Maximum Rocknroll #08

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RAD'O
:
For what it's worth, here are the Maximum
RRoc k'n'Roll D.J.'s c urrent Top20 lists.
Please send us your rec ords or tapes (2
c opies of vinyl, if possible-one for review,
one for radio) . Send to MRR /Box 288/
Berkele CA 94701
A
a
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SHITWO RKERS:
Jeff Bale
Lynn M
Jerry Booth
Noisebush
Brad
Karen d'O rleans

Anna Chapman
Paul d'O rleans

Caedman
Jerod Poor
Erikka
Sc ott
Brian Edge
Ruth Sc hwartz
Peter Montgomery
TimYohannan
Jake Ac tion
Ron Barnes
Jello Biafra
Antonio Bivar
Vic Bondi
Murray Bowles
Ron Christ
Jon Copeland
Gerard Cosloy
Dave Markey
Denise Wysoc ki
Dig
Drew A .H .C.
Exile Voluntary
TomHawk
Carl Haynes
Lyle Hysen
CO NTRIBUTO RS:
Trobetas Johnny
KaIv
Chris Letc her
Maati
Paul Mahern
Mofo and Thrasher
Mouse/Alison Braun
Norbie Ugly
Pushead
Jac k Rabid
Bruc e Rhodes
JimSaah
Steve Spinali
Ron Thatc her
Y r sa
MAXIMUMRO CK'N'RO LL
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OHL-OKTOBERREVOLUTION-LP
MDRNINGTON CRESCENT-GREETINGS
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SIN 34-DO YOU FEEL SAFE?-LP
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MASTER TAPE VOL . 2-LP V/A
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3
' <
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MORNINGTON CRESCENT-GREETINGS . .-EP
REFLEX FROM PAIN-BLACK
&
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SATAN' S CHEERLEADERS-CREATED IN
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WE CAN' T HELP IT, WE' RE FROM FLORIDA-EP V/A
KPFA BERKELEY CA 91 .1 FM TUES 9PM
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There
are some people who have been
trying to divide the punk sc ene between
"politic al" and "non-politic al" . Personally,
I think that's a false division . Most bands
have some songs that are "politic al" on
some level (serious, soc ial, whatever), and
other material whic h is funny, satiric al,
retarded, etc . To draw a line and say
"either you're on one side or the other" is
bullshit. I do see the sc ene being split as
a result of this though, but fromwhere I
stand it looks to be between those who
support the sc ene, (try to make it a
stronger, more intelligent alternative;
enc ourage newbands; put on all-ages
gigs, etc
.), and those who's only
'c ontribution' is to try to pull it all down
with their negativity, bac k-stabbing, and
tunnel-vision.
This is not to say that some of the
c ritic isms leveled at the so-c alled
"politic al" punk bands are not without
validity, espec ially the assertion that some
of their songs whic h deal with serious
subjec ts are lyric ally so simplistic that
they are a disc redit to all "politic al"
punks. But the fac t remains that these
"c ritic s" find it muc h easier to attac k
those who are trying to be progressive,
than to make an effort to remedy the
situation by writing more artic ulate,
in-depth, and intelligent politic al songs
themselves
. Some, of c ourse, are not
interested at all in doing so bec ause they
feel it would be "over their heads", but
for others, these attac ks are merely
smokesc reens. . . .it's not that they are
against "politic al" punk
; it's that they are
against the spec ific politic s in
question-PRO GRESSIVE PO LITICS! These
attac kers are just basic ally c onservative,
and find it c onvenient to jumpon the
anti-politic al bandwagon by yelling
"c lic he", rather than c ome out and openly
admit that they are opposed to even
well-done songs in that vein . They are
advanc ing an attac k on all progressive
politic al punk by hitting at the weakest
link.
The world c ontinues to move towards war
as President Reagan follows in Margaret
Thatc her's footsteps in searc h of an
external c onflic t to rally latent patriotism
andtake people's minds off failing domestic
polic ies (if he c an't inc ite some small
c ountry to reac t to his naval fleets or
C .I .A . ac tions, then he'll c reate an exc use
for intervention, like the Gulf of Tomkin
inc ident, a c ontrived story used by
then-President Johnson to get
Congressional and popular support for
further U
.S.
esc alation in Vietnam) . Soon,
a lot of you may find yourselves with
gun-in-hand, sent to kill other young
people in other lands who's only "c rime"
has been to be rebels like yourselves.
Then What?
We are rapidly approac hing a c rossroads in
our sc ene. Will we be able to stay vital,
up- to-date with the times? It seems to me
that the strength of punk c omes fromit's
interfac ing with politic al and soc ial
realities; that's what sets it apart fromthe
fantasvland of traditional roc k'n'roll or
heavy metal
. Yet instead of flourishing,
many of our sc enes are ebbing, bogged
down in petty in-sc ene slagging, soap
operas, etc --a sic kening waste of time and
energy
. Either we shake this Quinc y
Punk/ Arc hie Bunker Punk image put on
us by the mass media (and perpetuated
by
some of our "own") and we foc us our
inc redible energy outward at the true
sourc es of our oppression, or we end up
as an insignific ant, pathetic joke--left
behind like the hippies
. Punk still has the
opportunity to be the c utting edge when
the shit hits the fan . But it's no longer a
matter of politic al vs. non-politic al
. It's
now healthy vs
. neurotic , real vs.
fantasy, and life vs. death
. Whatever our
differenc es, it's pretty safe to say that
there is 90%
agreement amongst us all
generally. Somehow that other 10%is where
alot of punks are putting their attention.
If we c an't turn that around, it's all over.
Tim
C . D. Presents, Ltd.
1230 Grant Avenue Suite 531 San Franc isc o, CA 94133 USA
HOLY SHI T!! !
MRR,
I am writing this letter in protest of
a BAD BRAINS c onc ert in Seattle rec ently.
I have heard this band on vinyl and I
thought they were great. I even went out
and bought their new album, whic h is
mainly tight, intense hardc ore
. Aside from
a few
monotonous reggae songs, I loved it!
So when I heard they were c oming to
Seattle, I rushed down to buy tic kets.
First thing that pissed me off was they
were $8 .50!!
Sure, there were 2 other
bands, but they were both loc al, and one
of themsuc ked, big time. Now, I had
heard BAD BRAINS interspersed hardc ore
and
reggae into their c onc ert, but I didn't
expec t what they were gonna do.
They
started the showby playing 5 long reggae
songs, and proc eeded to put down the
"Seattle punk roc kers"
. Nevertheless, we
kept c ool waiting for the hardc ore
. After
the reggae songs they played 3 extremely
short HC songs that were great
. This got
us pumped upfor more. They played 2
more reggae songs, and the guitarist left
the stage, never to return
. H .R . said
something like ,"You are
too unsettled; we
quit"
. This was after about a half hour or
so. After a long break
they c ame bac k
with H .R . on guitar, and played another
half hour of nothing but reggae. Then it
was over. It was total bullshit
. I don't
knowwho these c lowns think they are, but
If their idea of fun is to ripoff the
audienc e andmake fun of themat the same
time, then they should be shot
. Just
bec ause they got a major label (Jem) anda
hotshot produc er (Ric O c asek) they think
they c an jac k us around
. O n topof that,
they fuc kin' preac h too muc h about "Jah"
and"being independent" . Howindependent
c an one be when he's always depending on
ganja! Howlow c an a
rasta get? BAD
BRAINS played to a pac ked house last
time, but you c an be sure it won't be next
time. H .R ., I'd like a response
. And by
the way. ..
Blowme Jah!!
An "unsettledSeattle punk roc ker".
HARDCORE HI LTON
Dear MRR,
Thanks for printing my letter in your
zine. I got great response, made a lot of
newfriends fromall over . NowI'mwriting
to see if there's any punks out there who
are planning to visit England and need a
plac e to stay. Please, don't hesitate to get
in touc h. Also, any Americ an skaters who
want to write to an English skater should
write to Neil Shannon of the
DESTRUCTO RS at 13 O rmiston Rd,
Wallasey, Merseyside.
Cheers,
Granny
30 Primrose Rd
Claughton, Birkenhead
Merseyside, England
Tel . 051-653-3782
BUT IS IT ART?
MaximumRoc k 'n Roll:
This is in response to the art versus
politic s position of "A Reac tionary
Moron"-ic letter in issue #6.
I amsic k of hearing about art as
seperate frompolitic s
. This exc use has
always been usedto
try and elevate "art"
into something superior, transc endental,
anduntouc hable
. It is an alienating power
of the c apitalist systemto make art seem
something mystic al - an aesthetic forc e
whic h is, in ac tuality, ruled by ec onomic s.
Historic ally, whoever has money or power
dec ides what is "art"
. In the past, the
c hurc h had this dec isive power, and art
was ic ons andallegoric al paintings
. Today
what is saleable often bec omes art, or at
least "high art". This does, of c ourse,
exc lude what is found in everyday life,
what is not "approved" by the upper
c lass, and what is "subversive" or
politic al. The powerful and subversive
formand c ontent of hardc ore has put it
outside of "high art" . This allows an
ignoranc e by the ruling c lass of its (hc 's)
true artistic quality. There are, however,
c reations whic h are art despite the ruling
c lass. O ur soc iety c onsists of all c lasses
and
the opposition and antagonisms

