONATORS - split EP
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.
87106)
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
DOCTOR AND THE CRIPPENS/JUNTESS - split EP
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)
OUT NOW!!!
M°tiTriFUL °F
MONKEY BILE
6 BAND / 7 SONG / 7” EP
Featuring:
PSYCHO TRIBE
HESTER PRYNE
GORE GORE GIRLS
YOUTH GONE MAD
SOCKEYE
THE EELS
FLUSH records
p.o. box 1050
Richmond, CA
94802 USA
$3.50 U.S.A.
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ON VOMIT GREEN VINYL
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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)
THE GITS - EP
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^ ( > '
|KARI^IENDRICK^^^5!^^SRrt^^P
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)
IATUS/REACH A MENTAL ROAD - split EP
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)
GUTTER MOUTH - “BALLS” EP
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)
pOBo^30426^ustimT)^^^)
| 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^
1
October 1, AmRep industries Presents
tAr "JACksOn" IP
HEitts rttEeJ "toCWflUtc Nme' ip
hELmeT "unSUnC" 7"
r 3 w s
peAcETika" IP
& HALO OF f LleS
U "music foR iNSecT mlNds" CD oNly
SEND S.A.S.E. FOR CATALOG OF TONS MORE- LP’S / 7"S / T-SHIRTS / VIDEG
ATTENTION STORES: WE ARE NOW DEALING DIRECT 1 » @I
AMPHETAMINE REPTILE RECORDS • 2541 NICOLLET AVE. S. - MINNEAPOLIS MN. - 55404
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)
JUGGLING JUGULARS - “Gun In My Heart” EP
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) _
KAUPUNGIN KAUNEIN - “Oljymaen Esso” LP
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
(LH)
(no address)
LEATHERFACE-EP
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)
MAJORITY OF ONE - EP
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 MALICE I^WONDERL^J^^nJ^^^S^toSu^^m^J^F
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)
i
lsssr-*««
|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)
|MEANIES-“Scam” EP
“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)
tLC. BEGGARS
YOU’RE SO PRETTY
BUT
YOU
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S X C K
4 SONGS SINGLE $3 - 50 c 1 s N
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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 ..
mw
MOSS ICON
New! Memorial T Silver BearingaMoss Icon split 12“
Still: Mahpiua Luta 7'
FREAK BEANS
4 song T ep.
h
ruiDO
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
RECORDS
•v4pF>
w
■r*
76 Summerfield Dr. Annapolis, Md. 21403
WE RE SO DAMN* CHEAP.
7"s are only $1.50 plus P&H, LP 1 s from $3.00 plus P&H
12"s
ANGRY KIDS/CABAL split LP $3
"Don't forget the Punks of Bankok" $ 3
EARTH ARMY "Stravinsky..." $5
RANDOM KILLING "T.W.W." MLP $3
7 "s
"A Kinder, Gentler Genocide" comp.
AGENT 86 "Vietnam Generation"
BASE APES "Orgy of Hatred"
BRAINS OF HUMANS "Game 88"
CELIBATE COMMANDOS "Deconflictn"
EARTH ARMY "5song6quarter7inch..
FLAGRANTS D'ELI ep
H.C.P. "Anti-Drugs"
KRULL "Anguish"
"Mathather" flexi-comp.
NOCTURN "Shades of Insanity"
OFFICER FRIENDLY "Beats... Barf"
"Old World Records" comp.
POLLUTION CIRCUS "Distroy..."
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
look
for review in Flipside #74
POSTAGE
(u.s.)
$1.00 first
item.
25$ ea. add .
1 E
ART
H M
u
S 1 c
P.O.BOX 3 3 9 9 -HUMBLE , T.X. 77347
NECKBRACE-EP
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/MELVINS - split EP
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)
NOD-EP
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)
NOTHING PAINTED BLU^TeWoHJoThey?”
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 OFFSPRING - “Baghdad” EP
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)
(Sympathy)
ONION-EP
Melodic but slightly distant tuneage, mostly vocally speaking. Cool chords on
the geetar. Definitely something for your ear to catch. Three songs. (KG)
(Mond^^dioti^Records^^^oi^T^^rookfield^^rjO^SW^
OUR BANDS SUCKS - LP
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)
[pAI^SEN^^Sacri^S^HKl^^^nteart*^
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)
|PAVEMENT-^SummerBab?^El^^^^^^^^^
| 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)
nSnISSURPRISE - “Value” EP
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
I remember, and that’s great Nice sleeve too. (ML)
l (Rockville. throughDutchEast)_^_^^ >
^OWE^ASSAULT^Tai^an^Misery^MCP
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)
SUBTERRANEAN
MAIL ORDER
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DRY LUNGS IV
The acclaimed industrial music series returns with easily its strong¬
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this one includes contributions from DISSECTING TABLE. MINUS
DELTA T, HELENE SAGE and FRANCIS GORGE. UN DRAME MUSI¬
CAL INSTANTANE, the GEROGERIGEGEGE, HEINRICH MUCKEN.