whic h oc c ur between them.
Thus, the c ontent and formof art is
integrally related to soc iety and to that
whic h makes upthe soc iety
. There is no
getting away fromthe fac t that art reflec ts
soc iety and that soc iety is politic al - the
politic al nature of art is thus unavoidable.
While traditional amateur and professional
art c ritic s may tend to ignore art in its
soc ial politic al, hisoric al, and ec onomic
c ontext, they are sorely mistaken . They
are propagating the habit of elevating art,
giving the ruling c lass another weapon to
alienate people fromeac h other and their
own c reative potential - whic h is more than
an objec t of marketable, "pure" art.
The apparant politic al nature of hardc ore
does not make it any less artistic . Nazi
Germany, Hitler, and the NSDAP used art
- what they c onsidered "pure art" - as
propaganda
. It ignored the true c ondition
of life for and by the people and instead
c onvinc ed pec ?le of howpure, powerful,
andgreat Fasc ismwas
. While the politic s
were not as apparent apparant as the bad
art was in Nazi Germany, with hardc ore
now, in Americ a, people have a c hanc e to
say and do something positive and
powerful as part of its c onstituenc y in art
and in politic s
. While there is a distinc tion
between art and politic s (we do, after all,
have two seperate words), to c all
something hierarc hic ally a "politic al weapon
first and good art sec ond" is to negate the
truth and importanc e of art and politic s
and of hardc ore in partic ular
. Hardc ore
c an andis both.
Binky Friedman
Flushing NY
"Be warned!
The
nature of your
oppression is the aesthetic of our anger
."
O H YEAH ! ?!
Dear MRR,
I'd like to c omment on that little piec e
that Lynn fromStaten Island wrote in
issue #7
. I happenedto be at the same gig
that she is whining about, and I think she
overexaggerated the so-c alledviolenc e that
took plac e. Maybe she should work for the
news media ; then she c an exploit people
and blowthings out of proportion all she
wants. As far as the "Jersey Rules" shit
goes, that is bec ause they heavily support
their loc al bands, and they were giving
A .O .D
. and SACRED DENIAL the support
they wouldn't get froma lot of the N.Y.
kids who seemto suffer fromthe "New
Jersey Mindbloc k Syndrome" . Like
whenever a Jersey band plays N.Y .,
everybody goes outside and plays deaf,
pretending that the band doesn't exist .
Maybe Lynn c an get a job doing Jersey gig
reviews for Forc edExposure- she seems to
have the same shitty attitude they have.
After all, I do like a lot of N.Y . bands,
and Lynn is a little girl who's got a lot to
learn so I won't hold a grudge against
her . Connec tic ut has great bands too, and
the people I talked to were c ool and down
to earth (unlike myself) . Is C .I .A
. better
than MINO R THREAT? There's a damn
goodc hanc e of it!
Steve, ex-guitarist of BEDLAMfromN
.J .0
Nowresiding in San Jose
O HNO !?!
Dear Max R&R,
I think it's very important that you
print this letter bec ause I have to c lear up
what I wrote in my last letter. in that
letter I desc ribed
a showthat I had seen
at CBGB's
. The bill had 2 New Jersey
bands, 1 New York band and 1
Connec tic ut band
. I said that the kids
fromJersey who were at that showfuc ked
it upby being violent.
At this point I would like to apologize
for all the c ontradic tions in that letter,
plus giving anyone any negative attitude
towards NewJersey. I didn't meant to put
themdown, as I wrote in the letter, but I
made it look/sound like the punks in
Jersey are all violent and all hate New
York. It's true that some
Jersey punks
hate NewYork, but it was wrong for me
to assume that this was "Jersey's Rule" . It
was also wrong to label themas assholes
or violent. Some people at that showsay
that didn't see any of that at all, and
some said they did. Regardless, what I
wrote was wrong
. I really don't knowtoo
many punks fromNewJersey nor have I
seen many of the bands, so I don't know
howtheir sc ene is
. All I'msaying is that
I'msorry for putting themdown in suc h a
way as to make anyone upset or have bad
feelings towardNewJersey.
However the basic theme of my letter
still stands
. That is, that the shows
should not be violent and that the kids
should make uptheir minds as to whether
or not they want hardc ore to
survive, (violenc e will definitely ruin it for
everybody) and also that we should all
unite and be friends, bec ause that's the
only way this is gonna work out!!
Supporting your own sc ene is great, but
you shouldn't shut out all the others in
the proc ess! Everybody, no matter what
sc ene they're in or where they're from,
has something to c ontribute
. No sc ene
should be c ritic ized, bec ause even if the
bands suc k, most of themare trying, and
that's what c ounts.
Again, sorry for making NewJersey
the sc apegoat for a bad show, for
c ontradic ting myself, and for upsetting
anyone and giving false impressions.
There's enough fuc ked upthings in the
hardc ore sc ene, and I didn't have to
c ontribute. I hope I resolved this whole
situation by writing
. If this letter gets
printed, whic h I hope it does, I c an let
everyone know how I feel
. I made a
mistake (nobody's perfec t) and I apoligize
That's all I c an do. But next time I'll
think before I ac t!!
Thanks,
Lynn Hafferkamp
85 Vera St.
Staten Island, NY
10305
SEX,DRUGS,AND PROPER CLOTHES
Dear MRR,
I have 3 things I want to get off my
c hest
. First, I'mfuc king sic k of people
saying that "going to gigs is like going tp
a fashion show", saying "if you wear
spikes and leather and weird c lothes
you're a poseur" and " you should dress
like a c asual skate-punk" (all skate punks
look the same to me)
. Well it bores the ass
off me-everybody looking normal now
. No,
I won't tell anyone how to dress-but
wasn't it a major point in this movement to
shoc k the fuc k out of the public and get
their attention and make themlisten? Sure
some punk hardware may seemc ommon and
c lic he to some punks and the public -but
that should give you more reason to look
EXTREME . I feel like everybody's burning
, out and giving in to looking normal . What
a fuc king bore
. C'mon you assholes, NO
FADS- KEEP EXTREME-SCARE THE
SHITHEADS-O K? Here in Denver it seems
.the girls are the only people keeping
things strong visually
. Whic h leads me to
my sec onditemof disc ontent
In an interviewin one of your issues,
a bandmember c ommentedthat he wished
girls would bec ome more ac tive in the
sc ene and in bands. Well kiddo, tell that
to your fellowfellows. Yeah, believe it or
not, boys are prejudic ed towards us
. The
girls I talk to find it hard to be ac c epted
in a band-imagine a female on lead voc als
or guitar?! ? But all of themare just as
good. And you should try thrashing in the
pits as a female: I love it, but getting
kic ked on purpose bec ause I assume I c an
handle things is fuc ked. And a belligerent
girl? Howdare she! Fuc k-instantly she's
labeled a "dyke". C'mon you fuc king
hypoc rites, we're all in this together. I
wanna fight with you, not against you!
O K, my final thoughts. I think
asexuality is an integral part of the
movement-looking at things openly the way
anarc hy andpunk philosophy has made me
look at things has demonstrated to me the
disgusting stress soc iety rats on sex (as
I'msure the philosophies t,ave c hangedthe
way straight-edge kids look at drugs and
alc ohol) . O K, I understand you're born
with the instinc t to searc h for an orgasm,
but asexuality is rejec ting the games,
pressure, c odes, etc , involved in getting
fuc ked and fuc king people. That is not to
say asexuals rejec t love, or that games
don't exist with asexuals-friendships deal a
lot with games too
. But in sex, the degree
is more severe. I get real bored real fast
with assholes preoc c upied with sex and
drugs: It's real sad watc hing themworry
where their next lay or hit will c ome from.
So why don't more punks feel this
way or talk about it-perhaps it is too
personal an issue-unlike the problems
approac hed in Anarc hy and other politic al
philosophies-I understand that too. The
only bands I know of that make strong
asexual statements are PO ISO NGIRLS,
ANNIE ANXIETY, and CRASS sometimes.
Maybe you should be giving it some
thought
. Asexuality is also saying NO to
what soc iety dic tates. Annie(Exile
Voluntary)/c /o Arc hetype Morality/ 11494 W
103rdPI/ Denver CO 80221.
SCENE SPLI TTI NG
Editors,
Whilst never feeling an overwhelming
need for personal redemption/explanation
for motives, etc
., I must respond to one
Mr/Mrs Morbid (letters, MRR #7)
. The
ludic rous assumption that I harbor a
grudge towards my native environs only
points upsuffic ient grounds to label said
letter writer as one with an axe to grind.
By questioning the motives of an MDC
flyer c ampaign in my fanzine (Touc h &
Go), I inc urred the wrath of some
Lansingites
. I spoke my piec e, they spoke
theirs-fin' right? No
. This guy or gal just
brimming with moribund stupidity dredges
upwhat doesn't exist
; then mentions unity
in the same breath
. By mentioning these
'so-c alled rivalries in a national magazine
like MRR, Mr/Mrs Moribund are only
serving to further divide the Mic higan
"sc ene", andthus are extremely fuc ked.
'I'esc o Vee, Washington D
.C.
Edit . Note-I talked with Tesc o on the
phone, who stated that he doesn't mind
being taken to task (in fac t, wishes he
would be) for things he has done, but
objec ts to being blamed for things he
hasn't
. While freely admitting he has done
his share of muc kraking in his time, he
feels wrongly ac c used in this c ase. There
is a c ertain irony in this situation, as I
find it hard to be strongly sympathetic ,
having been the vic timof
one of T .V.'s
little c ampaigns myself . It's the old "What
goes around, c omes around" . Still, if his
denials are true, it is no fun being
ac c used of things you've never said or
done. Believe me! Tim
SEX POLL RESPONSES
Dear MRR,
I'mwriting to thank you for printing
the results of the women's poll in issue #7.
I hope this will awaken people to the
hypoc rac y within hardc ore today
. I always
believed that punk spoke out against
oppression for all . But apparently,
whether they realize it or not, a lot of
punks seemto be only fighting oppression
whic h fac es young, white, heterosexual
males (themselves).
There is a lot of sexisminherent in
today's gardc ore. This fac t nullifies any
goodwhic h c omes fromthe movement . It
simply sets upanother level of oppressor
andoppressed. I c annot figure out why so
many punks dislike c owboys, metal heads,
and mac ho joc ks, and yet have the same
attitudes themselves. Women, minorities,
and gays have the right to thrash just as
muc h as anyone else. The bands who
c ontain sexist themes in their songs, had
better educ ate themselves on the, problem,
andc hange. An already diluted movement
does not need this sexist bullshit . If punk
c ontinues on the path it's on now, it will
deservedly die.
Jeff Myers/ 600 Univ. Ave SE/ MpIs MN
P .S. Congradulations on having the guts
to be preac hy onc e in a while.
Dear MRR,
Thanks to Ruth, Lynn, Anna, and
Erikka for their artic le in issue #7 . The
respondents to the survey made some
exc ellent points. I hope they opened some
minds.
To c hange the subjec t- A WARNING!
Coming soon to your neighborhoodtheater
(if you thought "Warriors" was a terrifying
movie, just wait till you see),
"SUBURBIA"!!! No, don't waste your
money. Suburbia, written and direc ted by
Penelope "Dec line" Spheeris, world
premieredin Dayton rec ently. This filmis
about a groupof runaways turned punk,
who squat in a vac ated flat on the
outskirts of L.A . They are just kids
trying to survive. I didn't have any
trouble with the story line, but really!,
the sc enes of the gigs- a girl stripped of
all her c lothes by a groupof guys and no
one helps her
. They all just laugh
. A guy
sneaks drugs into a kids drink. I guess
for kic ks. Rednec ks c ome into a showand
knife a sec urity guard. A kid gets into a
fight, he falls, and a gang of people
surround him, kic king and beating him.
Come on! Does something awful happen at
every showin L.A .? Artistic lic ense is one
thing, but this is another. Take it from
the writer herself- a quote froman
interviewof Spheeris in the Dayton Daily
News: "Given the c hoic e between art and
exploitation, I 'll choose exploitation."I
don't appreciate something that isso much
a part of mylife being exploited . I 'm sure
no one does.
Sinc erely, Lori A
. Peac oc k/ 6700 Bejay Dr/
TippCity O H 45371
Dear MRR,
The artic le on the Women's poll
prompted me to write this letter . I ama
male punk, age 17
. I basic ally agree with
everything that was said in the artic le.
But even so, I have been c alled "sexist"
by several females I know
. I feel that this
is definitely wrong. I think the reason for
it though, is that a lot of themdon't have
muc h of a sense of humor (but not all- I
don't want to make any generalizations).
So what if I like the MEATMEN? They're
not my favorite band
; I just think they're
funny
. But I don't take themseriously.
O ne has to have a sense of humor! People
should try to remember that before they
get so definsive
. This is not an attac k on
women, or anything of the sort
. I'mjust
trying to point out that some people's
attitudes c an lead to unnec essary
arguements, etc
. And it c an happen with
either sex. Anyway, when it c omes right
down to it, I amin full support of women's
rights, equality, and everything that goes
with it
. I just thought people should
know.
Sinc erely,
Mic k Begnal, drummer of WASTED TALENT
100 W Hamilton Ave
State College, PA 16801
THIN"SKINNED"
Dear MRR,
Your artic le on "Skinheads" in issue
#6 was, in my estimation, very off base
for more than a fewreasons. First off, I
buy your initial history of the skins, but
nowit's 1983 andtime for an update. Yes,
skinheads are working c lass in both the
U.S. and U.K. . The U.S. skins, I would
venture, belong to a c lass that is right
now, thanks to this c ountry's ec onomic
fallout, merging into the lower c lass
brac ket. The sec ond thing I, as a
punk/skin/human being, detest is
generalizations
. We are not perfec t, I know
believe me. Tim, your referenc es to
skinheads being manipulated by hate
groups suc h as KKK or Nazis is revolting
to me bec ause I have found that rac ists
are rac ists, and they are not the normof
any part of soc iety. Yes, there are
skinhead rac ists, but aren't there a lot of
longhaired rac ists? What I basic ally take
issue with is that you feel all skinheads
are all apathetic dumb joc ks who kic k
anyone in their way (minorities,
homosexuals) . I feel that eac h person is an
individual who has a story to tell . Yes,
some people are fuc king c reeps, but that
person should not blind you into thinking
a groupis to blame when it really c omes
down to that person's bac kground! Your
mag is great, and I have agreed and
disagreed on your many fantastic
interviews, reviews, artic les, and I will
c ontinue to buy the mag just for that
reason
. After all, if we all agreed, it
wouldn't be freedomof expression, but a
soc iety of c lones.
Arthur Young, Cherry Hill NJ
Dear Arthur,
That artic le was admittedly based on
generalizations, an extrapolation of
nightmarish possibilities, the seeds of
whic h exist today. I did not intend to give
the impression that I c onsidered all skins
to be fasc ists, rac ists, etc
. In fac t, i
tried to make a distinc tion between U
.K.
and U.S. skins. There, it seems to be
muc h more of a distinc t lifestyle and
attitude, definately working c lass
. Here,
there is little or no differenc e between
skins and punks. It is more of a hairc ut
distinc tion, as both groups tend to c ome
fromthe middle or lower-middle c lass
. But
I did want to state my fears about the
basic mentality of anti-intelligenc e,
anti-politic s, etc , and where that might
lead, c iting a fewexamples of ugliness
already rearing up. Perhaps I wasn't c lear
enough in emphasizing that it was a
"possible sc enario",
and not a
fait
ac c ompli . Thanks for writing.
Tim
APATHY RUINS
Dear MRR,
Greetings fromNewJersey. I'd just
like to say that your zine has provided me
with quite a fewinsights into what's going
on today, and I'mglad to see that a zine
c an still spark c ontroversy.
What's been bothering me a lot lately
has been the ever growing ignoranc e and
apathy of today's sc ene here in the U.S.
I've been notic ing a lot of apathy in the
sense that bands are really getting down
on politic al punks. All too often I hear all
these anti-politic al diatribes being spewed
out by what seems to be the newapathetic
punk breed. It's starting to worry me.
People really don't seemto c are any more
about the bullshit that's going on around
us, and it's quite depressing. Coupled
with this new apathetic attitude is the
rampant ignoranc e I see. I've notic ed a lot
of red-baiting. It seems if you're a punk
you're either an anarc hist or non-politic al.
That's pretty narrow thinking to be
c onfined to two ideals. People just seemto
think that punk is just a newadolesc ent
rebellion . It's not to me, and means a lot
more to other people, like Jerry
Hannah(ex-SUBHUMANS).
I think punks who have half a mind
should start c ounterac ting this apathy.
Contrary to popular belief, punks c an do
something, punks c an c hange things for
the better if they try. I myself amin a
band (NJF-NEW JERSEY'S FINEST), I
write for fanzines and publish my own
zine. My band is working with the TNT
(Taxpayers and Tenants Assoc iation of
New Brunswic k) to stopsome of the
atroc ities Johnson & Johnson have done to
the c ity (it's a c ompany town being
"re-developed" for the ric h at the expense
of the poor)
. I feel the more I do the more
useful I c an be in c hanging things. I feel
punks should start organizing protests and
getting involved in the many radic al
grassroots organizations and
anti-war/nuc lear groups aroundtoday.
Just look at it this way-politic s as
muc h as you may not like to admit it,
affec ts us all in all aspec ts of our lives.
So if something the govt does affec ts you
in an adverse way, you should reac t and
protest
. After all, it is your right as an
Americ an to speak out. Sitting around
saying "politic s is unc ool" and "fuc k
Anarc hy and CRASS" is exac tly what the
'system' wants you to be doing. So don't
be apathetic .
Finally, my friend Harpo is publishing
a zine c alled "Smash Apathy" and is
looking for people with open minds to
c ontribute
. If interested, write himat
SA-302 High St #H37, Fair Lawn NJ 07410.
Also, don't get me wrong, I thoroughly
enjoy fun bands. Here in Jersey we got
one of the best in ADRENALINO .D. Just
remember, when you hear slogans like
"Protest & Survive", "CapitalismIs
Cannibalism", etc , they all have meaning
and they want you to reac t , not just
blindly swallow themupas "c ool" HC
remarks. Paul (NJF)
THINKING RULES
Dear MRR,
I would like to make a suggestion to
the punks who instantly yell"stop
preac hing" when somebody says what other
people should do (the DKs seemto be a
favorite
target
of
this
criticism).
Obviously, I do not advocate blind
acceptance, but before you say"stop
preaching", I wishyou'I d consider the
other person's opinions and thinkabout
their ideas. I nstead of getting mad and
ignoring them, tell them what you thinkis
wrong withtheir ideas. This will help
people communicate and that is the only
way anyone will learn anything (including
you) . Remember : it is veryeasy to
criticize, but extremelydifficult to come
up withsolutions and concrete actions to
'change society.
Cooperation and discussion
are the only ways to unite punks and
achieve change . Sincerely, LarrySoule/
969
Via Del Monte? P.V.E ., CA 90274
P
.S
. I would greatlyapprec iateany c ritic isms
(c onstruc tive or not) of these ideas.
PUNK PARENT
Dear MRR,
A lot of the letters that I have read
in MRR say "my parents suc k, my mom
and dad are morons, they think what I'm
doing is immoral .etc . ". This letter is
different. It's going to say "my momis
c ool" . You see, right nowin Sac ramento,
the promoters are stuc k in red tape. It's
the c ity government's way of saying "no
punk gigs". Rec ently, one of the
promoters organized a rally at the Capitol
to protest this. My momwas impressedby
the way the punx
were orderly and
effec tive, while not c ompromising with the
loc al offic ials. As a result of this, she and
some other parents are forming an
organization c alled "Parents O f Punx" (no
relation to Serena's stupid programming
c enter) . With this group, she and her
fellow members plan on taking ac tion
against City Hall and its
bureauc ratic
bullshit . She also feels that punx have
more intelligent things to say than your
average teenager who sits around wasting
time smoking dope
all day. When people
give her shit about having 2
sons that are
punks, she gives themshit right bac k.
She listens, she understands, and she
supports our struggle openly.
I would also like to add that without '
the assistanc e
of her best friend, I would
not be able to publish my upc oming fanzine
free of c harge. It's c alled Spamzine andis
available
C/o me, Sumpy, at 2422
Rashawn, Ranc ho Cordova CA
95670.
DIVIDED AND
CO NQUERED
Dear MRR,
We read a letter in issue #7 that we
were impressedwith. It was froma guy
that seemed pretty intelligent
; about his
being gay and liking hardc ore. We wish
there were more people who wouldac c ept
his attitude
. Too many people in this
"sc ene" are c aught upin the brainwashing
of the words "fag" or "gay" being
derogatory. Everyone seems to be
supportive of the "Unite!" idea, yet
they're out to destroy others in their
sc ene who are a little different or don't
quite fit in. They c laimto support
individuality, and yet--well, they should
be supportive of anyone and everyone
who
supports the bands and the sc ene,
whether they're male or female, gay or
straight, blac k or white, straight edge or
not . . .EVERYBODY. We're all in this
together, and together is howwe can
change things.
Anyway, we just wantedto enc ourage
the guy who wrote that letter to keephis
attitudes and beliefs. Remember : you c an
hope for today, and you c an hope for
tomorrow, but there's no guarantee when
you hope for the future unless you do
something about it!
Cathe Crooks & Trisa Jeppesen
Boise, ID
P .S. We thought his albumidea (bec oming
a "Shaun Cassidy" type teen idol, then
popping a thrash albumon the little girls)
was pretty funny! He shoulddo it.
YI PPI E BLUES
Dear MRR,
I amwriting in regards to the rec ent
Roc k Against Reagan tour-in partic ular,
its stopin Cinc innati . The gig took plac e
on April 29th
. When I arrived at the
Joc key Club, I almost immediately notic eda
large number of hippies/yippies in and
about a pair of sc hool buses. The sight
puzzled me, but I just went into the c lub
andpaidmy admission. After waiting about
11 hours for something to happen, one of
the yippies took the stage and began
playing ac oustic guitar and singing songs
like "I've Got The Welfare Blues"
. He
played for about an hour and was sheer
torture. When my friends and I yelled at
himto get the fuc k off the stage (it was
getting late and we wanted to see the
other bands-RUPERT, MALIGNANT
GRO WTH, CRUCIFUCKS, DICKS), we were
c alled "nazi punks" and told that we were
c losed-minded and that we didn't like him
bec ause he had long hair and played
ac oustic guitar.
Next to play was RUPERT (a one-man band
we knew nothing about) . He played
elec tronic /synthesizers and was very
boring
. I c an ac c ept the fac t that one
man's boredom(in this c ase, mine) ie
another's passion, but I c an't ac c ept the
fac t that he preac hed for nearly 10-15
minutes before eac h and every song . He
told the audienc e to smoke marijuana
bec ause it was "natural".
MALIGNANT GRO WTH playeda great set,
as did the DICKS, who were brief and to
the point. O ne of the yippies got onstage
and began lec turing how there is no
differenc e between punks and hippies
exc ept hair length; "We both have fingers
and dic ks" . He also told us howguns are
the stupidest things ever invented.
Impatient punks began to express their
anxiety to let the CRUCIFUCKS play.
Another hippie got onstage and said (and I
quote), "Let's get some karma here!" When
a punk grabbed the mike to express his
disapproval about the endless preac hing,
the mike was unplugged by the hippie.
Free speec h, huh? the CRUCIFUCKS then
c ame on andtoldus we were assholes.
Please don't get me wrong . I am greatly
angered bythe large numbers of
apathetic/apolitical assholes present in the
punk/HC scene today, and do all I can to
wake punx and outsiders up to what's
going on in the world . Also, I am far from
being a "nazi punk". I was very
disappointed because the R .A.R . gig had
the potential to be something great , and
it was ruined bythe living reminders and
hippie nostalgia freaks who were
organizing it . O ne of the yippies (I believe
his name was Steve) was about 20 years
old. 20 years old! He was in the 4th grade
during Watergate! ! He c ouldn't even tie
his shoes in 1972, let alone understand the
hippie movement (those were the last few
years of their existenc e, or so I thought!)
The yippies had a field day selling "U.S.
O ut O f Vietnam" and "Impeac h Nixon"
buttons, "pot-leaf" t-shirts, and c opies of
O verthrowmag in the lobby. The loc al
R .C .P . also saw fit to set upa table to
peddle their wares. What if the c ops
showed up? It has happened in the past.
They would have seen fit to watc h our
gigs more c losely and shut themdown
whenever they c ouldfindan exc use. Look,
I believe in the idea of uniting of any
subversive c ultures here in the U.S., but
I think that the hippie movement has been
dead for some years, and I think it's
ridic ulous for people my age to pretend
that they're hippies in order to c atc h up
on the "c ulture" they missed out on by
being born too late. They might as well
c all themselves "Colonial Revolutionaries"
and go throwtea in the Boston Harbor.
That would be just as stupid as c alling
yourself a hippie and having a smoke-in.
As far as the politic al ideas are c onc erned,
I prefer to think along the lines of
anarc hy (as did some of the yippies), but
I'mpretty muc h "live and let live" in
regards tpother's preferenc es. I
personally deplore the use of drugs and/or
alc ohol bec ause they dull the senses and
induc e apathy. on the other hand, I think
that an individual should be able to make'
uphis/her own mind on this subjec t, and
if he/she is going to use drugs, they
should use their own disc retion and they
deserve whatever happens to them. I don't
really think that smoke-ins with helic opters
raining down joints will do anything to
helpthe punk movement, but will instead
only result in more arrests and bad
public ity.
OUT
.
i , twit.va
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I think its good that bands like the D.K.s
and M.D.C . express their ideas onstage
other than just in their songs, as long as
they don't do like RUPERT and make 15
minute long orations before eac h song.
People that "just go to thrash" and don't
c are what a band is saying in their somgs
are doing a great insult to those bands
-who have taken time and energy to write
songs about something they feel strongly
about. People should at least listen to what
a band is saying; then they c an make up
their own minds as to whether they agree
or not.
I like a lot of groups that play ac oustic
guitar and/or have long hair (EVERLY
BRO S, MO TO RHEAD, JEFFERSO N
AIRPLANE), so those things hadabsolutely
nothing to do with my reasons for wanking
the hippies offstage. The first guitarist
wasn't even supposedtoplay! RUPERT
said that punks and hippies are both hated
by the people in power . Bullshit! Hippie
c ulture has been ac c epted in the U
.S
. for
years now. There are tons of 60's
wannabees aroundhere, andrednec ks with
long hair bec ause their favorite 60's band
did (of c ourse, they c an not know why
those bands did this--as a sign of
protest--but they'll make fun of me
bec ause I had spiked hair).
People c an be, or do, anything they want
as long as they don't make life hard for
me or anyone else. Then I won't give them
any shit. Let's try to get more punks
involved in things suc h as R .A .R . shows,
so we aren't seen as media stereotypes.
Also, more zines should try to inc orporate
politic al and soc ial c ommentary into their
framework
. Unless we do something about
the apathetic people among us, we will end
uplike the boring "roc k and roll" fixtures
we c laimto be against. In other words
keepit up!
Slowly dying, Tommy Rott
Editor, Suburban Muc kraker
Live like
Bill
HOLDEN
Vic Bondi
TO O PO LITICAL?
We have c ome to a point with music where
the politic al c ontent of the lyric s is a point
of division for people who otherwise share
a fierc e passion for the form. O f late,
despite a c ommon interest in underground,
alternative, or aggressive music , we find
people diverging over their personal
definition of what is politic al and what
isn't. That's unfortunate bec ause both
those of us who are politic al and those of
us who are apolitic al spend so muc h time
defending our personal identific ations we
obsc ure the limitations of eac h definition.
Those of us who c laimto be politic al, for
instanc e, tend to ignore the value of
individual ac tivity. With all the forc eful
politic al opinions being expressed these
days, it bec omes all too easy to adopt a
set of beliefs and their attendent evidenc e
without ever personally investigating the
matter, without objec tively and c ritic ally
analyzing the issues that we voic e. Without
this personal attention, we are in danger
of trivializing our issues, of speaking
without authority. Politic s bec omes
reduc able to pat slogans and tired c lic hes,
and we lose our ability to express
c omplic ated and sophistic ated polic tic al
opinions. Further, it is time for those of
us with polic tic al opinions to rec ognize the
limitations of mere opinion ; it is time to
rec ognize that having a strong opinion, no
matter how well researc hed, is only a
launc h point for ac tive politic al
involvement
. We c an no longer afford to
assert our politic al opinions through our
bands only. As important as disseminating
information is, espec ially in this age of
professional disinformation, it is just as
important to ac tively partic ipate in politic al
ac tivity, whether through your c hurc h
groupor through your terrorist group,
bec ause forc e of opinion is no forc e at all
if it is not supported by a willingness to
ac t.
Similarly, a willingness to ac t is at the
heart of our identific ation with the term
"apolitic al"
. In our zeal to remain aloof
frompolitic al c onc erns, we obsc ure our
individual responsibility to ourselves and
our peers
. To maintain that we operate
independent of politic s is not so muc h
apolitic al as apathetic ; for it implic itly
expresses a desire not to be bothered - to
remain free of the responsibility for
dec isions whic h affec t our lives
. In light
of
the c urrent
state of worldwide
demogogery, such irresponsibilityis
tantamount to cowardice, for it endangers
both ourselves and our rights by
abdic ating our free c hoic e. For a
subc ulture suc h as ours, whic h has
artic ulated a pro-awareness philosophy
suc h as Straight Edge, to ignore the
events in the world around us is pure
hypoc risy.
Like it our not, politic al

dec isions
have
ec onomic
and
soc ial
ramific ations; self- c ontrol and
self-awareness should extend to those
dec isions.
This is not to advoc ate hopping on the
c urrent bandwagon of popular politic al
opinion
. Commitment without understanding
is every bit as unaware as blind apathy.
Rather, when dealing with politic s it's wise
to begin with those things whic h affec t us
most direc tly, those things for whic h we
have a c ommitted interest
. Were on the
right trac k when we fight for those things
we have in c ommon, but merely fools if we
&lowourselves to fight other's battles for
them
.
In either c ase, we are talking about
assuming responsibility for ourselves and
our future
; the willingness to whic h we
c ontrol our own lives will determine
whether we are inheritors of the future,
or slaves to it.
Jac k Rabid
In a c onversation at Hurrah five years
ago, bassist Tony Kinman (then with the
DILS, nowof RANK AND FILE) made an
observation that stopped me dead in my
trac ks : "The best thing about the punk
c ommunity in this c ountry has been its
ability to point out and c ritic ize soc ial
problems and dec aying soc ial institutions.
The worst thing about the punk sc ene has
been its relative inability (or stubburn
refusal, if you will) to c ritic ize itself ."
This is c ertainly still the c ase today, in an
era where a popular band is attac ked for
being "too preac hy" for simply speaking
out in a song against senseless vandalism
and in general rednec k/goon behavior at
shows.
Despite overwhelming steps forward, and
the emergenc e of some truly inspired new
groups, punk is rapidly stagnating after 5
to 6 years of c reative output/ideas. I say
this with a great deal of regret, in that
my passion for the ideals and music punk
has been, and c an be still, remains; but I
do not understand why so many in a
position to speak out ignore what they
c an't helpbut see aroundthem. We are all
paying the pric e, sinc e toleranc e leads to
ac c eptanc e
. The statement, "Punk has now
bec ome what it was supposedly against",
has been sidestepped by too many, for
there is indeed a c ertain validity to this
c onc ern that is too deeply rooted to just
go away, unless more people start to use
their minds and think about what they're
doing and why they're doing it.
Nowthen, here I'll use this spac e to try,
myself, to air some of the things that c ome
to my own mind to be c onsidered (trying
to be general):
1) it is time that wasteful destruc tion at,
and immediately near, gigs stops. This is
purely logic al
: unwanted graffiti, broken
tables/ c hairs/ windows, etc ., disc ourage
promoters/ c lub owners fromputting on
future punk shows. Here in NYC we lost a
great newc lub (Club Plugg) when some
idiot ripped out a sink or something . All I
c an say is, why? Things that are broken
must be paid for. And, in plac es where
there is a problemwith polic e harassment,
property destruc tion forc es the polic e to
show upas part of their job! Be
responsible, not mindless! Where did this
impulse to break things c ome from,
anyway?
2) Punk has gotten too safe with
itself--more and more I see the generic
and awfully predic yable bands being
supported as people turn their bac ks on
the bands that take c hanc es/risks and try
to do something unique (thus feeding the
third point I'mabout to make) . Creativity
and expression is not only being ignored,
it is frowned upon and sometimes
trounc ed-- and it's not just the music , it's
the sc ene itself . There has bec ome an
almost ac c epted mode of thought and
behavior at gigs--c onformto it and don't
dare c hallenge it--ridic ulous! Individuals
and individuality! Here espec ially is where
punk has bec ome what it should be
against : sheepmentality. Remember junior
High? Why c ondemn yourself to repeating
it? (I c ould go into how today's punks
seemonly to like punk, but that's a whole
I
I I
II
O c t 7-Seattle O c t 20-Berkeley III
O c t 9-O lympia O c t 23-S.F.
O c t 11-Portland O c t 25-Santa Cru
11
1I
*O c t 14-Euene O c t 28-L.A .
4
R.A.R . West
st '1'71 (I
II
4
'nother kettle of fish--stinking fish, that
is) .
3)
There are too many generic bands now,
partic ularly generic thrash, whic h
disc ourages both old and newfans
. There
are so many bands nowthat all sound the
same--the same riffs, the same tempos, the
same lyric al subjec ts and useless,
thought-killing sloganeering . No unique,
style or thoughts, and c ertainly no
variety
. This is really a c entral problem
and a c ontinual sourc e of dissatisfac tion.
If punk means expressing you, and we're
all different, why are we all trying to
c opy others? What an opportunity lost
. All
this has ac c omplished is an overall glut on
the punk rec ord market. It has gotten too
hard to differentiate the good fromthe
bad, and too many have lost the ultimate
zeal required to unc over the really gifted,
talented, and original ones whic h get lost
in the resulting shuffle.
4) (This one's more personal than the
others) . Slamming suc ks (there, I said it).
Not slamming itself, whic h I suppose is
O K, but rather what people have made it
into. Rough and tumble fun is not what I
see--it may have started that way, but
now, what I do see
is the mac ho, rule
(c lear) the danc e floor mentality. Is it any
wonder that punk has not inc reased in
numbers here in the last year? A small
minority of bands and fans have forgotten
howto have fun (and fun for everyone,
not just "you") . How did punk exist 5
years without slamming? The majority just
want to see the bands and enjoy
themselves, but they go home muttering to
themselves, bec ause this minority of fans
(Ah, here's the rub!) think that they're
the show--they take over both the stage
and the viewing areas, what's left? Annnd,
eight times out of ten it's nothing but a
useless ritual, the sort of ritual that punk
used to love to attac k. Yes, it is a
minority, but it only takes a fewto spoil a
showfor others.
5) Hardc ore shows are not WWIII . The
outside world is tough enough without
having to be depressed by punk bands
and fans. How about more friendly
attitudes and fun ; even if your message is
serious (the DICKS pull this off well)
. If
more bands and c lub-goers would lighten
upa bit and start to look like they're
enjoying themselves, maybe punk would
attrac t more people on the borderline.
To c onc lude, there are still so many
fantastic things about punk, and still so
many exc ellent bands (if you sift enough),
but I feel that Kinman was right, and if
punk c annot question
itself towards
self-improvement, then it is indeed a
worthless, dec aying beast anyway, and
good riddanc e! O pinion here is that of the
author, and not nec essarily that of MRR.
Nowvoic e your opinion . Sendc omments to
both MRR and me at 249 Eldridge Box 14/
NY NY 10002 . Lastly, if you found things
in here you agree with in some way, make
yourself heard! So what if you're in the
minority (in voic ing it, that is) and not in
c orrec t fashion . That's what punk is all
about, isn't it?
A CHRONI CLE OF
SUFFERI NGAND
SURVI VAL
available soon from:
PULSE RECORDS
P.O. BOX 36D75
LOS ANGELES, CA
90036
Photo by Rikki Sender
EASTERNFRO NT #3-frombehind the
flatbed truc k stage. Boyc ott of "Day O n
The Dirt" was organized by a well-known
Berkeley band bec ause of lac k of loc al
talent on the bill, but was suddenly
forgotten when they were added
. Fangks!!
LO S O LVIDADO S break up
. Guitarist Mike
Fox joining with Helen, singer of the late
WRECKS
to
form
new
DEAD
BO YS/AVENGERS type band_
u/1u~u:
't
1111
,11
1
1111
1111
<, _
1
111
hoto
byGeorge Senko
O LGA D. VO LGA (ex-LEWD) leaving S.F.
to join N.Y .'s UNDEAD in new L.A.
setting. O lga's suit against O ld Waldorf
bounc ers finally c oming to trial after 6
1
years of delays!
LENNO NBURGER-Metal Mike(rec ently tied
the knot) on the left, and Jeffrey
Lee Bale
on voc als
DIE KREUZENspent a month here,
c ompletely destroying in every showthey
play
Photo byThe Kevin
?
Photo by Murray Bowles
RIBZY playing out onc e again, at S.F .'s
Tool & Die. TED being evic ted, and may
fight it in c ourt
. If they lose, we lose the
most fun venue. Irrelac able!
Photo try Eric Cope
Photo by Russell
FEEDERZ-Frank Disc ussion re-emerges with
Mike on bass andDarren Peligro drumming
(temp) . F .D
. tosses dead c at into c rowd.
10004 TOXI CREASONS"I NDEPEN-
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BOBNOXI OUS of
;is
v
B
: It sai' "Supr- e White 'ower" . o,
"White Power"
. Then there was a swastika,
and then on the bac k it said "Niggers
Beware".
MRR
: So what was that all about?
B : I think everybody knows what that's
about. I kinda wore it . . .I thought the
shirt lookedreal good. I was ignorant.
MRR
: In what sense?
B : In the sense of1 didn't wear it for
that sense, "Niggers Beware" . I liked the
way the swastika looked and stuff like
that.
MRR : Then it didn't sumupyour feelings
on the subjec t.
B
: O h no. I don't think we even played
"White Boy that night.
MRR : Part of my perc eption of you is that
for years nowat shows, I would see a lot
f fights, and somehow, they always
gravitated to you, whether you started
themor not . Somehow they ended upwith
you andyour c rowd.
B : Everybody likes to have fun
. Most of
the fights were not ac tual fight fights.
There were a c ouple of real, big, fights,
but other than that, most of it's
like. . .
.people slamnowadays you know,
that's. . .fighting is just another version of
like playing. Two bears in the woods or
omething.
MRR : Yeah, but I've notic ed you going out
on the danc e floor and maybe looking for
people who you didn't think looked right,
and kinda working themover . Pic king
people out, right?
B : Ah, no. . . `
MRR : O h c ome on . ..
B
: Don Bolles fromthe GERMS, one time I
did grab his hat and made himc hase me
you know.
MRR : I mean out on the floor. I've seen
you headfor people andrake themover.
B : With spikes? No, I'mreal c areful about
that. I don't even wear spikes hardly no
more.
MRR : Well, I've seen you do it, but maybe
you don't do it anymore.
B : I don't really do that. If somebody's
giving somebody a hard time, you know,
theasshole deserved it, I guess.
MRR
: Howabout the inc idents when MINO R
THREAT c ame to town . You got in a fight
with Ian. And with 7 SECO NDS, and
ith. ..
B : Something happened
. There was a
misinterptetation . He thought that a little
girl was c omin' upto punc h him, and she
turned out to be wanting to sing.
omething else happened, and he hit her.
I just said that wasn't right, and I just
went over there. I was gonna push himon
the stage, just fall with himof c ourse. He
ust immediately took the offensive, or the
efensive. We got into a little alterc ation,
yeah. But I like those guys, I've talked to
themsin=e
. They've even c ome over to my
house.
RR : What about that inc ident with 45
GRAVE at the Elite Club when you went
pon the sta
mash d
,t e sin er?
I
I
I
White boy in the Mssi
White boy
around
White boy walkin
'
Nobody gonna put you down
White boy
hey come here

White boy, white
boy,
t say
we
got someth
in'
Hey white boy,
White boy, white boy
White boy you're walkinaround
Nobody gonna put you down
White boy, can't you see
You're a minori
ty ride
White
boy,
white boy, have some pride
White
boy
fight, and white boy
And white boy still
.
.White boy
White boy can't you tell
They
' re
g
onna
go to hell
White boy
White boy Navin' fun
White boy
buy
a
gun
ll
White boy shoot,
white boy
Whit
e
boy, white boy
.
B : T at's
snot er alterc ation t a was
blown way out of proportion.
MRR
: I saw it with my own eyes! Yo
snuc k upon the stage, and when she
wasn't looking, you blind-side slammed her
froma 5 foot stage into the c rowd where
she
wasknoc kedunc onsc ious.
B: That was kinda uncalled for
. I got beat
up for that bythe bouncers and thrown
outside for a monthand
a half. Myfriend
Alex who lives in L.A
., he lives next door
to those guys in 45 GRAVE, and he said
that she reallydidn't take offense to it.
She didn't deserve that at all
. Actually, it
wasthe guitarist I wanted to get.
MRR
: Cause why?
B: I t was a joke.
MRR
: There's an aura of violenc e tha
surrounds you. Fromwhere I stand, it
looks like. . .there you are too fuc ked-up
,,
fried, etc , to knowwhat you're doing half
the time.
B
: A lot of people blow it way out of
proportion too,
you know.
MRR
: Wait! look at you! You're beat up
now(got in a brawl the day before at the
Eastern Front, head all mashed), I've seen
you get knifed at the Sound O f Music , I've
seen you. ..
B : It's just, it's just. ..
MRR
: Howc ome all these things 'happen'
to you !?!
B
: Karma, I guess. O r somethin', I don't,
knowIt happens to the best of us
..
MRR : Yeah, but somehowtrouble seeks out
its level . You knowwhat I mean?
B
: Some people, trouble is just their aur.
around them, I guess
. I don't like to say,
1
that about myself. I 'm a real nice guy.
(laughter)
MRR
: For a while, you guys were into thi
"San Francisco Rules, man!"thing.
B : Well oh yeah, anybody's got pride for
their town
. You know, I think San
FRanc isc o's a really good town
. San
Franc isc o Rules! We said that in our
interviewin Ripper.
MRR
: What does that mean? Rules what!?!
B : Somebody says "Punk Roc k Rules",
somebody says "Heavy Metal Rules",
somebody says "Jazz" or "Reggae Rules".
don't know
. It's a sense of personal prid=I
of whatever you're into
. I guess, that
basic ally, it's a way of saying "Yeah,
thanks a lot for the town and everything".
You know, it's a goodtown.
MRR : Er, yeah. ..
B: Other than that, it's just I guess the
FUCK-UPS have been misinterpreted for a
long time. When we put out our next i
record, hopefullypeople will listen to it a
little better . Maybe I 'll write the words'
out.
MRR : What are some of the songs about?
B : Some of themare about polic e
harassment, some are about1 don't know
if anybody knows, but I've been bit by a
dog and hit over the head with a
flashlight-c aused 7 stitc hes. And c ertain
things happen fromc ops as a result of
being arrested, I guess.
MRR
: This happened after you were
arrested?
___
B
: They already had the handc uffs on me,
then they let the dog loose.
MRR . That's ute!
Muchhas been said, an-not said, in the
pages
of MRR about the FUCK-UPS, and
especiallytheir singer Bob Noxious. I
recently had a conversation withhim, an
opportunityto askhim about some of the
manyincidents I 've seen over the years,
and to discuss the various attiude
differences we have
. I 'm not sure this
piece will clarifyanything, but judge for
yourself
. Tim Y
MRR : The FUCK-UPS are more than a
band, right?
B
: They're ac tually a train of thought.
You know, like the FUCK-UPS are now
bec oming an institution almost.
MRR
: To you, what do the FUCK-UPS
stand for?
B
: Youth, and rebellion, and getting off
people's bac ks. Doin' what you feel is
right, not takin' any shit
. Pretty muc h it's
a groupof people with the same way of
thought . I don't see us having a goal, just
playin' music , havin' a real good time,
basic ally c omin' and doin' the things we
want to do, you know. . .in our c lubs, with
the kids we want to be with.
MRR : O K, what are some of the things you
want to do?
B
: Ah fuc k, I don't know. Just. . .l want
to put out an albumso other people all
over the plac e c an hear us
. We got one
c omin' out soon
. We got some time booked
in a studio, and will try to put it out in
the next 3 months.
MRR
: Do you feel like you've been
misunderstoodor. ..
B
: Basic ally, a lot of people who listened
to us at first. .
.you c an't judge a book by
its c over
. And people, when they first
heard our rec ord, they thought, basic ally,
that "White Boy" was a rac ist, anti-blac k
song
. What it is-it says right in the
song-"White boy, you're a minority", and
that's howwe feel, you know. The San
Franc isc o punks, whic h is what we're
singin' right here, is there's not too many
of themand they've got to unite. I think
that's basic ally what the song says.
MRR : It also says "White boy gonna get a
gun, white boy gonna kill" . What's that all
about? B
: That's the anger built updeep
inside everyone. Some people are gonna
relate to that; some people jumpright off
'and say "Well, hey, you know, what is
this? This is wrong to say things like
that" Well, you know, you go to war,
fuc k, you're gonna have a gun . That's
just a bit of the anger in all of us, I
guess. Everybody lets it out.
MRR : That anger inside you-where does it
c ome from?
B
: Mostly, just being oppressed. Not
really oppressed, as in a sense of I'mnot
a' boat person, where I've got to c ome to
another c ountry. It's like, you take a lot
of shit in your life, and you wanna do
what you wanna do, and that's the way I
feel . I don't have a whole bunc h of anger,
but eveybody's got that side of them.
MRR : I was one of the people who took
that song "White Boy" in a more rac ist
sense, partly bec ause I remember you used
to have a t-shirt that said "Kill Niggers"
or som-t 'n like t at.
I
I
o
S
ii6sigsige
c
II
B
: So, one of t e other songs is c alled
"Boys Town". It's mainly a real
revival-like, rising type of song. It's
about gangs haying a sense of unity
. Not
really gangs. But having a sense of unity
and having a real good outlook on what
you're doing. It's like, "Yeah, here we
are", or whatever
. O ther songs are just
about nonsense, just about fun things like
getting
drunk.
There's
one
about
depression, and shit like that.
RR : O K, I'd like to ask you one last
thing. It does seemlike there's a 'gang
mentality' that involves the FUCK-UPS.
B : It's not a gang. There's a lot of people
who have "FUCK-UPS" on their bac k . And
they walk around. Some of themI don'
even know. Whenever I see that, I say
"Well, hey, there's somebody who's heard
our music and thinks well enough about
it .And thanks a lot for putting it on the
bac k of your jac ket" . It's c ool.
MRR : But I mean in the sense of that song
"Boys Town" that you just desc ribed.
B : Togetherness is what you get outta
that, you know.
RR : In "White Boy", you're talking abou
punks being a minority versus the rest of
soc iety, right?
B : Yeah, pretty muc h.
MRR : Why the "W#iite" part? In other
words, what I'msaying is..
B
: Why isn't it "Blac k Boy" or something.
MRR
: No, what I'msaying is why isn't it
"Punk Boy" or something? So, it's about
being in the Mission (a distric t of S.F.
that's heavily Chic ano , Filipino, etc .).
B : You're not always a punk though
. I
don't have to label myself as being that.
You know, "White Boy", when we wrote
that, it's just "Well, I'mwhite, and that's
just the way I feel"
. That's what I told
you about being a minority in your own
area, where you live and shit like that.
MRR
: Is there any sense on your part,
that eo
e who !iv- in the Mission.
B : That's where the song is. When I wa k
out of my house, there's about a hundre
Mexic ans andChic anos.
MRR : Most of the people who live over
there
are
pretty
muc h
forc ed
to
ec onomic ally,
right? They're not the

'voluntary poor'.
B : O h no, we got
a real good deal on a
little storefront
. It's the best thing we
c ouldhave.
MRR
: So along c omes this punk c ulture
into the ..
B : Neighborhood.
MRR
: Right, and in a sense, in relation to
this 'gang' thing, there's a c ertain
arroganc e to that way of thinking. And
then you c ome marc hing in . There's boun
to be some kind of c ollision, going into
their ghetto territory.
B: That's what punkis being about, I
guess . You gotta be offensive to
somebody. Like there's other songs we
have that have to do withthings like "1
ThinkYou're Shit". That's about, maybe
rockstars or something . So we think
they're shit
. Somebody's bound to take
offense.
MRR : You don't think they should? Them
being basic ally lowman on the totempole,
right? And then in c omes you saying
"White Boy" . Even though you may no
feel like an oppressor of them-and
you'r
not; you're not the ric h "White Boy"
running the show-but you are c oming in
with this arrogant "White Boy" and
throwing it in their fac es.
B : Well rac ismis already there. We didn't
start it . But it's a reality that's there
when you go out on the street
. Survival is
another thing. We don't go jumping people
at gigs, per se. We do often "sc rap", but
if you go outside any night you may have
to deal with people fuc king with
people-whether you're one to five or five
on one. Punk has always been treated
viIently, a alwa s ,, ill be.
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LO S ANGELES-Summer draws to an endin
SoCal . . .probably the one fac tor whic h
makes this summer different than any
other is the amount of out-of-town bands
whic h c ruizedthrough. ..
Places
to play: A
fewclubs opened
this
season, and, amazinglyso, continue to be
standard venues(theyhaven't been closed
down . . .yet! )
. Shamus O'Brien's is a dusty
of dive right in the middle of an industrial
area. Staffed bycrooks, this so-so hole
has been hosting a lot of L
.A
. Lokals like
BLACK FLAG, VANDALS, SOCI AL D, etc.
and lotsa touring acts like SCREAM, G.I .,
D.R.I
., etc. The Vex has been stagnating
of late withsparse attendance, only1 or 2
shows per week. Sun Val Sportsman's
Lodge is stylin'. A real cool place, not too
big, $4 admission (when No Bullshit
produce showshere) . Lotsa locals, like the
of CI RCLE JERKS, SECRET HATE, etc.
And loads of out-of-towners like SSD,
F .U.'s, 7 SECONDS, etc. Unfortunately,
at the most recent bi-monthlyshow, $200
was stolen bysome asshole . However,
N .B. will continue to put on shows.
Perkin'sPalace king corporate gnewwavey
haven is opening it's doors to bills like
BAD BRAI NS, G.B.H., CH3, etc. I doubt
this over-priced bouncer-a-rama will last
on cashing in on da hardcore market
(remember the CountryClub?) . More Klub
nuze
: PUNX supposedlyfound a new
hall . . .L.A. version of S
.F.'s Tool & Die
might materialize
. . .George P. (of Happy
Timesfame)
hasfound a new club . ..
STRETCH MARKS were among the number
of touring ac ts whic h passed our
way this
muggy summer, who were very hip, as
were the great DIE KREUZENandSO CIAL
UNREST . L.A. bands returning home from
tours inc lude: CH3, YO UTH BRIGADE,
SUICIDAL TENDENCIES, AMERICA'S
HARDCO RE, andSIN34
.
New band round-up
: DECRY getting
gooder wit eac h show. . .ST VITAS, not to
be c onfused with S.V.D.B . (St Vitas
Danc e Band), is being c ompared to
MO TO RHEAD. . .PLAINWRAP- I just saw
them, whic h was most likely their first
show, and they were pretty
c ool . . .PATRIO TS, HC beac h loc als w/ good
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Vinyl news:RF7 7" 'o ut w/ CREEDENCt
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air momentumwas severly a ac tednow,
, I ' and various members went their seperate
()
() M
ways,
: went into the O RANGE CO UNTY JAIL ()
QUARTET- we were a great blues band. I,I
(I) (
() went into SELF ABUSE
. After I got out I
went bac k to Las Vegas
. I was in
TWISTED MO RALS first, that was my own
(I)
band, and we broke up, due to the bass
player was a hippie and I just didn't like
it.
17 C
: I joinedSHATTERED FAITH.
/'' 1, ) \
I
ALL: Wow!
C : I don't give a fuc k what anybody
/
thinks man, I think we're fuc king hot.

een
1 Fuc k anybody who doesnt fuc kin' like us.
Fuc k you. I don't c are. Fuc kin we're
different, fuc kin we don't sound like every
Eve
other fuc kin band in the fuc kin entire

world.
c a's
P : Hey, I don't really intend to plug

c ret () SHATTERED FAITH, but I really think a
lot of people c omment about SHATTERED
FAITH in haste
. And T .S.O .L.
C
: Fuc k it, we ain't like everybody else.
That's the band I joined and nowI'mbac k
heir
with these guys bec ause this is my true

band, this is the band my heart's with,
(, man. Fuc k, I wish we c ould have stayed
nty, together the whole time, but we didn't and
orld () I had to do something and fuc k it.
M:
And he's obligated to SHATTERED
base
FAITH, too, and we understand that and

so we just work it out with themand their
eted () band.
C : It was
espec ially.
kind () M: He'd get a c hanc e to play fast and then
medium.
()
t all
C
: I really like it.
P
: And me and Nic k, kind of sat around
ailed
and did nothing for awhile and then we

started our own little groupc alled the
we
PANTY SHIELDS andplayedall over.

I
M: Jazz funk punk.
1 N
: The c onc ept behind that is that there's
t, I () a
lot of ther styles of music that are akin
many
to the punk movement . For example, a lot

of the blues music fromthe 30'
40'
1
s,s and
out
. () 50's,
in the lyric s
they talk about

oppression andhardtimes.
P : It's just we felt that there's a lot o
rted () music , like Undergrounds and punk gigs
that the kids really didn't get a c hanc e to
hear
. So we wanted to provide an
dn't ()
alternative.
N: I don't think it's
too.
listen to only hardc ore.
d to () P
: Any kindof music .
N: It's like eating only c arrots.
Simultaneously with this, other events
were taking plac e. Prior to breaking up,
M.I .A . hadgone upto Reno.
N: We went upto Reno and met upwit
Kevin Sec onds and the whole c rewupin
Reno.
P : Dimand Tomand Ric hie (SECTIO N8),
andof c ourse, the WRECKS, too.
N: Reno's sc ene's really great, man . It's a
great sc ene.
C : If it weren't for them, I wouldn't
talkin' to you right now. And that's the
truth.
So a trac k fromtheir demo got on the MRR
"Not So Quiet. ." Cal . and Nev. LP, and
they in turn rec ommendedM.I .A. to Bomp,
who put themon the Americ an Youth
Report c ompLP . Shortly thereafter, Smoke
7 Rec ords put out an albumc alled "Last
Rites" ; one side by M
.I .A . and one side
by GENO CIDE-both broken upat the time.
M
: So we went in the studio and we mad
a demo tape they gave you and got th
rec ordoffer andso we made the rec ordon
Smoke Seven with GENO CIDE.
g N: Who we didn't get a c hanc e to hear
before the rec ordc ame out.
M: We had no say over the other band.
When we signed the c ontrac t we didn'
know.
N: We still haven't rec eived any money for
that rec ord, by the way. He owes us a 12-
of beer at least.
x
t
ak
RIGHT : NICK, PAUL
BELO W: MIKE
;Photo
by Murray Bowes
b
Ameri
se
Couw
gre
di
ha
This is the story of a band that had b
iven upfor dead, but mirac ulously
re-appeared,
stronger than ever. We begin
this saga by going bac k to NewYear's
1979 . The plac e- Las Vegas, Nevada
. The
xc asion-the birth of one of
earliest
and
best
hardc ore
s
weapons. . . .M.I .A
. The attac k teamwas
made upof Mike, singing
; Nic k, guitar;
Paul, bass; andChris, drums.
Given the limited possibilities for making
trouble in Vegas (they mainly played t
song "I Hate Hippies" to small c rowds of
hippies),
Nic k quit the organization,