PRINTED AT BISMARCK'S DEATH. ROBERT RICH. JAMES LEVINE,
and CONTROLLED BLEEDING. Diverse, rich sonic explorations
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One of this world’s most loved and reviled bands returns after a hiatus
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songs by Bruce Loose, Ted Falconi, Steve DePace and new bassist
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Bedtime horror stories told by Jello Biafra, with musical backing
by East Bay Ray. Christian Lunch. Morgan Fisher and Adrian
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and Mary Kelly (Contractions). $9.50
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<*
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.
iiiF-it-lua
What
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”
ss^s^^^asw^-lssgg^
asKsssr- T_ 1 «»•>«"»»»"»~ «*
BEEFHEAK1-HKe consirucuuua. v. w » -r -
and sqwawks that sets off a wUd and slippery downhdl ride.
Manhattan-esque way. (HD)
(MatadorRecords'
^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
RANDOM CHILDREN - EP
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)
^^^^^^^^^^^U^^^0^IontgomeryAv^OrelandjPA19075)
| RANDOM CONFLICT - EP
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)
pSkUM^rayLoud^^*
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)
(Cru^Records)
| 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/SANCTIONS - split 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/JUNCTION - split EP
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)
SHOEFACE - EP
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 *
ISNUFF^T
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)
IJlOPas^2Records^JK)
| SOCIEDADALKOHOLDCA^LP
■ 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)
[sowbeixy^p
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
^^UoMWMtgateS^ndoi^^^^O
SIMSTER/MONASTCR^spli^^^^^^
_ 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)
1 FINLAND) -
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,
Ir^B^^nhigerStr^Tdi^Pffillingen^ERM^JY)
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TRANCE
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-
#
SUGARBURN-EP
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)
SUPERCHARGER - LP
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)
SUPER CONDUCTOR - EP
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
(LH)
(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/GROUNDWORK - spUt 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!
TERROR CAKE-EP
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
SHONDELLS. (BR)
(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
TRANSCEND - EP
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
DEB UT 7"OUT NOW (EX-DE VICE)
#3 VP* r~ ^71 NGR
1 |C &Wh»TeoAIW
4-- “M™
T?lm
(G?3\ ’ ~ f ~ 4 "^J ?AbATe$e
...St»LL AVAILAbLf): PUZT.LeheAD ^
lp / CD
featuring GOVERNMENT ISSUE, JAWBOX, SCREAM members
Seattle’s flROINDaE’N’POP’N’PUmC’N’ROLL Powerpack
Airmail-Prices LP $ 12 CD $ 15
LOST St FOUND RECORDS
IM MOORE e 3000 HANNOVER,!
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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,
JUST CAUSE, STEP ASIDE, FACE VALUE, ENDPOINT. Documents a new
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)
(m^ddressJAPAN'
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,
MUSHROOM ATTACK and my favorite, PRIVATE JESUS DETECTOR. Fitting
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 ]
SAMI AM, and JAWBREAKER. (LH) 1
(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^
NESSUN DORMA&
ZYGOTE TOUR
19 OCT-25NOV
BELGIUM - HOLLAND
N.GERMANY-POLAND
HUNGARY-AUSTRIA
C.S.S.R. THEN BACK THROUGH
EAST GERMANY-
BELGIUM.
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Pp.e.£erably Rinj: LENA
2-11 vZZUXk
oR WRite'-klEFERttR Str 23
4-000 DUSSELDORF 1
QER/AA//K
Hello Q(/fcksaNd
BE SEE///J you ,.
ZYGOTE(EX-AMEBIX),'WIND OF
OUT SOON KNIVES' L.P
f I Make My Bed in Hell—
Who Cares?
M.C.R. UK. PRESENT!
nfc&un tjorma l.p.
"cpetoitober”
AVAL (ABIE ES-+PP
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KAKUMEI.Z JAP COMP ALBUM
(NESSUN DORMA,SPERMBIRDS,IDORA.)
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ALL THE PEOPLE IN HELL CARE
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v THE GITS
MUSICAL ill
TRAGEDIES
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..
New
CHAIN OF STRENGTH
Airmail postpaid rates:
UK
EUR
USA
OTHER
CHAIN 7"
£2.50
£3
$5
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J.R.LP
£6
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J.R. CD
£9
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£11
DRIVE M-LP £5
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DRIVE CD
£5
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Sorry U.S. prices are so fucked
blame the exchange rate
WHAT HOLDS US APART
FST010: CHAIN OF STRENGTH
“What Holds Us Apart” 7 "
U K. pressing, mailorder customers get blue
\/inyl copies.