moving
out
to
O range
California-the thrash c apital of the wo
et the time. The rest of the guys followed,
and they regrouped, forming a new
c lampin Newport Beac h
. But all did not go
as planned, They were not exac tly
with open arms.
N
: The only problemwe were having in
O range County was that people there
of run in c liques
. I don't think the punk
sc ene in O range County is united a
and like in a type of thinking way.
: They had some people in there c
the League and they're pretty united. But
sic ally it was due to the fac t that
were fromanother plac e, we just c ame
right into their territory, and maybe they
elt threatened or maybe they didn'
n't knowbut we just didn't have
friends out there and we just would play
nd play and we'd play our brains
owards the end, before we broke upwe
layed a showwith CIRCLE O NE and we
ad good shows- the last showwe sta
etting a little response
. People were
tarting to c ome to the shows with M.I .A.
-shirts on and stuff, but we just di
nowenough people out there.
ore problems loomed on the horizon
ike ran afoul of the law, and ha
return to Nevada till things c ooledoff
.
a good change of pace for me
really realistic to
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ever received money. Ever, I swear to
M : And then we got the MRR contract
whichisrealycool.
MRR : Didyou guys get your money?
C : Yeah, all the bands I've been in and
stuff- that's the fuc kin' only time I've
God.
M:
O f all the three c ontrac ts we've
rec eived, Alternative Tentac les is the only
one that ever paidus.
N: Mom's real proudof us. i
P : After that we' d like to make a rec ord o ( )
our own . I think a lot of people didn't buy i
the "Last Rites" LP bec ause of the
GENO CIDE side. Felix (Smoke 7) thought
it would be a good idea to put two suc h
different bands together. N: But I think
he favoredGENO CIDE over us.
P : Yeah, he did. That's why he gave them
the A-side.
M: He told me over the phone that they
were "the ANGRY SAMO ANS of NewYork".
P : Whic h is ridic ulous.
M: If I were the ANGRY SAMO ANS, I'd
) knoc k on his door and mowhimdown with
1 a sub-mac hine gun.
As a result of these releases, M.I .A.
started getting inquiries fromall over the
world as to their whereabouts
. As the
public pressure mounted for some kind of
ac c ounting, the boys dec ided to give it
another shot
. Was the 'old magic ' still
there?
C : Surprisingly, it is
. Man, the first time
we prac tic ed, it was hot!
N:
I think we're better than ever.
P
: We should have broken upand gottten
together a long time ago.
MRR
: Isn't there another band c alled
M.I .A . now?
P : There's a c ouple of them
. But that's ,
okay.
They rec ently played in S.F . and proved
that point. But the old sc ars fromyears of
being 'out of it' are still there.
(I) M
: It's kinda weird right now, sinc e we've()
been 'on ic e' for the last year and a half.
Right now, the sound on the demo tapes
`)
are
what people want to hear. After we've()
` 'c aught up', we'll go fromthere.
Hopefully, these vets will be able to mak
upfor their lost time, readjust to the
present, andget their message out.
N
: To me, politic s is for politic ians and I
think in order to really c hange things tha
instead of attac king all the politic ians an
'
the government and stuff, I think what
you need to do is to get deeper into th
soc iety, get more people involved in your
ideas, and I just think that the more
people you get involved, the better
c hanc es you have of c hanging things.
M
: So we don't, like, attac k a thing . When
we talk about Reagan, it's not like a
personal attac k on the President of the
United States, but more on the
presidenc y.
N: Even though he is an oldfart.
If anyone out there is interested in
welc oming these guys bac k to our sc ene,
here's how.
M
: You c an c all us at (714)642-6576,
. in
O range Co
., or write us at :Americ ans
Against Everything/ 244 Zion Dr/ Las
Vegas NV
89109 .
O r write us at 1125
ollydale/ Fullerton CA 92631.
But we might get kic ked out of
r
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MRR-What sets you apart fromother bands
in your area?
R-We don't have any strong points of view
on anything. Were not fanatic al about
telling people what to do.
MRR-So what has ledyou to be involvedin
punk then? What's the attrac tion?
R-Freedom. . .todo what you want.
F-There's not so many limitations.
R-More ac c epting of things. . .music al
arrangements and lyric al c ontent, suc h as
c ussing . I don't say everybody should
c uss, but it's an emotional thing.
MRR-You c an get that in other kinds of
music .
R-Not as muc h. It's more extreme in punk.
MRR-Do you think punk is still "free" or
openminded?
R-1 think it's getting loc ked in
. . .more
c loseminded. .like any sort of movement
gets. A c ertain style evolves out of it,
people then followthat style
. The freedom
gets lost. Something new has to evolve.
MRR-You don't see anywayto build that
in? R-1 don't think that'spossible when
you get a large amount of people involved.
Then it becomes stereotyped . Everybody
wants to be part of the crowd . . short hair,
studded jacket . From myexperience , it
didn't start out that way. I t was open to
something new
. Now, it's getting like "if
you don't have a skinhead, you're a wimp,
and we're gonna beat you up".
MRR-Don't you think, music ally, there are
severe limitations of what you c an do in a
one minute song?
R-Yeah, in a minute you've got to be very
violent and attention-getting . That's what
attrac ts me. I like loud, fast music .
F-I knowthat's what attrac ted Nic k and
Walt to it initiallythe speed of it all-the
adrenalin build-up. The fac t that I
c ouldn't sing made it a perfec t outlet to be
able to just sc ream
. So rather than being
an inc ompetent roc k band, we're a
c ompetent punk band.
MRR-You said it, not me
. So, do you still
see punk as an alternative?
F-At
this
point
it's
still
the best
alternative. MRR-Let's talk about some of
the lyric s. Felix, do you write themall?
F-I write themalmost c ompletely, exc ept
for "Vampire Lady", "666 Head", etc . that
Nic k wrote.
MRR-What's your motivation in writing?
F-Most have a soc ial relevanc e, more than
anything, based on experienc es, things I
see, or if something finally bugs me to the
point where it makes an impression on me.
MRR-Some examples?
F-The song "Viet Vet" was my
c ompassionate song about where the blame
shouldgo bec ause these guys were forc ed
into war and c ame bac k to pay for it. The
line "sc rewed up, fuc ked up, losers" a lot
of people took to be a putdown of the
vets, but ac tually that was howI sawmy
friends c ome bac k, trying to adjust. It's
not their fault . The reality of seeing your
friend with his head blown off makes it
snapinside more than the drugs, etc .
4t-That's the freedomof the punk thing to
be able to say that.
MRR-There's been a lot of songs in other
genres c overing stuff like that.
R-This is more emotional or blatant . It's
not being sorry, like a folk song.
MRR-1 think that's a stereotype. Dylan's
"Masters O f War" with "I'mgonna spit on
your grave"
.
.that's anger.
F-Yeah, that's as strong a statement as
you c an make.
MRR-What are some other themes?
F-"Fuc k Money" was where I found myself
thinking about 60$ of my waking hours.
Then I said, "hey, why amI doing this?.
Fuc k money, fuc k its disc iples, fuc k you
if you worshipgold" . MRR-You saidearlier
that you don't have strong opinions, but
these seemstrong.
F-We do have strong opinions, but they're
not nec essarily down one line. We may go
this way or that way on the same rec ord.
I go about giving viewpoints like "have
you thought about this c ondition this way"
or I may showyou the other side of the
c oin-not tell you whic h way to think, but
here's some differing views. In "Fuc k
Money", the song leads you to believe I'm
saying "no, it's not important", but
ultimately I do think it's important. It's a
question for you to answer, to stimulate
you, make you think. I've gotten letters
fromkids who saidsongs have made them
think about something, and that's as muc h
as I c an ask for. I don't know the
answers, but c an bring upa lot of points
of view.
MRR-Do you have something against having
answers?
F-No, if I knowan answer I'll throwit out
there
. It's my opinion of an answer. But I
leave a lot of roomto read things in
. What
I may mean is not at all what most people
might think about it
. When I'mwriting, I'm
looking for poetic justic e, something that
flows and is thought- provoking
. Maybe I
knowthere's more than one meaning at the
time I'mwriting it .
.
MRR-You try to be spec ific ally ambiguous.
F-Maybe so, to where it leaves it upto
you to pin it down.
MRR-Sinc e Nic k isn't here, and I have
some questions about some of his lyric s,
perhaps you c an c larify a bit
. Some of
themdidn't seemvague at all, more like a
hatred he's expressing, using generalized
terms whic h didn't leave me a lot of room
for misinterpretation.
F-Where my lyric s are vague, I think his
are nonsensic al
. His songs followa similar
pattern . He c reates a story-he doesn't
always tie upthe loose ends, but I think
he uses interesting idioms, c reates
interesting situations
. He likes to c reate a
little c ontroversy.
R-In his personal life too.
MRR-ln terms of the impac t that lyric s
have on people and the objec tions I raised
about generalizations. . .do you think that's
a false fear?
F-No, the reality of it is, onc e the lyric s
are out there in public , they do have an
impac t
. The WHO 's "Quadrophenia"
c hanged my life
. And based on responses
I've gotten, I've had an affec t too. So,
some c are should be taken
. But in the
punk realm, it should all be taken with a
grain of salt, as far as "overkill" typt
lyric s.
MRR-You think it's mostly tongue-in-c heek
or shoc k value?
F-Shoc k value. As Bob said, the ability to
be able to say these things is part of the
reason for saying them.
MRR-Sure, one song is not going to really
c hange someone's c harac ter . But what if
you have a spate of songs, say, urging
violenc e on a c ertain stereotype. That
might go a long way to re-inforc ing
existing prejudic es in people, strengthing
ignoranc e
. O n one hand you're saying we
have this freedomof speec h so let's use
it, but on the other there c an be lots of
abuse too.
R-It may c ause a stronger reac tion against
to initial prejudic e
. It just serves to widen
the territory of what c an be disc ussed.
MRR-Four or five years ago though, it
seems that a muc h wider range of subjec ts
were being dealt with in punk. Now it
seems a lot narrower.
R-1 think the TV media had a lot to do
with that . I bet the majority of kids into
punk nowgot into it through TV.
MRR-Also, the average age in the sc ene
has dropped a lot, and when you're
younger you don't have that muc h life
experienc e to drawupon to write about.
You have a smaller world.
R-That's true. But it's muc h more
frustrating too. You have less c ontrol over
your
life.
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MIND GARDEN ' / ' HAPPEN HAPPENED '
SALA',ATION ARMY'45
NAR-0 0 8 'FEEBLE EFFORTS' Co m p ila tio n EP (the
p red ec esso r to 'MIGHTY FEEBLE'),
fea turin g JACK BREWER, D . BOON, a n d
KEN STARREY . This shit is a ll the wly
live)!!
NAR-0 1 0 " IN A FREE LAND ' HUSKER DU EP (3 so n gs)
NAR-0 1 1 "A COLLECTION ' OF QUESTION MARKS' PLEBS
EP 1 4 so n gs) a ll this shit is 7' wo rth!
'LAND SPEED RECORD' HUSKER DU LP rec o rd ed 1 i$e a t
the 7th st . en tra n c e in Min n ea p o lis in 1 981
. Rea lly
go o d shit . 55 .0 0 p o st p a id
Ma ke a ll shit p a ya b le in US fun d s to :
NEW ALLIANCE RECORDS
P . O P BO
X 21
CA 90 733 Sen d
*o r
"ee
GARY KAIL of
' ANTI % I
DEFY THE SYSTEM / n
MRR : Gary, you're in a c ouple of different
sounding bands. Why don't you explain
some of your music al bac kground and
interests.
G : I listen to hardc ore, but more often
than that I listen to JEFFERSO N
AIRPLANE, c irc a '67-'69 or '70 . Very
influenc ed by CO UNTRY JO E AND THE
FISH too-their first 2 albums. It is
c oinc idental that all the music I listen to
frombac k then c ame
out of San Franc isc o.
CREEDENCE CLEARWATER REVIVAL. I
just like that music a lot. I c an't just do
thrash music , but I c an't abandon it either
bec ause I like fast, aggressive music that
makes your heart beat at a rapid rate.
MRR : What about the experimental music ?
G : Yeah, I like experimental music . O ver
1/3 of my rec ord c ollec tion is noise,
etc -STO CKHAUSEN,
CAGE,
RO BERT
ASHLEY . Lately though, I've been
evolving towards music that has ideas,
exc lusively. I don't want to do music that
doesn't have ideas anymore.
MRR
: When you say ideas, do you mean
ideas in the lyric s or ideas in the
c onstruc tion of the songs?
G
: Both
. Mostly lyric s. We have ideas in
the music . In ANTI, for example, we've
always foc usedon music . The lyric s were
sec ondary. At least in the c ase
of the
songs that Danny wrote
. I don't want to
see
that anymore. I want the lyric s to be
the primary c onsideration.
MRR : I've read some reviews of ANTI that
said it's just generic thrash.
G : That's our first album. Those are
songs we wrote over 3 years ago. It was
only released rec ently
. It just took too
long to beable to afford to get it out.
MRR : O n the newANTI LP, there's more
of a popaspec t to the thrash, no?
G
: What happened was that I gave c ontrol
of the band over to Danny, who's more
poporiented- STIFF LITTLE FINGERS,
BUZZCO CKS. If you look at the c redits,
you'll notic e he wrote most of the songs.
It was a c ombination of being lazy at that
time, and other things whic h are too
c omplex to get into.
MRR : You were also in MO O D O F
DEFIANCE . Is that still happening?
G : lt;s been on and off. But we broke up
offic ially. MRR : Is that still another
avenue for your music al expression.
G : That's a good question . I was in 6
bands, and I've started to c ut the number
down c uz I realized "howmany ideas c an
you c ut 6 ways." I've c ut it down to two.
ANTI anda sec ondbandc alledPRO DUCT.
It's me and Jeff Charroux playing all the
instruments. O ur goals are to be as
artistic ally expressive as possible.
MRR : Is there going to be something
c oming out?
G : Certainly.
MRR : Alright, let's talk some now about
your lyric s. You toldme about howyou've
been brandedas "peac eniks" or whatever.
What's your response to that?
G : Well, I ama peac enik. I don't want
war
. I don't want to die so somebody c an
fill their poc ketbook or satisfy their mania
for c onquest . I feel like rec iting
DISCHARGE lyric s. They say it better
than I c an.
MRR : You've said your lyric s are primary
.,
I .
.r-
wri in -o t?
G
: I wrote a song about transc ending
animalistic impulses
. We're animals,
granted
. But we're the only animals that
have the ability to transc end our
animalistic behavior
. We c an transc endour
relying entirely on intuition. Whereas you
notic e lower animals rely c ompletely on
instinc t
. I've got a bunc h of others whic h
I forgot bec ause
I'mon drugs at the
moment.
MRR : The '60's seemto have had a heavy
impac t on you, both in terms of your
music , and in terms of philosophy. How
did that happen, sinc e you obviously
weren't aroundthen?
C : I'm23, and I c aught on the tail end o
it. I was a yippie during '71
. I was 13 at
the time. I refused to wear soc ks. That
period left a big impression. You know
howinformation c omes into your mind, and
then 3 years later it c hanges, it gets
inc orporated into your belief system. But
it was more than that wasn't it? You were
around then . I love it. But, I always
question my beliefs
. Whenever I get a
belief, it's hard on me. I go c razy
sometimes, questioming them, going over
and over it in my mind. AmI just being
me, or is it really valid?
MRR : Literature-wise, do you have time to
do a lot of reading?
G : Yeah, I thoroughly enjoy reading. I
dropped out of sc hool at 9th grade. I've
gotten my educ ation by c hec king out books
at the library
. I've read mostly
philosophy, whic h ties in nowto what I do
to make money. A lot of people take
philosophy and are not able
to inc orporate
it into any financ ially sustaining endeavor.
MRR : What philosophies interest you?
G : Zen, by far. Bec ause zen is so
non-dogmatic . I think Christianity has a
lot of valid insights, but it's too dogmatic .
Espec ially the way it's interpreted by the
fundamentalists. So zen is non-dogmatic ,
plus everything else. My major
philosophic al/religious influenc es are Alan
Watts andMark Smith. He (the latter) is
absolutely brilliant . I want to marry him! I
heard when Mark Smith performs, very
often he does so with his bac k to the
audienc e c uz he's so shy. Howgreat c an
you get! Do you knowwho Mark Smith is?
He's the singer of the FALL. They're
brilliant if you just listen to what he says.
He has this theory of obsc urity, somewhat
like the RESIDENTS. He keeps the voc als
real lowin the mix, so that you have to
try hard to dec ipher what he's saying.
But it's valuable onc e you get it. You
gotta try harder.
MRR : Any suggestedreading?
G : ArtAndTheAnti-Art by Hans
Draeker
. it's about Dada, the Dada
movement from1914 to 1920-22 . He c overs
surrealism, after it evolved into that. It
foc uses primarily on Dada though. I think
a lot of MRR hardc ore readers c an find
similarities, and they c an find enjoyment
fromreading about this.
MRR : Howabout your label
. You've put
out a bunc h of c ompilations on New
Underground (Life Is So . . . . series), and
other stuff. You aren't a ric h person,
c ome froma lower-middle inc ome
neighborhood in Lawndale. How c an you
afford it?
G : My mother lent me the money initially.
Now, it's self-perpetuating. Every single
dime I get goes straight into newalbums.
That's what keeps me frombeing ric h
. Ha
ha.
MRR : What's your c riteria for pic king
artists? G
: Anybody that I think is an
artist, that has something to say. And
that I admire on a humanistic level . That's
howI judge people. It's weird, you know,
howyou judge people sometime, that they
have this asset or that . I just go "well,
howhumanistic are they?" That's a very
good basis to start from. Is this person
doing something for the good of humanity,
was he raised right so that he's respec tful
about other people's property, beliefs,
etc . And open minded enough to give
other people c onsideration . That's so rare
these days. My new girlfriend, Gigi,
notic ed that I've been able to weed out the
non-thinking people. I don't have anything
against themunless they're violent . My
friends are the nic est people I assoc iate
with.
AMERICA' S
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POOMSPAT
MASSACRE
HOUSTON-Howdy! I thought we might
write a little of letter to ya'll and let you
knowwhat'shappening. And it was really
slowhere for a while, what withtwo of
our major clubs (the I sland qnd the Omni)
closed down due to absolute harassment.
For a while it looked prettygrim! Then,
when it seemed we'd all lost hope, we
survived!
DOOMSDAY
MASSACRE,
ironically,
saved the scene. They've

opened up their practice hall for visiting
bands-it's great! A really tough scene.
They're calling it "The Warehouse". So
far, LEGAL WEAPON, M.D.C., SCREAM,
D .R .I ., OFFENDERS, MARCHI NGPLAGUE,
and DI SAPpointed PARents are just a few
of the bands who've played . And we want
more! Anyone who is interested, contact :
Ronnie Gee / 2147 Lexington / Houston TX
77098 / (713)521-3293.
P.S. We're fighting for survival now, but
we're still kicking (not shit, either) . Oh
yeah, if you see anyof our bands out
there, send them home where they're
needed.
NORTHRF. AT, SHIRTS, OUT OFSTOP COVFIT RED, BLARE
ONWHITE.
VOID:SHIHTS, DRAWINGFROMRECORDCOVERRED, BLACK
ONWHITE
* DISCHAE' E:SHIRTS, STICKERSSKULLSWITH BOMBSAND
RIPPEDBANNERBLACK ONWHITE
+GBH:SHIRTSPICTUREOFBANDANDLOGO(Y:AAGEDESIGN)
BLACK ONWHITE
+CRAIS:SHIRTS, STICKKMSBROITH DINWITSNAMEINSTE-
CII. BLACK ONWHITE
+MOTORHEAD:SHIRTS, STICKERSMH MASK BLACK ONWHITE
+RUIB. `44NTRY PENI :SIQRTSFARCEEP COVERBLACK ONWHI-
TE
. RATTUS(FINW. AND) SHIRTSCOVEROFTHEALBUMLAW
BY PUSHEADREDBLACK ONWHITE
* ANGRY SAMONS
:SHIRTSGIRL WITH AIEINMEADBLASEON
WHITE
"OWl STICKERSFLAKINGSKULLWITH BURNINGNAME
* BLACK FLAG:STICKERSLORDWITSBLACK STRIPS
* STRAIGHT EDGE:PUSHEADDRAWINGWITH LOTSOFCOOLPEOPLE
SLAMMINGSTRAIGHT EDGE WRITTEN ONTOP
STARVATIONARMY :STICKERSMOTHERMARY BEINGEATTUMBY
LITTLESKE. IIONCHILDREN
* FUCK THEIRAFT:SKULL' 6 MMOEINO CIGARWITH DEADCHILDREN
AROUNDIT "HAVEYOU REGISTEREDFORDRAFT?"STICIFAS
* AGITATED:STICKERSMEANLOOEI:NGCLAW WITH NAME
QPLOITED:STICKERS:EIPLOITEDLOOP
* VOID:STICKERSVOIDWITH CROSSESASONALBUM
POSTAGE
:1 .0 0 .
PER SHIRT
STICKERS
:NO POSTAGE
*NO PERSONAL
.i ,S*
Photo b
r'M
dy
BowfeS
CONTEMPT PRODUCTIONS
91 35
JOHNNYCAKE RIDGE RD.
MENTOR, OHIO
4406o
COL
. ADO
Time to update you guys on the HC scene
in Denver. No San Francisco, but what the
hell
. Thoughwe're predicting Denver will
become a major center for HC when S .F.
dies (well, didn't L .A. die?) . We have
only2 major problems: cops-known for
being criminals here-theylike to shake
down punks and make it as hard as
possible to have gigs. But gigs move
around so muchthat the cops find it hard
to keep up. And few places open
permanentlyfor shows. Yet still the show
goeson. Theyoccur at places suchas
Slovenian Hall, German Hall, and the
RainbowTheatre for big gigs, the Bellview
La Grange in Fort Collins, the Dust Bowl
(a warehouse like Tool 6 Die without the
upstairs), the Taste Of Denver, run by
BUM-KON
Sonnywho reallyhas his shit together.
Another club should be opening called
That New Club . Out-of-town bands,
Denvoid lovesyou! Please contact Sonnyat
Taste Of Denver (call operator) or
Headbanger at Box 7038-A, Denver CO
80207.
Locallyestablished bands are getting
great, and newbands are forming quickly.
Myfavorites include BUM KON and
U.S.A.(UNNATURAL SEX ACTS), and the
old WHI TE TRASH
. Other good bands are
the newWHI TE TRASH, PEACE CORE,
CHI LD ABUSE, LEPERS, SHAMED
HATRED, HAPPY DAY, MODERN YOUTH,
SI GNAL 30, and FRANTI X . Zines include
Dead Silence, Virgin Slut, Rip Shred
Tear, and Archetype Morality.
Denver's crowd is basicallyprettyyoung,
causing a problem with"21"shows . People
are prettypeaceful, drunks live happily
withstraight-edge, problems arise only
withbands that become headstrong and
start dictating. Also, people seem to slam
and not thrash, but they're catching on.
Denvoid was once a pup, but nowit's
growing withenergyand turning into a
big bad thrashing city
. Thanks, Exile
Voluntary.
BOULDER
A few late notes
. Both FRANTI X and
CHI LD ABUSE have broken up
. Newband
around called BAD CI RCUS. UNX are
prettygood
. Theyhave a third grade
drummer! Unclean records is supposed to
put out a Colo comp with at least 13
bands
. John Weyland
IP C1 P)
Vlr'
NM, n ssii ..
23t1 BROADW iY#24l
Oti g
HARDCORE* EXPERIMENTAL* INDEPENDENTS
THE MO ST CO MPREHENSIVE NEW MUSIC CATALO GUE AVAILABLE ANYWHERE
SEND Si
Jfl :
WAX i~RM! RECORDS 2440 N .I I MCOI M AVE
. CHI CAGO, I I 00814
ATTN
: All punk roc kers, Indianapolis is
nowac c epting all punks. Do you realize
that Indianapolis is 88%c leaner? We have a
hall for bands to play at c alled
"Indianapolis Ac ademy of the Arts" where
we have had
eight shows sinc e February -o
inc luding G .B .H ., WHIPPING BO Y, DIE
c
KREUZEN, AO F, VIO LENT APATHY, ii
LEGAL WEAPO N, SACRED O RDER, andthe
CLITBO YS. Future shows inc lude the.
NECRO S on Sept
. 11, andLEGAL WEAPO N
on Sept. 17
. New bands inc lude
CHEMO THERAPY who managed to play
their first show and put out a 7"
EP "I o
Don't Want to be Watc hed" within a 3 .4
month period. It c an be purc hased by
sending $2
.50 to Uprising Rec ords, P .O .
Box 1315, Carmel, In, 46032 . O ther new
bands inc lude WHEEZING CO MBO , formed
of ex- memebers of THE LAST 4 DIGITS,
CHEESES FRO MFRANCE, andYO DEL LIKE
MAD. These guys produc e some mean
noises with a beat
. Write themat P .O . Box
214, Carmel, In, 46032 . Now for the bad
news, PO ISO NCENTER c alledit quits last
month, but not before
being immortalized
on
the Master Tape Vol . II . The ZERO
BO YS have finished their sec ond album
"Pay Bac k is Hell"
. It should be pressed
and ready to be released next month. You
c an c atc h some of their newer material on
The Master Tape Vol . II
. Speaking of
ic h, it's finally out
andavailable from
Affirmation Rec ords, (P .O . Box 30253,
Indpls, IN46220) for $7 .00 pp. also
available fromAffirmation is the new
ARTICLES O F FAITH "Wait" EP . ($2 .50
pp) c oming soon, a 60 minute c assette
featuring two bands fromFerenze, Italy,
CHEETAH CRO ME MO THER FUCKERS andI
REFUSE IT . Eac h band respec tively taking
a side. And nowfor the big news, a nAw
fanzine "Midwest Uprising" is in the works
and should be out very soon
. It will
feature live reviews, interviews with
LEGAL WEAPO N, TO XIC REASO NS, d'nd
the CLITBO YS. Also inc luded will be lost
of news fromaround the midwest and
around the world. It's only 504 from
Midwest Uprising, 127-6 Marshall Dr., West
Lafeyette, IN, 47906
. In the works also is
the Midwest Uprising VIDEO fanzine, whic h
should hopefully inc lude G .B .H
., TO XIC
REASO NS, CHEMO THERAPY, KILLING
CHILDREN, WHEEEZING CO MBO andlots
more. More about that in next issue
. O ther
sc enes in Indiana inc lude Columbus,
Indiana where both ADRO PO V'S
ASSASSINS andThe PATTERNbroke up,
the PATTERNmay be reforming
. KILLING
CHILDRENare still playing and plan to
keepon playing
. Their EP "Certain Death"
is
finally
out
and
available
from
Gravelvioc e rec ords (P
.O . Box 12014,
Columbus, IN, 47201- 1204) it is $2 .50 pp.
O ther punk roc k stuff available from
Gravelvioce includes the "Columbus
Compilation Cassette"
($5.00 pp) and Blow
I t Off fanzine (50C) . Other scenes include
Bloomington, where the GYNECOLOGI STS
have just finished making a tape on a 16
trackrecorder, but I 'm not sure exactly
what theyare going to do withit . Another
band from Bloomington is MOTO-X who I
believe might have a tape out, but don't
quote me on that one
. I f anyone would like
to playthe Academyin I ndianapolisplease
c all (317) 844-8157- Butc h,
(317)636-8742-Paul
or Marvin, or (317)
844-7164-Joy.
Carl Havnec -nrlitnr Midwest Uprisin
WE DON' T WANA MAKE ANY MONEY FOLKS
. WE JUST LOVE TO SELL PUNK ROCK
210112AGAREt
DI 3500 Lit.
CHEETAH 0-/,,,M3.
NOT/-/ERFUc/
RSi
60 m in . Ca sette w/ I Refuse It, a n d
Cheeta h Chro m e Mo therFuc kers fro m
Firen za , ITALY
. Go o d qua lity. .$5
.0 0
mm
M
M
M
M
M
M
t a .- - .0 a ern as a reay
ac c omplished quite a lot. Frombeing lead
singer of the ZERO BO YS to starting
Affirmation Rec ords, and putting out The
Master Tape Vol . I & II". What follows is
an interviewthat took plac e over several
days in whic h Paul disc ussess why he does
what he does.
MRR : Howold are the ZERO BO YS? What
have been some of the ac c omplisments?
PAUL: We formed in June of '80 . In Sept.
of '80 we released the "Livin' in the 80's"
EP . It was a 7 inc her with 5 songs
. O n
our own Z-Disk Rec ords We managedto get
rid of all 500 of them. This version of the
ZERO BO YS, whic h inc luded John Mitc hel
on bass, c an also be heard on the Gulc her
Rec ords Compilation "Red Snerts" doing
"NewGeneration"
. Then in June of '81
John was replac ed by Tufty. We rec orded
the album"Vic ious Circ le" in November of
'81 but it wasn't released until the summer
of '82 on Nimrod Rec ords. O nc e again we
managed to sell out the whopping 2000
pressed. That was our last rec ord. Sinc e
then we have been on both Master Tape I
& II . We have a newalbumthat's being
finished right now titled "Pay Bac k is
Hell"
. It should be out in a c ouple of
months.
MRR : What have you done in the way of
tours?
PAUL: The ZERO BO YS have been on two
tours. O nc e to the east c oast in the winter
of '81 . We playedvarious dates in Boston,
and one date in NewYork at A-7 . It was a
relatively unsuc c essful tour . Then we did
a west c oast tour after "Vic ious Circ le"
c ame out in the summer of '81 . This was a
total unorganized fiasc o whic h resulted in
the break upof the band. I must say I
have muc h respec t for any band that tours
today on that level . We plan on doing
Manother east c oast tour as soon as the new
rec ordc omes out.
MRR : Do you c onsider the ZERO BO YS to

have been suc c essful?
PAUL: Yea, when I first joined the band I

was more than happy just to be in the
same band with Terry and Mark. So it
really didn't matter if we were suc c essful
or not. I've always been into music for
fun . I never really c onsidered making my
living fromit.
MRR : Some of the ZERO BO YS songs seem
real deep, and others seemstraight
forward, almost pop. Why is this?
M
MRR : Now that you are in the rec ord
PAUL: That's a question a lot of people
have asked me in the past
. Basic ally it's
bec ause everyone in the groupwrites, and
we all have different influenc es. It might
have something to do with the age
differenc es. I'm19, and everyone else is
between 23 and27.
MRR : What made you want to start your
own rec ordc ompany?
PAUL: Basic ally I had the idea to do the
c ompilation album(Master Tape I) first . I
thought it was time someone did a
c ompilation that would be easy to get your
hands on . That would feature some of the
bands fromaround here that were having
a hard time getting exposure. I only
startedthe rec ordc ompany when it bec ame
obvious that no one else wouldwant to put
it out . I'mreally glad it turned out that
way. NowI get mail every day, and have
lots of friends in high plac es.
business, what's it like?
PAUL : It seems to me to be a real bac k
stabbing business. We managed to sell
2,500 c opies of "The Master Tape vol
. I",
and bec ause of c ertain distributers who
haSe failed to pay us for rec ords they
have long sinc e sold, we ended uplosing
money
. And of c ourse the bands make
nothing. It's funny now to watc h these
same distributors beg for The Master
Tae II", and the new AO F EP
. I've
u c is,
a
untrusting. Whic h is against my nature
c omletely.
MRR
: Howdid you find the bands on "The
Master Tape Vol .11"?
AIL: nsl .e 'aster ape I ,re was -
poster, and on one sec tion of that poster
was a paragraph that askedany interested
bands to send a tape to us for
ns'er. io
Ti-n
t.< ,ha I f- t
o e e es su f. one thing woul M
like to point out is that these compilations
are nothing more than a chance for anyN
band that wouldn't normallyhave a chance
to be on record . I t's not reallylimited to
hardcore . I 'm sure a lot of people will
wonder whysome of the bands are on the
second one. I t's because theyare bands
that have been working withverylittle
reward for a long time, and theydeserve
the break more than anyone else.
M
MRR : Howmany volumes of The Maste M
Tape do you plan to release?
PAUL: I'd like to release as many as ther, M
are bands that want to be on them. I'd
love to see "The Master Tape Vol. 16". M
Who knows what kind of bands would be
on it by then . I think there will always b= M
a need for these c ompilations
. i just wish
more bands with different sounds woul r
sendme tapes. Don't get me wrong, it's
nothing against hardc ore
. I knowthere ar
a lot of good bands out there, and I don't
want any of themno matter what kind o M
music they play to be afraid to send us
tapes for c onsideration
.
M
MRR : Do you think you will sell more
Master Tape Vol . II's than you did of th, M
first one?
M
PAUL: Well I hope so. A lot of things hay
c hangedsinc e the Master Tape I c ame out . M
Just look at the pages of MaximumRoc
&Roll . There are so many hardc ore rec ord N
c oming out these days, and most peopl-
have very little money to spend o
rec ords. O n the other hand there are a to
more bands on the sec ondone andsales t
people who have seen themlive will surely
inc rease.
That doesn't answer you

question, but the fac t of the matter is tha
I really don't know.
MRR : What are some of your goals fo M
Affirmation?
M
PAUL : I guess my biggest goal right now
is to do more of my own distribution . I'.
like to do more direc t to stores, and direc
to oversea distributors. I figure with
little effort I get the rec ords to people a
lot c heaper
. We will be sending flyer -14
advertising the latest stuff to as many
good rec ord stores as we c an gen M
addresses of real soon, but we need a lot
more information . I'd like to tell anyon, N
that might want more information on
wholesale pric es to write me at P .O . Box M
30253, Indpls., In, 46220
. Basic ally all of
my goals for Affirmation have to do with M
gaining more independenc e fromthe "music
business" . M
MRR : Do you ever get frustrated?
PAUL: Does a fat dog fart? Sure I get M
frustrated, but I get muc h more pleasure
out of what I do than frustration . M
MRR : Do you think the sc ene is still
growing in Indiana?
PAUL
: Well ever sinc e we started putting
on shows on a regular basis at the M
beginning of last spring it seems to be
growing pretty steadily. It seems like I'mM
always seeing newfac es. It's really great
bec ause it's so easy to be lazy here
.
M
MRR
: Why do you stay in the Midwest?
PAUL
: I guess I stay here bec ause it feels
real
. The kids around here apprec iate the
fewshows they do get to see.
Also, to be
a punk fromIndiana means that you went
lokking for punk roc k---not bec use all the
kids at sc hool are punks
.
It's real
rebellion . Everyone knows one another,
and I like the c loseness
. I really don't see
howit wouldbenefit the rec ordc ompany to
moves, besides all the heavyweights c ome
fromthe Midwest-- CRUCIFUCKS, DIE
KREUZEN, A .O .F ., TO XIC REASO NS, and
the list goes on.
Interview done Carl Haynes, Midwest M
Urisi
M
M
M
M
M
M
M
M
! Z s ! ! i Z Z ! ! UUU z Z
s s z s t i i t t
player has reloc ated in Akron, plus they
said they sounded "too tight" (the idea
was to sound like shit. They did, but
great shit)
. .
.too bad. AGITATED has also
bit the dust, although there's a possibility
of a reunion later this year. Good news
for M.D.C . fans. . .the noise we're hearing
nowfromSTARVATIO NARMY H .Q. is that
things are a bit shaky right now. Guitarist
JimCrane is taking a fewmonths off to
work for his dad, and Fraser (voic e) and
Tim(bass) sat they're moving to
Connec tic ut . Who'll be aroundnowto c ause
trouble and piss people off (not to mention
tr playing great music ) ? Someone should
'< knoc k these guys heads together . . .might
knoc k some sense into them
. ZERO DEFEX
0 are still around, but don't play out muc h.
P .P .C . don't either. . .don't knowwhat's
going on with these guys
. O FFBEATS have
c hanged personnel again, throwing out

rhythmguitarist Chris Justis, and adding
new guy Doug, formerly of LO UD AS
FUCK and O NE MAN'S HEAD. URBAN
MUTANTS, SPIKE INVEIN, The DARK,
NO PARO L
i P
VIO LENCE still

HEY LO O K, IT'S N.E
. O HI . NEWS!!!!
Things in the Cle/Akron
area seemto be
simultaneously getting more fun and more
boring at the same time
. It's kinda weird.
While there's a ton of bands and there's
shows every week, it seems like a lot of
the energy of last fall/winter has gone
down . .
.maybe it's the extremely hot
summer
. . .or all those great movies c able
TV has been showing like "Return From
Beneath The Planet O f The Swinging
Cheerleaders"
. Don't ask me what the deal
is, but turnouts to see loc al bands have
been disappointingly small
. O f c ourse, the
"big" out-of-town bands have done well.
But that's to be expec ted. Still, people
should support what we have right here.
Maybe the release of the "New Hope"
c ompilation LP will give the loc al groups
some well-deserved c redibility
. It should
be out by the time you read this, and
features 11
area bands (GUNS, PO SITIVE
VIO LENCE, SPIKE INVEIN, AGITATED,
NO PARO LE, the DARK, ZERO DEFEX,
O UTERWARE, O FFBEATS, P
.P .G ., and
STARVATIO NARMY) and is high quality
both bandwise andsoundwise. .
. but then
maybe I'mbiased.
O ther future releases:The DARK is putting
out their own 7" EP sometime this fall (also
on NewHope Rec ords), andthe O FFBEATS
7"EP will be out around then on O ops!
Rec ords. Band shit
: O UTERWARE have
disbanded, due to the fac t that their bass
MINNEAPO LIS-Hi! Newbands aroundtown
inc lude THALIDO MIDE KIDS andCHURCH
PICNIC . C .P
. has opened twic e for the
HUSKERS; apparent objec tive:"Vic tory
Through Speed& Power
." They sound like
they're winning! Rec ordnews
. By the time
you readthis the newHUSKER DU album,
"Metal Circ us" should be out. It's a killer!
Some loc al folks have
been working on a hardc ore c ompilation
tape that will inc lude: GRO UND ZERO ,
RED MEAT, MR . SLATE, CHURCH PICNIC,
LAST GENERATIO N, SKELTER HELTER,
BO Y ELRO Y, REPO RTERS, WILLFUL
NEGLECT, O TTO 'S CHEMICAL LO UNGE,
HYPSTRZ, andothers. It should be out by
Sept . 1
. Also, a real fun energetic band
LO UD FAST RULES, who have been
playing around town for about 2 years
have finished rec ording their first album.
Should be out in the early fall
. Bob of the
HUSKERS produc edit . And don't forget
the already releasedLPs by RIFLE SPO RT
andMANSO ZED ACTIO N.
Alot of out-of-town bands have been
c oming through lately, and the Upper Dec k
has been the best for c onsistently having
goodhardc ore shows. Most have been 2
showaffairs; an early all-ages show, and
a later show for drunks. This has been
,working real well, and the kids seem to
enjoy it
. A loc al band, the WARHEADS,
u on qui a an n eres ing s ow t e of er
night at 7th St
. Don, the singer, who has
a reputation for being rather wild,
stripped off all his c lothes and ran around
the c lub stark naked for 15 minutes until
he was thrown out! Also, there's a c lub in
downtown St. Paul c alled Mac Cafferty's
that has started booking good bands. If
your band wants to play the Twin Cities,
c ontac t
: Fred at Goofy's Upper Dec k
(Mpls)at (612)333-
0855
(all ages,
enthusiastic , may be moving to St . Paul),
Kevin at Mac Cafferty's (St Paul) at
(612)293-9198
(all ages), Steve at First
Ave (Mpls) at 338-8388 (no minors shows
yet), DrewMiller-3026 17th Ave, Mpls MN
55407 or John Copelandat 378-9429 (send
rec ords & tapes for airplay on KFAI, also
for Goofy's), Kerry at 825-7920 (for help
in arranging plac es to stay between
shows)
. Try to play in both c ities while
you're out here.
Your Flesh zine is nowloc ated at 2100
Dupont Ave, Mpls MN55405 . A newzine is
being organized(c /o Chris Letc her, 2424
Garfield Ave, Mpls MN55405) to c over
issues andproblems andto get newpeople
involved.
going strong. PLUG O F THE MO NTH
: The
GUNS. .knoc k themon the ground, pic k
'emup, and toss 'emaround. . .2 young
guys, 14 or 15 year olds
. .great little
band. They also have the two best trac ks
on the c omp. LP . They should play out
more
. So should the PLAGUE, headed by
nic e guy Bob Sablac k, who never fails to
bring beer when he c omes over to
visit . . .wotta dude
. Newbands (sort of)":
RAGGED BAGS fromKent . .
.great
VELVETS influenc ed group. QUEER PISS
fromCle. .slow, obnoxious drone, great,
seldomplay out or prac tic e (who needs
it?) . CULT fromAkron . . .weirdpsyc hedelic
punk. .0K wit me
. GUMBY'S
REVENGE-Akron . . .just plain weird, what
is it?
Clubs: The Dale-still in operation, but
only oc c assionally.P .O . Box F-68, Akron
(no phone) . PopShop-Cleveland-big plac e,
brings in a lot of out-of-town bands. Now
experimenting with all-ages shows
. . .c all
Chris (216)521-5350 days. Lakefront in
Cleveland, another goodplac e to play. It's
a bar, but most kids get in anyway. Call
Nora at (216)631-7387 . Riverside Hall,
all-ages, c all Tom(216)464-3049 . That's all
for now. If you want to knowmore, write
these zines:O ops! Mag E Rec ords/ 6405
Meldon Dr/ Mentor O H 44060 (we don't
give a fuc k!), Contempt/ 9135 Johnnyc ake
Ridge Rd/ Mentor
O H 44060 (Joe's a
pervert!), Lampshade? 3316 Elsmere/
Shaker Hgts O H 44120 (wear it on your
head at parties), Negative Print/ 6625
York Rd/ Parma Hgts O H 44130, Slam/
P
.O .B . F-68 / Akron O H 44308, NewHope
Rec ords/ 2729 Shelley Rd/ Shaker Hgts O H
44122,
O wn The Whole World/
812
Stadelman Ave/ akron O H 44320.
P
.S. Sorry, but "This Tapes Suc ks" is
soldout
. So if you've sent money, we're
nowin the proc ess of mailing out refunds.
We've also c hanged our address, so your
mail might have been lost. If you don't
hear fromus after a month or two, write
By the way, if the sc ene reports from
Minn (and Wisc .) seemmore upbeat than
the rest of the c ountry, it's not bec ause
we're hiding something. O ver 2 million
people live in the Twin Cities area, but
we've got less unemployment andpoverty,
less mental illness, and less violent c rime
(we c hec ked the statistic s) than any other
big-c ity area . The moral nihilismand
self-destruc tion (the SICK PLEASURE
"experienc e") that keeps dragging down
the Calif sc ene is hard to find out here.
Guess that's it. Till next time.
Chris Letc her, Jake Ac tion, Jon Copeland
P .S. If you wish to send any tapes or
rec ords for Jon's radio show on KFAI,
write himat 135 Melbourne Ave S.E ., MpIs
MN55414
y as
possi. e
in pregnancy
you shouldIIINPA
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O ther Ac e O f Hearts great newrec ords

initially promised, so thanks to themfor
fromBIRDSO NGS O F THE MESO ZO IC

being so understanding .
(ENO /TERRY RILEY-influenc edEP), anda

So for now,' until I c an figure out a way
hot garage single fromthe LYRES out

to bring more people in and stoplosing all
now. Upc oming releases inc lude an

LP/EP
of my money, I'mnot going to do any more
in mono(!) fromthe DEL FUEGO S,

and a
shows. What sc ares me is who is going to
live MISSIO NO F BURMA EP . The

fill the void. There's a guy here named
DANGERO US BIRDS, one of Boston's most

Billy Ruane who rec ently brought TO XIC
interesting live bands, have broken up.

REASO NS, THE CLITBO YS, C
.I .A ., and
Singer/guitarist Thalia Zedek is supposedly

WHIPPING BO Y to Boston for two shows,
playing with the guitarist fromthe

both of whic h were set upwith about 4
PRO DUCTIO NCLUB . . .generic

hardc ore
days of advance
time, with little or no
rears it's uglyhead in the shape of STP,

promotion (whic h is not what the bands
CANCERO US
GRO WTH,
CO MMO N
were told) . Billy, who never goes to a HC
FRO NT . . .best newbands in Boston area

gig unless he c an slime in, envisions
are MO VING TARGETS and BUSTED

himself as
some kind of politic al saviour,
STATUES, the former a surprisingly tight

using punk as a tool to get his latest
BURMA/HUSKER DU attac k, the latter

speec h ac ross (he's being funded by a
being
moodier,
more psyc hedelic

NYC laywer dad) . I'mnot going to argue
pulse. . .NATIVE TO NGUE LP out nowon

about to c ontent of the speec hes (he
Modern Method, better than the PYLO N

drunkenly mumbes too fast for me to
LP . . .newtape fromMaine's VIO LATIO N

understand), but shouldn't he tell out of
sounds better than most Boston bands,

town bands before they get here that they
'c ept for the new FLIES tape. . .NO ISE

are playing under the banner of a politic al
PENCIL are nowthe TURBINES, andmuc h

organization that theymight not agree
harder in the process. . .The FALL

with? And shouldn't he be honest about
MO NO CHRO ME SET are both bands that

howmuc h he c an pay them? WHIPPING
ZERO ZERO remindme of, but that doesn't

BO Y (the headliners) got $6, and I don't
mean they're unoriginal

. . .BEANBAG have
think that's what they were promised (I've
gone into hiding. . .newfanzines out : Sugar

fallen short too, but there's a big
Guide, Smash #5, a newSuburban Punk,

differenc e between giving a band $300
instead of $400 so you c an pay a loc al
band, and not paying anyone) . Being
"apolitic al" doesn't hurt the sc ene, putting
on shows that fuc k things upfor bands
does . ..
--------
Sc ene of Sc enes, where life is beautiful,
the kids are aplenty and there's a show
everyday. Sorry to disappoint you, but
the above is
an absolute lie. This has been
the Dead Summer as far as HC in Boston
is c onc erned. Almost every major and
minor band in the c ountry has c alled me
upat my house asking for a gig,
automatic ally assuming that I'll have no
problemwhatsoever in A) getting thema
gig at the Channel, despite the fac t that it
c ost me $800 to rent the plac e (and they
are
VERY hard to c onvinc e to do a show
themselves . .
. exc eptions being a sparsely
attended BAD BRAINS gig, plus upc oming
tries with YO UTH BRIGADE and the
MISFITS), B) having their favorite
legendary Boston bands opening upfor
them(tough, 'c ause BURMA and GANG
GREENdon't exist anymore, andSSD and
the F .U
.'s are touring, C) paying them
$300.
That's not howit goes. Boston, aside from
having an inc redibly trendy roc kfan
audienc e (they go to see the ANGRY
SAMO ANS at the Channel, or the DK's,
but they're not so hot on trying an
independently promoted gig with
non-superstars), is a big c ollege town . In
the summer, students exist, leaving
promoters with half of their audienc e gone.
Halls are more reluc tant to rent out,
'c ause they've got a pretty fair idea of
what kind of damage they c an (fairly)
expec t . Clubs like the Channel, the Rat
and the Club are willing to rent out, but
the rates that they c harge (Channel, $800,
Rat, $400, Club, $300) are too high to put
on shows, unless you c an guarantee a
turn-out of 300 or more (almost impossible
this summer) and you're paying the bands
shit (whic h is happening). So if you're
still wondering howc ome I wasn't able to
get your band (who don't have a rec ord) a
gig headlining with SSD at the Channel in
front of 800 people, it ain't that easy.
What there was this summer wasn't muc h to
yelp about . . .
I did three shows, 2 at the
Channel (DO A/TO XIC
REASO NS/F .U.'S/

DEEP
WO UND, 6/5, and
APPRO ACH/JFA/PRO LETARIAT/SO RRY,
6/29), and one at a disc o I rented c alled
Riley's (SCREAM/MO VING TARGETS/THE
O UTPATIENTS, 7/3) . With all three shows,
I handed out over 1000 flyers to eac h, had
the gigs announc ed on the radio, and kept
the tic kets down to $5 (maybe a little
steepfor the SCREAMshowfor just three
bands) . All three shows had lowturnouts
(Channel shows 281 for eac h, Riley's had
105 people), despite the fac t that great
out-of-town/national ac ts were playing.
There wasn't any loc al "heroes" on the
bills, but I thought people might be more
into seeing good, new bands that they
hadn't got a c hanc e to see before (like
SO RRY or MO VING TARGETS) . I was
wrong . . . dozens of kids told me, "I
would've gone if JERRY'S KIDS had
played, or if DYS had played" . It's great
that you want to support your favorite
loc al bands, but if everyone ignores the
good newbands, we'll just have a new
hierarc hy. Anyways, thanks a million to
DO A, TO XIC REASO NS, NEGATIVE
APPRO ACH, JFA andSCREAM, all of whom
were willing to take a c hanc e on an
independent promoter like myself . . . they
NO RMAL STUFF:
The F .U.'S "My Americ a" is out, and it's a
terrific ally original view of politic s and
responsibility . . . nope, sorry to
disappoint you, but the F .U.'s aren't
reac tionaries beating upanti- nuke
demonstrators. They aren't afraid to make
you think, nor are they afraid to be c alled
assholes
on tour through the West