STILL AVAILABLE:
FST002: MAJORITY OF ONE "Think” LP
FST005: LIBIDO BOYZ "Hiding Away" LP
FST008: UBIDO BOYZ "Childhood" 7"
FSTOI 0: CHAIN OF STRENGTH "What ” 7"
FST012: JAILCELL RECIPES "2Years" LP/CD
FSTOI3: DRIVE "GreaseGirls" MLP/CD
NEXT:
FSTOI 7: WHEEL "Lessons of Tragedy" 7"
FSTOI2: JAILCELL RECIPES
“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.
FIRST -1
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In the USA try ordering from Blacklist
FSTOI3: DRIVE
“GreaseGirls” Mini-LP & CD
8 superb "guitar-orientated" pop tunes.
Combines the tracks from "Greasegun" & "No
Girls" both EP’s plus one unreleased number.
MORE COOI, STI FF FROM ROT7 RECORDS ■ MAILORDER & DISTRIBUTION
THCRCS]
ANDY ANDERSON'S TRIBE A. Anderson's
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!
FOR COD ORDERS OR TO REQUEST 17 N. ELIZABETH ST.
A FREE CATALCXJUEt ALL (312)942-1764 CHICAGO, IL 60607-1911
STORE INQUIRIES AT:
(312)942-1710& FAX: 1806
By Heather (»y
This month's question:
m
"■Wk
,
.A
-
w.
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
world.”
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.”
'MOVIE REVIEWS.
XX
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)
$21.95.
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
its
I CL
_ 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
pseudo-intellectual
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
An
sis.
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
spectators.
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)
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BETWEEN THE LIONS
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.
(MW)
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 /
Germany
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 /
Canada
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
ANCIENT GRANDMA SECRETS #6 / $1.50 ppd
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
19096
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 /
Canada
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.
(MS)
Emiel / Madoerastraat 12b / 9715 HG Groningen /
Holland
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
AND WHEN THERE’S DARKNESS #6 / $ 3.00
ppd.
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.
(KC)
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.
(KO)
Marc Fischer / 234 Lloyd Ln. / Wynnewood, PA
190%
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.
(KO)
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
England
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 /
Canada
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.
(KC)
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.
(KC)
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/
Holland
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
33301
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
NAKED AGGRESSION $1.00 ppd.
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
1P2
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.
Germany
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.
(LH)
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
ASSAULT WITH INTENT TO FREE #9 /$1.50
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
IF COMIX MENTAL $9 ppd.
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
MORE ZINES
RHETORIC #1 / SI.00 ppd.
c/o Brad Marta / 461 Rivcrmoor Dr. / Waterford, WI >V
53185
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
12061
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
UNDERESTIMATED #4/500 ppd.
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
48823
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
95621
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
NO EXTERNAL COMPULSION #5 / $1.00 ppd.
215 W. 26th / Mpls, MN 55404
FOOD FOR THOUGHT #2 / $2.00 ppd
25 West 13th St. #5-N-N / NY, NY 10011
mVisKfetkaiissi
LARD GORE #3/750 ppd
POB 8722/Mpls., MN 55408
MOUTH #15/$1.00 ppd.
POB 2069 / Decatur, GA 30030
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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)-
388-1932.
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-
0804.
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.
SEEKING! DRUMMER AND SINGER in Los Ange¬
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.
DOES ANYONE IN NORTHERN NJ or NYC xerox
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
11201-0004.
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
Alvarado.
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.
UK PUNK COLLECTOR/TRADER requires US
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
3QY
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)
685-9034.
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)-
388-1932.
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-
0804.
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.
SEEKING! DRUMMER AND SINGER in Los Ange¬
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.
DOES ANYONE IN NORTHERN NJ or NYC xerox
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
NJ.
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
11201-0004.
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
Alvarado.
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” $16. Renee, 2126 S.E. Belmont, Portland,
OR. 97214
ATTENTION GOTHS: I’m looking for tall gothic guy
named Mark(?). I met you 2/91 on Greyhound headed
from L.A. to Chicago. I was in Christian Death t-shirt
w/ gothic girl. I must explain something. Dave, 9
Alvin PL. Rochester, NY 14607
UK PUNK COLLECTOR/TRADER requires US
hardcore records including all rare releases by DOA,
Big Boys, Misfits, Sub Pop, Subhumans, Crime, Germs,
Dils, etc. etc. Will trade for UK punk. Many rare
items. Blitz 1st, Chaos UK, UK Subs, GBH, Anti Pasti,
Vice Squad, etc. etc. Write to Mark Egan, 14 Aberdeen
Grove, Armley, Leeds, W. Yorkshire, England, LSI 2
3QY.
LOOKING FOR my girlfriend. She probably lives in
Orange County, CA. She’s between 20-35 years old,
down to earth, any race, and pretty. We share a lot of
interests: the beach, old/new punk (The Damned to
The Dwarves) as well as other music and related
activities. She also doesn’t mind that I ride, smoke
and drink (not too much). I am 31, 165 lb., brn./brn.