Coast at this writing . ..
DYS's "Brotherhood" should be out on
X-Claim! by this writing .
. and there are
rec ords fromJERRY'S KIDS and the
FREEZE forthc oming on Modern Method
(dig the FREEZE slagging FO RCED
EXPO SURE in the newSMASH!, how
mature c an you get?)
. The always-delayed
"Soma Holiday" fromthe PRO LETARIAT
shouldbe out by mid-September, as should
the debut 7" fromAmhersts' inc redible
DEEP WO UND (both rec ords on Radiobeat),
PO Box 75, Allston, MA 02134). THE
NEATS LP is forthc oming on Ac e of
Hearts, and if you like REM, here's
something miles better . . .
the Noise (all loc al), a rather dull paper
c alled Rag Mag, and a somewhat generic
hardc ore zine c alled XXX . There's also a
newForc ed Exposure, a newConflic t, and
supposedly an upc oming Frontal Assault
(howlong now, Shred, 17 months?) . ..
By the way, if you're wondering how c ome
I haven't been writing for MRR lately, it's
c ause my pals at the U.S. Postal Servic e
have been messing about with my mail . So
that's also probably why you haven't
rec eived your c opy of Conflic t, or that
tape I promised I'd make you, or a return
letter
. I'mstill trying to c atc h upwith
everybody, so be patient.
I'malso going to be starting sc hool at
UMASS/Amherst in Sept . . .so while I'll still
be c overing stuff in Boston, c hanc es of my
setting upgigs bec ome slim. However, I
might do some in Western Mass ., so please
c ontinue c ontac t
. . . (and Conflic t will still
c ome out, with the same mailing
address! . . .so c ontinue sending rec ords,
reviews, sc ene reports, etc .) Anyways,
that's about all . Thanks to everybody who
wrote to me after the last thing I wrote
here, esp. Peter in Sweden, Sumpy in
Sac ramento, and Sue in NY.
Peace 'n'Love..
Gerard Cosloy c /o Conflic t/ 9 Jeffrey Rd/
WaylandMA 01778 . (617)358-7065 (please
think about what time it is EST before you
c al, parents get pissed after 11 PM.
a a
1 TRACK RECORDI HO
I N KENMORE SQ UARE, BOSTON ; 115 PER HOUR
ON THE WAY!
DEEPWOUND 7"epI
THE PROLETARI AT 12
"I pl
AVAI LABLE SOON ON
radio
1
'eat
RECORDS!
,',~+
-++ Mykel B oard of

a b
Ip
to
fS
4
I O
n
WI
1b
ART, ARTLESS, and
SEI DBOARD WORLD
J : Tell us about punk in Poland, sinc e you
were staying there in 1980.
M: there's a bandc alledK.S.U., whic h is
Ukranian . The Ukranians don't c onsider
themselves Poles
. There's a really strong
nationalistic Ukranian thing. They lived in
his town of 5000 people right near the
Russian border in the Ural mountains.
They hadblac k leather jac kets, sunglasses
and sang "California Uber Alles" in
Ukranian at this big festival.
J : I wonder if that's a good sign?
They c ould hardly speak Polish, and
my Polish is really horrible. So I had to
talk in German to somebody who spoke
German and Polish
.He spoke Polish to
somebody who spoke Polish andUkranian,
and then they spoke Ukranian bac k to
him, etc
. It was a great c onversation, with
6 interpreters.
J :
There's some other albumout,

BRIGADA KRISIS, or something.
Two of them: KRISIS, and then on the
same label, a band c alled DEUDLA . they
were the first punk band in Poland,
starting in 1977 . they're on Barc lay
Rec ords.
J : What are they like?
M
: It's really garage sounding.
J
: So there were 30 bands at this "new
wave" festival in Poland. Were they all new
wave, or were there punk bands?
M
: Newwave to themwas still punk. It
wasn't funny hairc uts,FLO CK O F
HAIRCUTS.
J : So what is the legal status of punk?
It's not illegal
. A friend of mine in the
WHITE VO LCANO S left Poland after the
c rac kdown
. He said the government feels
roc k music is safe. There are no problems.
there's a lot of shows now.
J : They probably figure they're going to
deflec t politic al protest into c ultural forms.
. Roc k and roll music is generally
on-politic al, on a personal level, "My life
is bad" blah, blah, bath.
T : So Mykel, using that as a handy lead-
in, why don't you c omment on your outlook
f punk.
. Personally, I've been in and around
music for a long time
. I used to c ome in
fromhigh sc hool and be an usher at the
Fillmore East. I had written a bunc h of
songs later, just about the time the
RAMO NES started
. First time I heard the
word punk roc k was in 75- 76, when the
NY DO LLS stopped dressing up, and they
said "no more glitter, nowit's punk roc k".
So I had these songs, inc luding the song
on the ART EP "I don't want to hold your
hand, I just want to beat you up", but
nobody woulddo them
. About that time the
extreme art roc k bands c ame , like Lydia
Lunc h.
J : No NewYork stuff?
M: -Fight
. Lunc h is probably the
ost important "roc k person" of the 70's,
ec ause TEENAGE JESUS was the first
band that went onstage with the message
"you c an go onstage and do anything you
want, and c all it roc k and roll", that
touc hed off a whole newthing. There was
lot of junk that c ame out of it, of
c ourse, but it was worth it. So when I
was in Paris I sawa Metronome, and said
ok, it's gonna be an "art band", but the
most extreme art band that exists.
O riginally, it was just me sc reaming and
KimDavis playing the metronome--that was
J=Jeff Bale
T=Tim
Yohannan
M=lykel Board
MYKEL WITH PREVIO US BAND, ART
it. So my attitude c ontinually has been to
seek out the extremes. If you c onstantly
push at edges, that's howyou expand.
You get more roomto move
. Sometimes you
get pushed bac kwards. When we did the
ART EP, we got enough hostile reac tion.
Later we added a guitar player and got a
little more "normal", bec ause it was getting
boring.
T : What about the"movement" etc .?
M: In the 60's you c ould have long hair
and go everywhere and you'd have instant
brothers. You c ould stay for free. Now
you c an wear a blac k leather jac ket and a
pin with a band's name on it, and you'd
have an instant plac e to stay. The way the
fanzines are, like the underground
newspapers, it's just exac tly a parallel . In
a way it was good, bec ause I got a lot of
free plac es to stay. In a way it was bad
bec ause howthis got started was really a
rebellion against that. Punk really started
though, as a rebellion against c orporate
music , big rec ord deals, multi=thousand
dollar shows, all that. It was a
bac k-to-basic s thing . It was "anybody
c ould get on stage and do something" . It
was a rebellion against what c aome out of
the 60's, and here it was repeating it
again with newwave music . If the early
punk stuff was like the early 60's, this
late newwave stuff is like YES.
J : I agree. I think punk was not so muc h
a reac tion against. . .it's not so muc h that
the people involved in punk really
understand the c omplexities of the 60's,
and were rejec ting it outright. It was more
these remnants of the 60's, the people
who have long hair now.
M: Not for me. for me it was a
resignation. I was involved then
. But in
1972, when Nixon got elec ted by 60$, I
said "that was it"
. I'mnot going to make a
revolution for these guys
. I'mnot
c onc ernedwith the masses anymore
. People
are 'ust enerally 'erks.
J : Yeah, I agree with that.
M: So that's what I want to say. People
aren't worth fighting for.
J : It's not worth being altruistic . But
what I was referring to before wasn't
about the people who had been through
the 60's, but the newer kids.
M
: The newer kids were trying to build
something for themselves. There are going
to be parallels, and old people like me are
going to see them
. And although there are
parallels, it's not the same. It's important
for people to find out for themselves, to
developnewways of doing it.
J : That's one of the c ritic isms that has
been leveledat us; that we are people who
went through the '60s ourselves, and that
we are trying to forc e the punk movement
now to be like the '60s, trying to replay
what failed onc e before. I would like to
think we've learned something ourselves
fromthat experienc e, and that we're not
duplic ating the disaterous failures of the
past.
M
: To me, my interest is still stretc hing
those extremes
. I like the fac t though,
that I c an go to, say Reno, and talk with
and be friends with people like 7
SECO NDS, who I've never seen before.
And I like the idea
that there are people
in touc h with eac h other all over the
world. I like that parallel . But I don't like
the idea of a movement
. That was a big
mistake. If you get down to a way of
'right thinking', that puts a bloc k on it.
J : I agree.
M: That puts it in a little box, and says
'this is what your limits are' . O r if there
are limits, they should be extremely wide.
T
: Where do you draw the line? Going
bac k to that issue we were disc ussing in
Ripper a few years ago when we were
trading letters. . .you ac c used me of
"fasc ism" bec ause we didn't want to play
songs we felt were rac ist
. You felt that
was a limit we were putting on. So where
is the line?
M
: To me, the only absolute line is direc t
physic al harmto someone that doesn't want
to have that done to them, or that doesn't
direc tly physic ally harmyou.
J
: What if somebody's espousing ideas,
whic h other people may reac t to, and then
go out andharmsomeone else?
M
: That is worth the risk. If somebody
says "kill Jews", for example
. . .if you
don't believe that's what people should do,
then you should say "people shouldn't go
out and kill Jews, and here's why" . If
your arguement is better than theirs, or if
your tac tic s are better than theirs, then
people won't go out and kill Jews. T:
You're working on the assumption that all
the information people needto make suc h a
dec ision is going to be disseminated
equally, and that people are going to be
intelligent enough to weigh things and
make logic al c hoic es.
K .S.U., A UKRANIANPO LISH BAND DO ING
A CO VER O F "CALIF . UBER ALLES"
.
TILT BEING INTERVIEWED O NPO LISH RADIO
M: No, not at all, bec ause there are so
many c onflic ting ideas that go out there,
and so many strong weapons against
totalitarianism. . . that's what the enemy is.
Antagonism. . .people c an learn a lot
through antagonism
. The ideal reac tion to
the band ART was when people would
reac t strongly against us, and then go
home and say "those bastards, they were
right".
T
: You're working fromthe assumption
that the audienc e has the intelligenc e to
deal with your intelligenc e
. You started
out by saying that most people are jerks.
M: That's true. You see, the reason
that . . .so. . most people are jerks
. Maybe
this whole thing is not going to reac h most
people, and most people aren't going to
c are. I think they're jerks in suc h a way
that they're not going to listen to nazis
and they're not going to listen to
c ommunists or anarc hists. They'll listen to
"normal" people.
J : But that's the problem.
M
: Whatever attitude you take, people are
going to followwhat's normal . You'll have
little minor groups of either extreme.
T
: History hasn't nec essarily proved that.
M: The reason that the Nazis took over in
Germany was bec ause the c hannels were
c losed, that people ac c epted the fac t that
it's alright for somebody to put a limit so
that you don't say things. People c ouldn't
say "you're bad guys" anymore, or make
fun of them. So if you're gonna fight for
something, fight to keepthe c hannels open
so people c an say anything they want,
anytime they want. Then that c ould never
happen.
J
: That's sort of idealistic . Like when you
were in ART and c onfronted the Yippies
with their own intoleranc e
. Now in a
sense, you were doing to themwhat they
were trying to do in 1968 in Chic ago,
threa+ening to put LSD in the c ity water
supply. They were c onfronting straight
Americ a with their hang ups, taboos, and
limits. The results were not favorable for
them, and may not be for you either . I'm
not sure that provoking people (even
though I do it all the time myself) is a
way to affec t people positively.
M: I'mnot interested in that. I don't
believe there's going to be a revolution
. ..
J : I don't either.
M
: . .
.l don't believe that people are gonna
c hange very muc h. I'mmore in this both
for personal satisfac tion (I have to admit it
gets my aggressions out) ; and also, every
onc e in a while, there's one person, two
people, that see something, that c ome up
afterwards and say "hey, yeah".
J : These things have quite a ripple effec t
though. You might influenc e someone, who
in turn will influenc e a few friends, etc .
These things c an have more signific anc e.
M: Maybe they c an, but that's not my
goal . It's not important to me to c onvert a
lot of people, or build the masses. If I
want to c onfront people with anything, it's
with themselves. T
: What's the motivation
for even doing that, given that you say
you don't c are. What you're saying is that
at one point in your life you had these
hopes for humanity
. They soured. Now,
you're basic ally out for your own personal
st' fac ion. But it almost seems to me that
record and
saying object to t e yrics.
M: No, the most offensive comment you
made was your saying "I thinkthis song
is reallyracist, so I won't playit again".
That is fascist
. . .well, not fascist, but
applied censorship.
T
: There's more to it than that. Even
songs we like, we only get to play onc e
too, given the huge amount of stuff c oming
out . We c omment, both pro andc on.
M
: Even if you only play every song onc e,
if you say the reason you're only play(pg
it onc e is bec ause of the c ontent
..
J : I don't agree with that . If you had
some influenc e, if what you did affec ted
what other radio stations did, then one
c ould say "these guys are engaged in
c ensorshipand are preventing this band
fromgetting exposure" . There are so many
rec ords and tapes out nowthat any D
.J.
has to apply some kind of selec tion
proc ess. O ur c riteria is simply this: we
don't want to promote stupidity on the air.
If somebody on another station wants to
play it, I don't c are
. There's a big
differenc e between ac tively trying to
prevent someone fromgetting a message
ac ross, either over the air or at gigs
; and
simply dec iding you yourself don't want to
promote them.
own deep, ur ing unernea t a
c ynic ism, is some hope to c ommunic ate. It's
not just a one way thing.
M: Yeah, but it's not with the masses
. I'm
not interested in c ommunic ating with a lot
of people. I'mnot really interested in
getting people to think like I do. If that
were to happen, I'd probably c hange the
way I think. There's not muc h danger of
that happening . I often take positions that
I don't believe simply to try and get a
reac tion, or spark something in the minds
of people who are so used to thinking
"alright, this is the right way" . You go to
punk shows, and people are gonna say
they hate Reagan, they hate c ops, they
hate nuc lear war. So with ARTLESS, my
newband, we take a c omplete attitude in
favor of nuc lear war, we support
supply-side ec onomic s (laughter), how
muc h punk roc k do you hear in Russia.
Stuff like that.
T : I'mstill somewhat c onfused bec ause of
your general attitude towards the audienc e
of c ontempt. If you have suc h a low
opinion of their mentality. . .well, this is
something we've talked about a lot here,
bec ause some of the people who are on our
c ase so muc h are pandering to ignoranc e.
Even though they may be intelligent.
J : O bjec tively, they're reinforc ing
stereotypes and ignorant opinions about
hippies, c ommunists, etc .
T : So while you don't feel any
responsibility to the masses, what if your
art, your satire, is so ambiguous that it
c an easily be taken the other way, and
reinforc es ignoranc e and stupidity? That
may not be a c onc ern of yours, but if the
resultlike that song by the VKTMS,
"100%White Girl". . .there were a
substantial amount of people here in the
S.F . sc ene who related to that . That was
before the hardc ore thing started. I knew
the person who sang that song believed
that stuff, and she would rant to me about
"jews, niggers, andc ommies" .She was into
that rac ist stuff.
J : She was brought, upby a c ard c arrying
nazi or something,
T : So she's putting out this song whic h in
no way was satire, and if the end result
of that song was to make it O K to hate,
and then some people might get hurt . I
mean, there was (is?) a gang of punks
here who went around beating upblac ks.
. So if that song reinforc es that hatred,
enc ourages possible violenc e, however
indirec tly, then I feel a responsibility for
the impac t of that song if I air it without
c omment.
J : There's a way to make a statement
about minorities hassling women, without
phrasing it in a way that'll inc rease
tension andhostility.
tif
ti
I
11
PO LISH PUNK PO STER
U
M: Did this song get played on other
stations in the area?
T : Yes,it was extremely popular at KUSF.
J : Some of the D.J .s there were very
c lose to Howie Klein (whose label put it
out, and who was also a
D
.J . at that
station, as was the manager of the
VKTMS) and they played the shit out of
it.
M: Sinc e it had other outlets, then I c an
agree with you. But, I'msure the FUCK
UPS don't get playedon other stations.
T : Not only do they get played on other
stations, but of the c ity(S
.F .) bands,
they've bec ome among the most popular.
The fac t is the S.F . sc ene has always
been attrac ted to the heavy metal punk
sound, the street level mentality. . .VKTMS,
UNDEAD, FUCK UPS, LEWD. .they've been
popular
. So our position is basic ally a
minority position around there.
M
: If they have other outlets, I wouldn't
objec t to it.
T : They do.
M
: If they don't, then the implic ation is
that these people shouldn't have air
bec ause you don't like what they say.
There's a bandfromhere c alledWILMA
. I
really hate their politic s (feminist), but I
like their rec ord
. I think they should be
heard
. I wanted to distribute it (through
Seidboard World Enterprises), and if I had
a radio show, I'd play it.
J
: We're talking about different
phenomenas here, bec ause a bandlike the
FUCK UPS, in their more ignorant aspec ts,
prec isely reflec t mainstreamvalues.
They're not expressing some great
alternative that deserves to be heard on
an alternative radio show.
M
: That's where I think you're wrong.
You think the normis fasc ist, but ..
T :
Reac tionary,
not fasc ist

.
Stupid,
ignorant . To me they are exac tly the 'roc k
& roll' mentality
. The , to me, re resent
M
: First of all, I think you're giving these
songs too muc h power . I think they're not
inc iters, but reflec tors
. It's about what's
happened to people, on the streets, what's
built up
. Just the reality of what goes on.
That's what my songs are about
. If you go
down the street and get hassled, it's fairly
likely they'll be blac ks or Mexic an
. Then I
think anti-blac k or Mexic an songs are
really understandable.
T
: Andthere's more understanding needed
to really understand
. That's so simplistic ,
and to leave it at that ..
M
: If you wanted to write in the magazine,
or in some song, that there's more to it
than that, well that's a valid thing to do.
T
: What you were attac king us for bac k
then (and rec ently again in the liner notes
of your c ompilation albumentitled "The
You'll Hate This Rec ord Rec ord") was my
saying
"I
do
not
want
to
take
responsibility, as someone who plays
rec ords, for the impac t of that song,
without giving c omment"
. I do not want to
helpadvanc e, in any way, a
bandwhose
mentality I viewas sc ary
. So you were
c alling me "fasc ist" for my playing the
i
that degenerate 60's mentality into heavy
metal
. So when I say you c an see that on
TV, who needs it?
M
: I don't think they are mainstream,
although you may knowbetter fromfirst
handexperienc e
. But I bet they have a lot
of trouble with the polic e.
'F
: Sure they do.
M: Polic e don't give mainstreampeople a
lot of trouble.
J : There's a differenc e. O ne c an reflec t
mainstreamvalues, but have the formof
an alternative. Their formis what is
offensive to c ops. The fac t that they're
walking around like grundgers in leather
jac kets, doing drugs, playing loud,
raunc hy music . That's what makes them
offensive to c ops.
M
: That also makes themnot mainstream.
I'mnot saying it's the right alternative, or
a good alternative, but you don't see that
on television.
T : Yes you do
. O n CHIPS. Isn't that the
FUCK UPS? As far as I'mc onc erned.
M: Well, alright . . it's presenting themfrom
your point of view, not fromtheir point of
view.
T : True.
M: Playing their rec ord is presenting them
fromtheir point of view
. You c an turn on
TV and see radic als and hippies, but
that's not fromtheir point of view.
Anyway, the point I wanted to make
was. . .there seems to be, or there was
until rec ently, in fanzines, in bands, a
"right" attitude. I said this to Jello, of all
people, and then half apologized, that if I
see Reagan on the c over of one more
rec ord, I'mgoing to throwup. Republic an
headquarters probably doesn't have as
many pic tures of him. This anti-c opstuff
may be more justified out here, but bac k
in NY the c ops don't bother you
. The
RAMO NES did a benefit to get the NYPD
buttet-proof vests. J : The RAMO NES were
never known to be too enlightened.
M: I would have.
T : O h god.
J : Let's look at the realities. All these
values; anti-Reagan, anti-polic e. There's
different levels. Some people have a very
prec ise understanding of why they have
negative attitudes
. They understand the
soc ial role of the polic e, etc
. Then there
are others who just imitate those ideas.
That's an inevitable proc ess.
I'd still
SINGING WITH TILT
M
rather people regurgitate i eas whic ve
some semblance of positiveness than
regurgitate ideas whichare totallyfucking
idiotic.
M
: I don't know.
J
: The proc ess of regurgitation is fuc ked
up, period, but . ..
M:
I think that it's probably more