Tattoos, good-looking 5’H". Write or send photo +
phone to: Scott, 2052 Newport Blvd. #81, Costa Mesa,
CA 92627.
ATTENTION GOTHS: I am a true child of god, losing
all hope and living by bread alone. You know the
bands. I need to know you’re out there, the shit-
action’s about to begin. Dave, 9 Alvin PI, Rochester,
NY 14607.
SELLING RECORDS to raise enough S$ 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)
685-9034.
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
now!
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,
Sweden.
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.
TERVEET KADET LP PROPAGANDA’ new compi¬
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.
CRASS/CONFLICT/NAPALM DEATH /Zoundz/ Oi
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.
GET ISSUE #1 OF HANLEY NEWS w/ Guy, Jaw¬
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
thecks.
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
40165
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,
Sweden.
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
USA.
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.
I NEED GUYS FOR TRADING RECORDS. I have for
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.
FEMALE ALTERNATIVE PUNK Loves the Cure,
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
10305.
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
07945.
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
Canada.
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/
Canada.
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
JOHNNY THUNDERS WANTED: Videos, audios,
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.
18951
YO ALL YOU PHOTOGRAPHERS I’m a 28 vr. old
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!!!
I’vegotstufftotradeorwhatever.justwrite.dammit!!!
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
79424.
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 $2 per item. Otherwise prices ppd in
the USA. Rebound Records c/o Ryan Sikorski, 10
Alexis Ct., Holmdel, NJ 07733. P.s. - send specific
want listsorcall (908) 264-2877. Sellingwhole collec¬
tion
TRADE: WORST 12+7", Rocks 12", Bad Religion boots,
Misfits boots, Zero Boys 7" boots, B.M.B. 1 CT boot+org
LP, PL7"+12". Want: Rocks 7”, Big Boys 12" (towel),
Undermine first 7", World War XXIV 7", Chosen Few
7", Cartoon Rockers 7", La Femme 7", S.Stiletto 7".
Please send list to Henk Smith Middenweg 13b 1098
AA Amsterdam, Holland
GOT SOMETHING to say? I’m starting an opinion’s
zine, and contributions are needed, any good thoughts,
ideas, issues, etc. write a column and send it to: Mike
Howard, 371 N.32nd, Battle Creek, MI 49015
DEATH-TRASH-GRIND-NOISE. Vampire-Thepro-
fessional underground mag from Germany. If you
have news, bios, demos, records,... about death, trash,
grind, noise, please send us the stuff. We can support
you throughout a circulation of 20.000 copies full-
coloured. Vampire is only written in german lan¬
guage. Distributed in Germany, Austria, Switzer¬
land, and the countries around Germany. Inside we
have stories, reviews about records, fanzine’s, demos,
EP’s,... and posters. So, don’t wait with your answer
and stuff, to provide us with it. OK labels, fanzines,
radio-stations, fans, tape-trader,... We hear from
you!!! Vampire, Quellenweg 37, 7340 Geislingen,
Germany. Vampire is published by Turbo Music Ger¬
many
SALE: (Seven inches, 15$ 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
(449-8615)
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
5XX/UK.
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
90046-9300.
TAKXLAS5J0E.CIS.
40 WORDS S2CASH ONLY!!!!
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
SUBMIT: VILE VIDEO COMPILATION, Tale Napkin/ BoiledAngel
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
60148
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-
4420.
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
OUT NOW
ON NOISEVILLE RECORDS AND TAPES
DISTRIBUTED THROUGH SOUTHERN STUDIOS
Tgren-T.T.r. DUTCH EAST,IMPORTANT
>
i m
NOISEVILLE RECORDS
P.O: BOX 12*1 :
YONKFRS. NY 10710 '
PLEASE READ
... 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*
JUST OUT
#17 Sticks + Stones "Coup Flowers Can't Fail" 7" EP*
#18 Deviators "21st Century* 7" EP
COMING SOON
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
SKENE!
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
Price
Guide, including postage,
in U.S. $:
U.S.A.
SURFACE
S CANADA
Airmail
®
7"
3.00
4.00
6.00
®
12" EP
6.00
8.00
1 1.00
©
LP
7.00
9.00
12.00
CD
8.00
9.00
11.00
©
MaxiCD
10.00
11.00
13.00
Please send us a
stamp for a full
list of records.
Please note our
new prices.
They are higher.
From:
To:
BULK RATE
U.S. POSTAGE
MAXIMUMROCKNROLL
PAID
P.O. BOX 288
BERKELEY, CA
BERKELEY, CA 94701-0288
•
PERMIT No. 1153
PRESSURE DROP PRESS
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
81/2x11
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
subtlety.
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.
Live Music Archive
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