important to stopthe regurgitating
. Maybe
you'll only affec t 5 or 6 people a year.
J
: The other thing that has to be kept in
mind is that lots of the people in these
bands are 15 or 16 years old
. The level of
analysis that you're gonna find in a punk
roc k song is already restric ted bec ause of
the format
. Then you've got to deal with
people who are real young and just getting
their first emotional thoughts out.
M
: I've found 16 year old guys who see
things in a totally new c ontext, without
having all this shit from"oh yeah, this is
just like the '60s" or "O h yeah, Bakunin
would have sais blah, blah, blah"
. They
don't have any of that shit and have a
really prec ise, sharpviewof it.
J : That's great.
M: They see things in a way that I c ould
never see them, and express things in a
way I c ould never do
. So I don't think it's
a problem, their age. I think regurgitating
is more of a problemof adults.
T : I disagree
. I think most kids believe
what a teac her tells them.
M
: You do? They knowteac hers don't want
right answers. They only want bac k what
they told.
T
: You seemto be c ontradic ting yourself.
O n one hand you say that 90$ of people
are jerks; on the other you're saying
. ..
M: First of all, the 90%of the kids that
are jerks. .
.well, maybe it's more99$ of
adults are jerks, and 97$ of kids
. O f those
3%, if you take the kids in punk bands,
maybe only 94$ are jerks.
T
: We're splitting hairs.
M: What I'msaying is that I don't think
kids are any more dupes than adults.
J
: No, I think they're more
impressionable, not dupes
. And there are
a lot of kids who will absolutely refuse to
believe anything
. They'll automatic ally
rejec t any idea bec ause they feel someone
is trying to tell themwhat to do.
M: I think that's good.
J : No it isn't . That's just as reac tive. . .a
person who rejec ts everything equally is
like a person who ac eepts everything
equally. You have to be able to
distinguish.
M: The person who rejec ts everything
equally has to rely totally on themselves to
find out howthe world works.
T : You're working on the assumption that
they're in some pristine vac uum. ..
J : . .divorc edfroma soc ial c ontext.
T : Rejec ting everything bec ause they're so
pure. They aren't . They're already totally
c onditioned. And one of the things they're
c onditioned to do is mistrust . So they
aren't
nec essarily
going
to
rejec t
everything, and then sort c arefully
through everything. I don't think that's
howit works. I think they're real c ynic al
and mistrust everything.
M: It's maybe not the best attitude, but
it's a better attitude to mistrust
everything. .J : I do too.
M: . .than ac c ept everything.
.1 : It's better yet to try to distinguish
what's worth retaining and what's worth
rejec ting.M: Howdo you do that?
J
: You do that on the basis of information.
M: People who aren't followers normally
make c ertain judgements based on their
experienc es. If somebody tells them
something that fits, then they might be
more inc lined to agree with it . That's my
attitude
. I rejec t it, and then say "prove
it to me".
J : My first thing is to be skeptic al, not
just rejec t it
. .
.to doubt it until somebody
rvid - evien - . B t that's on the basis
too,
PO LISH PUNKS
of learning the hard way over the years,
that everybody's bullshitting you.
M: That's the advantage that 17 year
olds. . .in a way it's sad that they don't
have anything to believe in. . .they don't
have this myth that there's going to be a
revolution, and there's going to be peac e
and love. They never had that lie to live,
that great euphoric feeling that there's
something worthwhile
. In a way it's to
their advantage, bec ause there isn't going
to be this revolution.
J : I agree with that.
M: They grow upwith all this c ynic ism
and distrust . A bad aspec t of it is this
fatalism, that there's gonna be this war.
There's not going to be a nuc lear
war. . .that's a pile of shit
. We've had
poison gas to kill everybody sinc e
WW1 . . .supposedly the Russians are using
it in Afghanistan, but that's not true
either. People knowhowdangerous that is
and don't want to get killed themselves . I
wouldn't be surprised if Israel dropped the
bomb on somebody, or maybe South
Afric aso there may be one bomb that
goes off sometime, but I think self
preservation
is so strong that even Israel
would get turned into a parking lot if they
tried that. There's not going to be any
war
. Also, it would be too exc iting. The
world is just going to fizzle out from
boredom; it's not going to blowup.
J : I would like to get bac k to one other
point we were talking about . . .not having
any ideals or expec tations. Personally, I'm
very c ynic al too. I don't believe there's
going to be any revolution . . .if there is,
it's going to be a right wing revolution.
But so what. There's not going to be some
wonderful, c atac lysmic , apoc alyptic thing
whic h is going to bring paradise. So
what's the alternative
; to sit around and
not believe in anything. Cynic ism
translates into apathy. It makes it easier
for people to be manipulated.
M:lt doesn't have to be.
If you're
questioning all the time, you'll still have a
personal life. You still have friends,
c ontac ts with people, you still have
moments in your life where something
spec ial happens. You still have newwave
festivals in Poland. That's it . There isn't
anything bigger than that. There's no
c onc lusion, no massive goal of humanity.
J : I'mnot saying there's some defined
goal . I'msaying that people define their
own goals for themselves.
M: That's it. It's individual . What you c an
do is the best you c an do for your own
life, people around you, your friends, and
try not to fuc k other people uptoo muc h.
If you've got an inner need like I do, to
seek extremes andc reate reac tions. . .I get
in trouble a lot, and that's part of my
life. I think people are often better for it.
Maybe that's egomaniac al . But it's not on a
large sc ale. I'mnot interested in making a
big differenc e or c hanging the world.
T
: Well, I want to c hange. . .the subjec t.
You've spent time in Eastern Eorope, as
you mentioned early on . Tell us a little
about it.
M: I spent a month in East Germany and
have a lot of friends there. There's a
healthy distrust of government there too.
But E . Germany isn't as bad as people
think. I wouldn't want to live there
bec ause the worst thing is that you c an't
leave he Ester Bloc till ou're 65 . The
RC
soc a systemis very good. I was in an
apartment with a garden in bac k, and the
people paid $18 a month. Free hospital
c are, free university, people are taken
c are of, there's no unemployment . In fac t,
it's against the law to not have a job.
Civil liberties aren't as bad either. I got
hassled more by the polic e in West
Germany
. Western radio and TV weren't
jammedeither. The main reason for the
Berlin Wall is ec onomic al . E . Germany has
the highest standard of living in the
Eastern Bloc -it's higher even than
England, Spain, Portugal-and the wall is
there to protec t the East German Mark
fromthe West German Mark. If there was
free travel bac k and forth, the W.
Germans wouldwrec k their ec onomy. The
East German government has dec idedthat
everyone should have food and a plac e to
live before they have Levis. But some
people would want those, and would be
willing to go to the west to get them.
Their Mark would be worth 5 times less
then the West's, and that would drain the
ec onomy. So it's unfortunate, but it's not
intolerable.
T : Do most East Germans feel that way?
M: Most East Germans I've talkedto do. In
Poland, where it's a lot more free than in
East Germany, but where their standard of
living wasn't as high, where they have
ore ac c ess to western goods and c an
leave, more people wantedto.
T : Howis punk going over there?
: There's a band in Poland c alled ANDY
WARHO L'S INTERVIEW. They had a
drummer and a bass player, and had
instruments on stage. And the audienc e
would c ome upand take over. A c ontinual
parade of different people.
T : Howdo they find out about things?
M: That's a good question . I don't know.
There are Americ an rec ords in Poland that
I've never seen here.
J : Reall ?
'on't get in a panic , e .
M: Poles travel a lot . . .go to England. So
their sc ene is a little too English oriented,
although there's now a reac tion to that
(Laughter) . There's a lot of magazines
too. The interesting thing in Poland is
that punk groups get played on the radio,
interviewed on state stations. J: That's
fuc kin' amazing!
M: They play western punk rec ords on the
radio too, although you c an't find themto
buy
. I talked to someone fromthe radio
and asltd himwhy do you play this stuff,
when you c an't buy the rec ords. He said
that's not their attitude, that their job is
to provide information and music to the
people, and not to sell rec ords. They're
not in the business of selling rec ords, but
are there to bring stuff to the people.
And that's what they do.
T : What's the lyric al c ontent of Polish
punk? M
: Some of it is stuff like "There's
little Luc y in the c orner, blah, blah,
blah" . Then some of it is in English, and
the authorities don't bother it. I played
with a band c alled KANAL there, and
rote a song in Polish whic h translated
means "We Don't Have Any" . At that time
there were these irritating shortages
everywhere
. But that's all they were, not
like the western ress resorted it . B t
[
3@E@B'@@'tt
GUEST APPEARANCE WITH KANAL
one of the lines in the song was "
reedom
fromthe Soviets, we don't have any".
They said "I don't think you should do
that"
. I c hanged it a few times to no
avail, and finally sang "Sweet Jane".
T : So punk there isn't
anti-authoritarian?
M: It started out like that . The WHITE
VO LCANO S started out being anti
everything, fuc k this, fuc k that
. But they
said they got tired of telling people what
was wrong with their lives, and started to
tell themwhat to do about it. They moved
fromnegative to . positive
. But the
government doesn't see punk as a threat.
The only thing they see as a threat is
something that direc tly attac ks their
power. If somebody says "you shouldn't
have this power over us", that's one
thing. But if somebody says "we want this
power and we're gonna take this power",
that's something else.
T : That's just the same as here!
M: Yeah.(laughter)
T : They too have "freedomof speec h"
J : Until people start listening.
Footnote
It bec ame apparent, based on further
disc ussions duhng a seperate radio
interview, that Mykel bases his support
for all manner of outrageousness in the
name of "freedomof speec h", no matter
how reac tionary, on the premise that
nothing is really going to c hange in this
c ountry-that there never will be radic al
shifts of power or public opinion (whether
of the right or left), and there won't be a
nuc lear war. This leaves his c onsc ienc e
c lear, in that he c ouldn't possibly be
c ontributing to the growth of any
movement or mentality that c ouldimplement
any formof fasc ismor holoc aust . I don't
share his fatalistic viewor his c onfidenc e
in suc h a future, and this in turn leads
me to be muc h more c areful in what values
t e
Y
6SO NG
I21NCH
REL EASE WITH
:
SOCIETY
ENGL ISH CuNTs
TRENDIES
FRO MWHATI SEE
vtc TIM'S-
INQUISITIO N
THE LAST WAR
SeriousC1ownrec oras
c %oJesse MaIi
h
162-41
Powe
I I s Cov
Blvd,
.
Distributedb
whitestone
Records, 99 MacDougal Street,
N , J
35'
New York
City, New York,
U.S.A
. 10012
(212) 777-4610 ask for Ed Bahlman
<EE? ?oUR
D{ STANCf'
While many were in D
.C . (or on their way)
The Vanocuver 5 benefit is still planned,

'
for the Rock Against Reagan gig July 3, a
but lack of venues has caused a temporary
big fire burned the building which
postponement . New bands on the scene
contained Love Hall . It was started by a
include
UHH,
D.I .A.
(DEAD
IN'
v
local, following a dispute which did not
AMERICA), and THRASHED ON CLASSICS/
involve anyone connected with the shows,
(who put bolero to thrash) . Philly bands '
m and took the lives of two residents

.
have been gigging in NYC, Harrisburg,
F
Several bands have since been cancelled,
and other places outside the city

. New'
_ while Howard and co . await the mandatory
zine out called Yo.
Fire Marshall inspection

. The hall can
Hacksaw, a local HC DJ, has been working/
reopen after this, and is expected to . Gigs
on a Philly compilation entitled "Get Off My
are now being scheduled again . For
Back" which should be out soon

. Here are'
booking, call Steve Eye at (215)627-0840.
8 of the 11 bandson the album.

0
0 RUIN-Since their beginning in December
'82, they have played some of the best
music in the city . Very intense, complex,
and original sounding . Their spiritual
0
philosophies and positive attitudes are key
0
0 elements in this band . So far, only a flexi
in the works . Songs are "Dionysian",
"Freedom Has No Bounds", "Hawk" . They
are Damon Wallis-guitar, Glenn Wallis-
0
Vosco-vocals, Rich
Hutchins-drums Cord Swo .e-bass
HARDCORE BLUES
'
0
'
You're standing there with your head shaved
bare
And it's painfully obvious that you're
unaware
that there's a thousand styles and they're
'
0
0
all around
There's more to music than the speed of the
sound
But you're telling me that my band's too
slow
'
and I just wish you'd shut up and go
because all you say is brainwashed bullshit
0
There's a message in the music but you
S
'
0
'
'
missed it
So I don't live up to your expectations
It
doesn't
bother
me-that's
your
frustration
' You've got blinders on your eyes-have you
heard the news
You've got a closed mind-I've got the
' hardcore blues
Listen to the government and all of the
lies
Now listen to a band and get a surprise
'
'
' They're saying the same thing-it's been
said for years
You don't need a suit to take advantage of
your fears
Agreeing with a singer won't break the
'
B
curse if you don't take action things will
only get worse
But your standard of perfection is all too
'
' real
so I write about the things that you'll
never feel
' HEATHENS-This band includes current
members of INFORMED SOURCES and the
'
'
'
STICKMEN. They're not HC, but
are fast,
original, and fun . They no longer employ
lyrics in their music
. They play sets of 13
songs for 10 minutes
. Some of their tunes
ate "4 Balls", "6 Balls", "8 Balls",
"Oh
'
Leigh", "Great Adventure" . Beth-guitar,
Frannie-bass, Sky-drums.
0
I NFORMED SOURCES-Thisband debuted at
the first PunkFest in October '81
. Their
sound and audience include HC and other
typesof "newmusic"
. Their diversityhas
resulted in a wide following
. They've been
working on an album . Songs include "The
Mind Of Phyllis Schlafly", "Final War",
"Forever Never Came"
. The members are
SkyKishlow-drums, Joe Stack-vocals,
Dave Gehman-bass, and FrankBlank-
guitar, vocals.
He'll make you one with the norm
You'll be happy once you conform
Change your clothes, cut your hair
Of course he cares . He's paid to care
Listen kid, you think too much
You've got a little too much of a mind
If you just try and fit in
You'll leave your troubles far behind
AUTI STI C BEHAVI OR-They're from Jersey,
but have been a fixture in Phillysince
their start in mid-'81. Mostlythrash
sound, but witha lot of depth
. They've
had personnel and other problems, but
always end up playing gigs and keeping
their extremelyhighlevel of intensity.
Songs include "TV Messiah", "Blind
Silence", "ABScam". John Smith-vocals,
Ged-bass, John Blanda-drums, Wayne
Rasner-.uitar.
PROOF
To do or did? The bark or the bite?
A
dog stays in the rain-waiting for all
master who will free him from the chain.
Is this reality, proof to see what it is,
the proof to be?
Hog in the trough, snout in the line
bacon to the core-
suey, suey, sty or the sky, which one are
you looking for?
Is this reality, proof to see?
Or what it is, the proof to be ..
Proof for me? Proof for you?
Existence
POWERHEAD
Slipping fingers on the edge
of what they're playing in their heads
See the sky showering red
The children in their rooms thinking thoughts'
Passed play taped into banks
Gasping for breath with closed gills
F; .refall in five millionth of a second
Counting seconds out of banks
Blue-bottled maggots sucking juices
Come and see close your eyes
Powerhead blows minds away
Powerhead blows away minds
Forced entry on those not willing
Pure pleasure can't see to close the door
Buried alive in a sea of toil and shit
The sphere ceases and goes on
GUIDANCE COUNSELOR
If you try and act up in school
gonna send you to a little white room
A happy man in a suit and tie
is gonna crack your head to change what's
in side
Just got a report on you
You've been acting kinda strange.
Listen to your counselor
Your ways will surely change
0
FLAG
O F
DEMO CRACY-Debuted
in '
November '82 . This band uses lots of
humor and is quite speedy
. Skate and fun
0
oriented, but also witha serious side.
Currentlyworking on a 6-song EP. Songs
include
"Chinese
Food",
"Suburban '
Cowboy". Jim M-guitar, vocals, Dave
R-bass, vocals, Mike-drums.
0
fast, but have a mostly hardcore following.
0
0
0 Released "Suicide Notes" EP earlier this
year . Are going to Calif . for gigs.
Songs :"General Hospital", "Rant Rant
Rant", "Fuck The World" Paul- vocals,
Tom guitar, Rob-bass Wayne-drums .
BLUNDER BO YS-
Formed in late '82, this
band is full of humor and strongly
identifies with the 3 Stooges (see offic ial
band photo- note token 'skin') . A tape
fromthe days when they
were CRIB
DEATH was distributed loc ally. Songs:
Middle Class Morals, I'mAfraid O f The
Night, Body Count . Dave Birtwell-bass,
Ric k Birtwell-guitar, Edge-voc als, Dave
Roc hon-drums.
I AM THE GUN
/I a m yo ur d rea m s tha t n ever c a m e
O
'
I a m the o n e who will ta ke the b la m e
I a m the ho le tha t's in yo ur hea rt
An d I'll ta ke the ra p fo r thin gs
fa llin g a p a r
a m the rea so n fo r a ll yo ur wo es
An d I a m to b la m e fo r yo ur d yin g lo ve
/r
a m the p o iso n sp rea d in g
thro ugh yo ur b lo o d
.1 ' a m the wheel tha t
grin d s yo u d o wn
'
0
1 a m the d ea d c a llin g fro m the gro un d
I a m the p ills you ta ke every d a y
I a m yo ur ho p es so fa r a wa y
'
'
0I am the ashes you cast in the wind
And I am the glass in your dustbin
I am the terror I see in your eyes
I am the devil you heard will come
I am the one you once loved so
01
'
'
0
1 a m the o n e yo u
will en d up to
I a m the kn ife p o ised a t yo ur thro a t
I a m the n eed le stuc k in yo ur a rm
I a m the sex
yo u used to fo rget
I a m the gun p ut to yo ur hea d
a m the o n e who
will win in the en d
I a m the
o n e who will wa tc h yo u d ie
0
0 1
am the future that you left me
I am the gun put
to your head
I am the gun put to my
head
am the gun put to your
head
II am the gun
i
Y Dl- Debuted
last NewYear's Eve. This
band is into an all-out thrash sound. They
gigged often loc ally and have
played
elsewhere in
Pennslyvania and
NYC . No
known vinyl plans as of yet
. Songs: Why
Die, Never
Coming Bac k, O ut
For Blood.
Howard-drums, Jac kal- voc als,
Chuc k-bass, Mike-guitar.
WHY DIE?
Yo u're en gulfed
in glo o m a n d d o o m
You live in a world
of hate and greed
Of disease
and poverty
Of maniacs and murderers
You have had enough
Your life fades
as blood oozes out
Out o f a fresh self-in flic ted wo un d
But your
death doesn't change a thing
Death doesn't change a thing
You have had enough
Why die? Why die?
Fight and survive
Fight and survive
FEAR OF CONSPIRAC '
When I open a history
book
0
I encountered only lies
Telling me how good it was
a poorly drawn disguise
You swallow all the propaganda
they feed you in the schools
To be a good American
and follow all the rules
This country was founded
on a fear of conspiracy
They are out to get us
n
isn't it plain to see
3
This country was founded
on a fear of conspiracy
I pledge allegiance to the flag
United States of America
I'll do my duty, I'll do my best
to help destroy all the rest
o
We were taught to hate all those U.
different from ourselves
m
S T
Manuals on how to stop them
lie upon the shelves
D X
Do n 't b elieve a ll they tell
c ,
Don't believe all they sell
o
mw
~o o
Look, listen, use your mind
c o m m o n sen se keep yo u in lin e
...2
ue
The night Chronic Disorder, a heavy
unk band of sc hool kids, played, there was
exac tly th
atchronic disorder
. B ut Solosky
says helikes a touch of chaos in his show
.
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[ MI NOR 1'HREPT I Z
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TOcue.AR
Sinc e the DC report last issue c overed the
major DC bands, I thought I'd give some
exposure to the lesser-known/more
experimental bands in the area
. MISSIO N
FO R CHRIST-kind of a c ross between
FLIPPER noise andthrash (the bass player
oc c asionally uses a slide and feedbac k!);
UNDERGRO UND SO LDIER-a bandthat have
been around for a while but only rec ently
got a regular singer, Helen, an exc ellent
singer who never falls into the Exene
monotone trap; WURMBABY-a JO Y
DIVISIO N-influenc ed band (they even do
"Ic e Age"), who rec ently played to a very
enthusiastic response bac king up
GO VERNMENT ISSUE
; NO TREND-just bac k
fromtheir US tour and better than ever,
their EP is finally out and it's great, get
it ; SKAM-a band
who've been together for
several years but only last month (July),
played their first DC show, more of a
c lassic punk tyle and very good; MEDIA
DISEASE- another bandwho are not really
new, just newto the c onc ert stage sinc e
they got a few c uts on the fantastic
"Mixed Nuts Don't Crac k" c ompilation, a
great band who're finally getting the
attention they deserve; MANRAY-more of
a jazz/noise outfit but with a definite
hardc ore edge, an inc redible band (they
unfortunately will be breaking upthe end
of Auaust when everxone heads for
different sc hools) ; BLO O DY MANNEQUIN
O RCHESTRA-another jazzc ore band, but
not as noisy as MANRAY ; and last, but
in aboslutely no way least, my favorite
newDC band, BRAILLE PARTY-imagine a
young Adrian Belew
playing for a thrash
band and you've got some idea of the
intense, very original sound of BRAILLE
PARTY
. They are putting out a tape whic h
shouldbe available by now; send $3 .50 to
: Matt, 2710 Emmet ' Rd., Silver Spring,
MD, 20902 . MANRAY also have a tape: $4
to Euthenic s Rec ords, 9115 Lyon Park,
Burke, VA, 22015 . BLO O DY MANNEQUIN
O RCHESTRA are also available on tape,
along with CHALK CIRCLE, FUNGUS O F
TERRO R (both of whomno longer exist),
and BLUE CRO SS. The tape is c alled
"Timec loc k Equals Hole in Head" and is $3
fromWGNS c /o P .S., PO Box 30007,
Bethesda, MD, 20814.
All of the above-mentioned bands have
played at O sc ar's Eye, mostly in the Zero
Summer summer c onc ert series, put on by
the people at Truly Needy, DC's #1
fanzine. Unfortunately, O sc ar's Eye will
probably be gone as you read this as the
building is sc heduled to be torn down
soon . Nothing lasts forever.
Quic k mainstreamnews: INSURRECTIO Nis
sadly no more, they played their last show
July nth at the 9 :30
with MARGINAL MAN
and SECO ND WIND, the new band
mentioned last issue with former members
of MINO R THREAT (no they haven't
broken up), DO UBLE-0, and UNITED
UTATIO N.
John Beers
JOSS
R EC OR D
^R A DIX
22Z 9
BEL PR
E
(LVER SPR(N
M'~RYLAN~ G
2ogo b
FEATURES:
TEENAGER
I NCABOX
JN -NE
ME4N-~
Time ,
560>
N
Y oWRWJ -
''7I
OF 10
A))V6 6 rowouR,
R E C D R D s
nAxM/6
L- JSr,t .
O
MRR
: DO ES YO UR NAME MEAN
ANYTHING? Pushead is pus, not puss, as
many people c onfuse it to be, whic h
represents pushead as in a blemish on
soc iety
. Like your prec ious fac e is soc iety,
and when you get a pushead on the nose
or wherever, you rush to the mirror to
popit . You c an't stand the supposed
beauty you believe in to be marked uplike
that . That is how I have felt for many
years, where ideas I c ome upwith or do
are not ac c epted by soc iety at that time,
so I ammentally punished for them.
Someone always has to think they are
better, c an do the standard repitition
mold, and when there is a new bit of
originality and imagination, it is kic ked
aside either bec ause it is not ac c epted, or
at the moment you c an't make enough
c apital off of it . But I don't think that
anyone who spends their prec ious time in
front of a mirror popping those hideous
pusheads realizes that they c ame about
bec ause they were germs or dirt in the
pores of the skin, and it was just the
body func tion to protec t it . But people
take it so personal and they might not get
their all too prec ious " fuc k
" when they go
a hustling
. There are many people who
feel just like myself, like a pushead army.
We just get tired of non-c reativity in
soc iety, and how things regress just so
these c apitalists c an make money and
totally burn something out. Thus, this is
c ommon issue, for instead of taking a
end upstealing fromothers?? When you're
#2, you think harder, for you wish to
win . When you' re k1, you think less, for
you have won, and who do you have to
look upto, to c onquer??
HO W DO ES SO MEO NE WHO LIVES INAN
ISO LATED PART O F THE CO UNTRY GET
SO INVO LVED WITH THE PUNK SCENE
ALL O VER THE WO RLD? YO U
CO RRESPO ND WITH FO LKS INEVERY
PART O F THE U.S., U.K ., FINLAND,
BRAZIL, ETC . HO W DID THIS CO ME
ABO UT? WHAT INFLUENCE HAS YO UR
ENVIRO NMENT HAD O NYO U? Isolatedis
right
. This town (Boise, Idaho) is so far
in the dark ages that who knows if it will
ever c ome out . Progress is five years
behind here, and to think that this town
is run by a religion c reated only a c entury
or so ago. they c al l it Mormon . .you
know. .you see their ads. .Latter Day
Saints. Howmuc h of a saint are you when
you monopolize the c ity you live in so
nothing ever happens. So it stays prec ious
and sec ure, just the way "the" religion
wants it . You pay a perc entage of your
c hec k to the c hurc h, you follow their
every rule, you're just a brainwashed
maggot . Does it ever make any sense to
followthemthen? The Morman Churc h is
the ric hest non- profit organization in the
world
. And why does it c ontinue? No, they
are very hypnotized. What is government?
themselves in suc h a form. .
.saying c ome
see us, but we made this flyer in 2
sec onds, bec ause we c ould really c are, all
we want is money. So I drew upa few
illos and sent themdown to G .E .F . to see
if he c ould find anyone who was interested
in using them, not for money, but just so
a band had ac c ess to a dec ent piec e of art
for a flyer . Glen helped me a lot, but one
day he c alls me upand says WASTED
YO UTH just made an LP and my art is on
the c over and he doesn' t knowhowthey
got it . They stole it off the guitarists
brother, who was a drummer in another
popular L.A. band. They had no
permission, and just took c harge. . .you
know. . WASTED YO UTH, no brains,
right
. .
.took advantage of my art, and now
I see things like the Zed t-shirt c atalog
with c over as a shirt
. For one, WASTED
s,
YO UTH had an artist make upthe original r y
drawing, so the c over is pretty bad; and
'i
two, it really thrills me to see people like
T
Zed's making money off my art, where I
A
made not a c ent in the fac t that it was
yy
stolen in the first plac e, and WASTED
D
YO UTH
gave
me
no
c ompensation
0
whatsoever
. But nowsomeone is raking in
p
the buc ks
. Think of howflabbergasted you
tf
would be? Anyway, the art started to be
li
used more, and I c ame into c ontac t with
p,
more people. So I dec ided to start a
of
fanzine
. When I sent out letters for info, I
bi
Ki CR. '
wEV
1 N
SEPT
= M
fl
29
'A
c hanc e or approac hing something different
or even c reating something yourself,
people will stic k to the c ommon issue, what
someone else is telling themto do. So
whenever I do anything that breaks this
mold or sequenc e, I ambanished,
punished, laughed at, or throwaside as a
pusheadwouldbe squeezed
. I do not do
these ac tions on purpose to rebel against
whatever there is to rebel against, but
just that an individual has his formof
c reativity, ideas, and imagination . It does
not have to be so out of foc us with
everyone else to get attention, but just so
I get to think and c reate and not rely on
someone else to do it
. But the world
survives on the pus philosophy of "the
jesters are the fools who are laughed at by
the kings, but the kings steal the ideas
fromthe jesters to c ontinue their rule and
not fail with power"
. When you standalone
atopa mountain, you no longer think the
way you did to get to the top, bec ause
your c onquest is c omplete, and your only
desire is to keepthat throne
. So you
watc h the others to steal their moves, for
ou c an't c ome upwith your own, bec ause
instead of thinking you c an win
. You' ve
won and you c an bathe in the glory of it
all as you laugh at the others. But they
lough at you, bec ause at the topof the
mountain, you'll take the biggest fall of
all
. The c ompetative nature really takes
the fun out of enjoyment, bec ause onc e
you'
ve won, howfar c an you go when you
What is system? What is anarc hy? When a
single religion c an get people to do so
muc h and get no rewards exc ept that when
they die, they' ll go to heaven and god will
pat themon the bac k and say
" thank
you. Right, I live my life for that blessing.
Hahahahaha! Living here is no
exc itement unless you c reate it yourself.
But that would be true anywhere. Why
rely on someone else when you c an rely on
yourself?? The people in this town are
really down and spend most of their time
drinking to esc ape reality
. But there is
nothing to do-only new bars open up.
What a rac ket, support the government
and their taxes. Liquor is taxed, and the
lic ense for liquor is highly pric ed. Just so
you c an be drunk and have nothing to
show for it, bec ause that is a formof
esc apismor exc itement or what'? I realized
that for the sort of music I c hoose to
listen to, I would be beating my brains out
to make it growthere. So sinc e I aman
artist and I have ideas, no reason why I
should leave it c onfined in me. At first it
started out after I moved bac k here from
California . I had been drawing for years
and I enjoyed illustrating
. A good friend
of mine, Glen E
. Friedman, always sent me
flyers of gigs in the L.A . vic inity. Some
of these flyers were so bad I c ouldn't
believe that a band would represent
also sent out art flyers, desc ribing if they
ever needed art, please c ontac t me. Well,
more people were interested in the art
than the fanzine, and it took off
. I still
c ontinue to write to people, sending out
flyers, etc
. I c ame into c ontac t with people
who really enjoyed my style and wanted to
helpalso, folks like Abbie L Al, Tesc o,
Jimmy Johnson, Shawn Stern, Nic k Blinko,
Vote, Laja, Shesk, and lots more. These
people were really into the entire sc ene,
and are what I c all hardc ore for hardc ore
is dedic ation, howmuc h you put into what
you believe, and those ac c omplishments.
Not fashion as shoc k treatment, or all
those other hardc ore proof indic ators that
are so labeled. The more your art is seen,
the more people remember the name
. But I
c ontinued to always write to people, no
matter where they lived
. If you ask, folks
will always send you addresses, so you
bec ome in c ontac t with a very large group
of great people fromall over the world
. It
is very enjoyable. You should always treat
these people as you would want yourself
treated. It goes a long way.
YO UR ART IS NO W WO RLD KNO WN,
APPEARS O NCO VERS O F RECO RDS FRO M
L .A., U.K ., FINLAND, ETC . HO W DO ES
THIS AFFECT YO U, MO TIVATE YO U? Well,
it is a spec tac ular feeling just to know
that people use your work and others
wh
she
vat
evr
say
a
it,
it' s
Ind
say
Wel
son
T hi
is
So
dra
son
this
fas
def
ac t
inti
pec
spe
but
a
eye
tauc
c oui
ske
real
part
Y
't
II
it
e
0
it
II
it
at
S
enjoy looking at it! It is a lot of fun
drawing so others c an use it . There is a
inferenc e between drawing c overs andthe
other (fanzines, flyers, logos, etc ) for
ne . A rec ord jac ket c an put out a lot of
c ressure, for I have to c reate something
!nat will sell the rec ord of the band, make
someone interestedin the produc t. A lot of
the times, the band doesn't even know
c hat they want as their sleeve, so it is a
proc ess that is well thought out and
designed
. I guess any piec e of art c ould
be a rec ord sleeve, but just knowing that
that 's its destination makes it just slightly
different in perc eption . As far as
motivation goes, I'malways motivated to
draw, but to see the finished produc t
always gives a goodsense to c ontinue, and
probably write a fewmore letters to help
someone out again.
YO UR GRAPHICS ARE VERY 'GO RY' or
'HO RRO RIFIC' . WHAT ARE YO U TRYING
TO CO MMUNICATE THRO UGH YO UR ART?
ALSO , HO W DID YO U LEARNTO DRAW,
WHAT ARE SO ME O F YO UR FAVO RITE
DRAWINGS, AND WHAT MIGHT BE SO ME
O F YO UR INFLUENCES? Most Pushead
piec es have a meaning in them. Its not
there, stabbing you in the fac e going,
l
isten, listen . But it's there so eac h
person c an interpret their own way . A lot
;f people will c omment on a partic ular illo,
out with a c ompletely different idea from
r,hic h I drewit. And that' s great, and
shows me a newstory also. Eac h drawing
c ries in what I ' mtrying to c ommunic ate,
sen the ones with rudimentary penises
saysomething . But if I wanted it to have
spec ific meaning, I would have to label
t, whereas someone might not agree, so
L's better just to be an illo that eac h
ndividual c an enjoy their meaning. People
say "why the blood, why the gore, etc " ?
sell, if you want someone to remember
something, let themremember in horror.
the #1 thing to c ontrol people in the world
is "fear", and no one has c onquered that.
So if I let out my fears in a drawing or
draw to someone elses fear, it does
something in the mind that makes you
think why it' s there
. I don't really have a
'sc ination with violenc e or blood, and I
-definately don't drawto influenc e those
ac tivities. They are just subjec ts that are
interesting to c reate ideas around, and
;people enjoy it also
. Horror really
( spellbinds a person's mind
. Not everyone,
out the fasc ination of fear really gives you
desire to look through the Pandora ' s
yes . As far as drawing goes, I amself
aught, no sc hools or other programmed
nurses
. I have spent a lot of time
Ketc hing, learning, working out a style
. I
eally used
c omic s as a base,
then
=artic ular artists as I grew up. Those
styles really interested me; their brush
strokes, their c reativity and imagination.
Those artists inc lude Wrightson, Nino,
Eisner, Kirby, Nerbes, Dore, and this new
artist Dave Stevens, who all have unique
styles. Also the styles of Finlay and
Fabian whic h are really great works of
illustration . It is really exc iting to see
good art, and through my involvement in
this hardc ore sc ene, I have seen the great
work of Marc Rude, Nic k Blinko, Chet
(XNO ) Darmstaeder, and Vinc e Ransid,
who all have an abundanc e of talent and
ideas!!
Drawings,
like for different

reasons. . .like newthings ac c omplished, or
tec hniques tried.
They
would inc lude

"
Garbage Babies", "Evil Eye", "Unc l'
Pushead", "Rec ord Warrior", and "Kill For
Christ" . I have also gotten into writing my
mate's name, Anne, subliminally into eac h
drawing
. It is a love apprec iation I have
for her, and it adds a different c reativity
to inc lude suc h messages in an already
detailed illustration . It is a lot of fun and
a real enjoyment to the c uriousity of the
hidden "Anne
".
WHAT O THER ENDEAVO RS, BESIDES
DRAWING, ARE YO U INVO LVED IN?
Currently, I have gotten into freelanc e
writing
. It started quite a Tong time ago,
and now 1 write artic les and rec ord
reviews for various public ations. I have a
different style , for I try not to say the
basic "This is fuc king great-get it",
bec ause it really tells me nothing about
what the music does to you when you
listen . Most people listen to music for
enjoyment, and I try to bring out that
expression of howit sounds.
I have been an avid skate boarder for 8
years. In that period, I have designed
skateboard wheels and dec ks, ramps,
logos, worked with the manufac turers as a
teamrider and designer, worked with the
magazines
inc luding
the
c urrent
"Thrasher",
where
am
regular
c ontributor and have a rec ord review
c olumn
c alled
"The
Puszone" .
I
c ommunic ate with skate boarders ac ross the
world, and all around have a very
enjoyable time, for it is the most c reative
sport in existenc e and you c an really
express yourself within it.
Then there is SEPTIC DEATH, the band
whic h formed over a year and a half ago.
I amthe voc alist or sc reamer, and write
the lyric s and some of the music . The
sound is very fast but c omplic ated, and
has some eerie overtones, rawunrestrained
surges of fear. The idea behind SEPTIC
DEATH is that religions were formed to
c reate a god, and god was c reated so you
wouldn't fear death, and the reality of
dying is SEPTIC DEATH . When you die,
you're dead, no guiding light, no angels
of merc y, no god or devil
. You rot . That
is the end of your existenc e
. Millions floc k
to c hurc hes all ac ross the world to pledge
their allegianc e to god so god will look
down on themandac c ept theminto heaven
when they die. .
.living their lives for god,
but never doing anything for themselves
bec ause god might not like it
. And for
these people to believe that suc h a
supreme being would c reate them, and the
only purpose would be to grovel at god's
wishes, they should repent nowand rush
to serve god
. O h, and of c ourse god is
human, white, and looks like one of the
gang, opposes all other rac es and beliefs,
sure! The fear in the blood of people who
are sc ared to die c reated their savior, but
wreak havoc upon anyone else who doesn't
agree
with
that
belief .
Centuries of
brainwashing
c reated
due
to
the
unexplained fear . The terror of "Septic
Death", where maggots quenc h their
hunger with your rotten flesh. Horror's
reality
. SEPTIC DEATH's songs deal mainly
with fear and paranoia, the mental state of
a person and how it func tions. A few
songs deal with c urrent issues, but those
are so depressing just to read the paper,
why bring more attention than a song? If
you seek to bring out solutions or terror
to open eyes of fear, that is well
c onstruc ted
. But just c omplaints do not
have meanings of knowledge
. Strength
away fromfear or the ac c eptanc e of fear
and what it c reates, makes it wiser for the
mind. . .not the person who sings the song
he writes but lives in terror of them.
O pen the eyes and let the enjoyment in,
the awareness is essential.
WHO DO YO U WO RK FO R? WHAT AREAS,
ETC .? Currently I amunemployed. I just
do the freelanc e artist and freelanc e
writing stuff basic ally to support my
survival . I don't get paid muc h, for I am
very against over profit
. Sure I deserve
to get money if someone's making money
off my art
. But if they're not making
money, no reason why I should try to
bleedthemfor c ash. So in those examples,
I usually barter for their produc t. My
ability is worth something, espec ially if
someone uses it towards their advantage.
There is no reason why I should go
hungry while they c ollec t the profit off my
talent
. O therwise I amnonprofit in my
art's ventures.
I don't c onsider
myself a " punk" artist,
but just an
illustrator who really enjoys c reating ,
drawing, and putting some imagination
down on the bristol board. Please feel free
to c ontac t myself for samples or projec ts.
Stamps or a S.A .S.E . really helps. But I
really like being in c orrespondenc e with
all, and anyway I c ould helpout, let me
know.
PusheadandAnnie
2713 Kerr
Boise, ID 83705
FROM ZERODEGREE
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TOUR
SEPT . 10 N .Y.C. Matinee
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19 KANSAS CI TY, MO.
22 RENO. NEV.
23 SACREMENTO, CA.
24 SAN FRANCI SCO, CA.
25 LOS ANGELES, CA.
28 SAN ANTONI O, TEX.
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OCT. 1 NASHVI LLE, TENN.
DATES SUBJECT TOCHANGE
Fea turin g the hits-
DISTRIBUTED BY, Rough Trade
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- Y .E .0EIO HARDC21RE BANDS :
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Nw imassms
LATE
NEWS-BAD
BRAI NS
break
up . . -again. H.R . supposedlyoff to
Ethiopia . Darryl and Dr . Knowjoin up
with Doug Hahn (ex-The MAD) and
Skeeter (SCREAM) in a project titled 2ND
OPI NI ON, whichwill combine hardcore with
operaticsinging!
-NO PAROLE
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HELPTHE
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On to the bands. CRANK has been playing
around quite a bit-great thrash, radical
female lead singer, Elaine
. Theykicked
out guitar player Frosh, and sound tighter
than ever.Theydo a rap song with a
chorus that goes "Shit motherfucker, life's
a bitch. Can't get enoughto scratchthat
itch."Music to shoot up by. MORBI D
OPERA has been showing up in some
strange places, like
all-female gaybars
(sorryI missed that one) . This band had
benefitted byadding Cathy Sheeky on
rhythm guitar . She gives a fuller sound to
Nelson's sparse playing. There's also
Libbyon bass, Lisa on vocals, and Carmen
on drums. Weird female art/thrash.
D.A.M. (DON'T ASK ME) made a great
debut,
complete with
a pile of skateboards
as props and for audience participation.
That frec kled kid who bounc ed off the wall
and landed on his boardonly
to have it
break in half was great! A fun time was
hadby all, andI hope to see them again.
Honorable mention to Don playing bass and
skating at the same time! Music to skate
by, what else? They also Inc lude the word
"skate" in every song, no matter what the
topic . Rad, man
. A new band, the
IMMIGRANTS, debutedrec ently, inc luding
ex-FIT Ames on drums. I wasn't around to
see this (in Calif.) , but I'msure it was
strange.
MIAMI/FT . LAUDERDALE
Hello fromthe land of oranges and
tourists. Also, riots, refugees, and old
people
. But we won't talk about that . Let's
talk about music . The big event rec ently
was the DEAD KENNEDY'S showin Tampa
with RO ACH MO TEL andRAT CAFETERIA
. About 1000 punks fromall over the state
showed up, so it was well worth the 250
mile drive just getting to meet newkids.
r
a
n
n
n
n
n
n
7v
n
n
n
n
n
n
27NR1 ) 5 `&
n
n
between "DomesticBattlefield"and X-Rated
Go Go Lunch"
. Write to Eddie Nothing at
6290 NW 26th St, Sunrise FL 33313. n
Bands I forgot to mention on
purpose are : 'n
X-CONZ, the FRONT, MENSTRUAL
CYCLE (Ep out), CATS ON HOLI DAY, and :
the TOY Z .
a
That's all ffffolks,
Denise
9801 SW 87thSt
Miami FL 33173
P .S. Charlie Pic kett gets his
dream-c ome-true when he opens for GUN
CLUB .
n Ui U. ~ Uuusu s
Y AO
Loc ally, things have been pic king up
around here. Sinc e the c losing of the New
Wave (gag) lounge, and Finders, three
newc lubs have opened. First, Blitz, whic h
is open 7 days, with bands on Thurs.-Sat.
Next the Roc kin' Robin in Ft Lauderdale, a
reformed biker bar with that great seedy
atmosphere, with similar band set-up.
Finally, Flynn's, whic h is a c ool plac e,
right on the beac h, but it has an
inhibiting 6' stage. I think this plac e used
to be a stripjoint!
O ut on vinyl is the "We Can't HelpIt If
We're FromFlorida" EP
. It has 5 bands on
it : HATED YO UTH(Tallahassee), MO RBID
O PERA(Ft.
Lauderdale),
RAT
CAFETERI A(Tampa),
ROACH
MO TEL(Gainesville), and SECTO R'
4(Tallahassee) . It's on Destroy Rec ords
and c osts $2 .50 . Write RO ACH MO TEL at
110 NW 39th Ave #73-A, Gainesville FL
32601 . Funniest thing out this month is the
GAY CO WBO YS INBO NDAGE tape, "We're
not gay, but the music is. .". These kids
are young, straight edge, and snotty.
Favorite c uts are "I Hate Flash" and that
old
c lassic
"Manamana",
sandwic hed
DI RTY PnTtEN
'LP'22 SONGS
BUT NUWUN
DIRTY kUTtEN/
k4c4) ff<AL i~E( oRDS
a.wararbFsM =xwmw.
Iso~t mix
9tlwludlif9W3
_
1DoR0io;
C?L11
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P(4vAc
SKATE EDGE is another skate band from
there, and are still in the garage.
Th
SLUTS are fromNewO rleans, and have
c ontrac t with SST Rec ords. They lost thei
drummer andare searc hing for a newone.
They want to get into the studio, an
Robo may help
themout. DISAPointe
PARents have been playing in N.O . for
year and a half, and we now have an E
out entitled "AmI Getting Through?"I
c ontains 8 songs, and c osts $3 p.p. Writ
to me for it. The WAD is a different sty
of music by themselves, as far as punk.
They've split upthough, and the remnants
LO UISIANA
Hello world! If you thought that Louisiana
was long gone, you were
wrong. The punk
sc ene here is small, but it is kic king
hard. In a plac e like this it is quite
diffic ult to keepa strong sc ene going, but
we stll try. A lot of out-of- town bands
have c ome through lately, and the loc al
bands are good and
starting to burst.
TO XINIII, from Lafayette, have rec orded
the material for their upc oming 12" entitled
"Depression With Aggression"
. DA PIGS
are from Baton Rouge, and
are trying to
get their shit together (they need a new
drummer)
. The SKANK DUCKS are also
fromB .R ., and have played
a
few
times.
are heading to Calif. TWOTHOUSAND
MANI ACS are a garage band from New
Orleans East, and have played mostly
parties. There are a few local
zines: Floating Turd in Lafayette, Skinner
Box in Baton Rouge, Null & Void and
CrispyChrist Chronicle in NewOrleans.
Ron Christ/ 1801 N LopezSt/ NewOrleans
LA 70119
P.S. For bookings in N .O., call Tobeyat
Tupelo's
Tavern
(504)866-3658 .
Also,
4 bands that need a place to crash, askfor
Ron
4-song single
OUT NOW ON
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sCIPFaOATs, Pa1:CHT Clrizots/PROTEsr/1POVMIIGE. .

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THE ULTIMATE
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/7, 7A/Dr.
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'PROTEST ' EP SOON
SIO UXSIE
TORONTO-This is a brief update on a few
of the goings-on over the last fewmonths.
I t shows that "Toronto The Good"does
indeed have hardcore!
The first stuff is negative . All T .O.'s gigs
are still at bars, whichmeans either $10
tickets at Larry's, or a small percentage of
minors coming to the Turning Point
(althoughsome of them do get in)
. Jill is
starting to bookall ages clubs now.
Thanx!
Aside from all the local bashes, mostly
featuring DI RECT ACTI ON, and
introducing manynewbands from out of
the city, we were blessed witha visit from
ANTI -I NTELLI GENCE LAEGUE, who played
their "classics"withlots of energy
. I had
a harder time taking the audience seh-iously
than the band . The bouncers beat up the
kids, the kids beat eachother up, and the
LEAGUE didn't even notice! Some other
punks are coming "All the wayfrom
Britain, home of punkrock, featuring
super-spikeyhaircutssoon to be patented
and marketed, so please showa warm
welcome bybeating eachother up---it'sGo
BackHome!"Yeah, it's at Larry's so
people will pay$10and buylots of beer at
$2.50per bottle.
On to more progressive things. M.D.C.,
A.O.F ., joined CI VI L TERROR and YOUNG
YO UNG LIO NS
LI ONS for a fine showrecent y
. soth
bannsstayed in town withplansof playing
the weekend
. But on Friday, Ron and
Franco of M.D.C. were pulled over for a
"noisytailpipe"and busted for possession
of 'a joint and an illegal weapon-a
christmas tree spiked wristband
. Also, a
chain and a lengthof pipe was found in
the van. Theyspent about a weekin jail,
waiting to be arraigned
. The bail was set
at $4500, withno conditions. After making
bail, theywere re-arrested byimmigration
officials, since their workpermits ran out
while theywere in jail
. Theyspent
another night in jail .
Bac to oca bands
. CHRONI C
SUBMI SSI ON are reallyhot and are
recording a tape. DI RECT ACTI ON have
delayed their tape because Xig, the guitar
player, pulled out a bayonet and started
stabbing his guitar during a show, then
accidentallymissed the guitat, stabbing
himself in the left leg (could have been
worse, eh?), throughsome major artery,
and straight throughto the bone . They
won't be playing for "at least 6
weeks".YOUTH YOUTH YOUTH have a 12"
EPthat should be out bythe time you
read this. This is a first for the second
wave of T .O.'s hardcore. About time!
DEAD END have a tape released, but won't
be playing for a while. I caught A.P.B.
Saturdaynight, and theyripped! These 3
guys put sweat into their musicand have
improved so muchover the "Hardcore"
comp tape that theyare unrecognizable.
So muchfor the "brief"report . I guess
the onlyother band that I missed
mentioning that can stand up to out-of-city
competition is AFHAKKEN . Definitelya
band to see and "experience"
. There are
other good bands too, all working at
building the scene and adding much
strength. Ron Barnes753 Q ueen St W
J Cl
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Rec ords, presumably bec ause their onc e-
great popularity seems to have evaporated
c ompletely now. Meanwhile, CRASS are
organising a nationwide marc h and
demonstration, and plan no gigs for the
immediate future. Punk "pin-up" Beki
Bondage, following the demise of VICE
SQUAD, has formed a newband c alled
LIGO TAGE . Meanwhile, her ex-VICE
SQUAD buddies keepthemselves in c ash
with their well-orc hestrated CHAO TIC
DISCHO RD sc am. Usin a bunc h of
DIG'S REPO RT
Hi gang
. Latest news- sadly,
RUDIMENTARY PENI have split . Bassist
Grant has serious health problems
. Their
debut LP will still be releasedon
Corpus
Christi (CRASS off-shoot label) . The
SYSTEMhave split too
. FLUX c urrently
resting fromlive gigs, writing new
material for new single and LP . THE
SUBHUMANS
are embarking on their first
U.K. tour at end of August, and their
next vinyl
release will be a 12" of a live
gig rec orded rec ently , plus a fewstudio
trac ks. Dic k, SUBHUMANS' singer, also
runs Bluurg rec ords (Spiderleg off-shoot
label) andis releasing EP's by NAKED' and
A-HEADS soon . Dic k also has plans to
release a c ompitlation EP of trac ks c alled
'1984' or related to '1984'-theme on Bluurg
at the beginning of next year
. Interested
bands should c ontac t/send demo to Bluurg
Rec ords, 2 Vic toria Terrac e, Melksham,
Wiltshire, SN1Z GNA, England.
Strangest event recently
must be the fact
that CRASS played an impromptu set
of
half-a-dozen songs before the EXPLOI TED
took
the stage at their 100Club, London,
gig
. Wattle's moronic bunch have
apparentlyparted companywithSecret
Q :
y'I . ou oral
A : We all felt we had something validto
say about the way our lives were being
organized for us. All 3 of us were in
various bands before, all enjoy playing
Q: Is more emphasis given to the music al
or lyric al c ontent of your songs?
A : Equal amounts of c are andattention are
ex-V
.S.
roadies/hangers on for public ity
pic s, they have suc c essfully c onned at
least one U.K. music journalist
. Namely
John O pposition (a .k.a
. ATTILA THE
STO CKBRO KER) of Sounds, who gave
their albumrave reviews, seemingly
oblivious to the fac t that CHAO TIC
DISCHO RD have never playeda single gig,
and do not, in fac t, exist. O n the other
given to both. The songs are written by
all of us together, but the original c onc ept
for
a song generally c omes froman
individual. Lyric s are usually inspired
from personal experienc es of life, the
system, and the presentation of those
through the media . Thus we are trying to
provide an alternative viewso that people
c an relate to what's going on in the
c ontext of their own lives.
Q: What is the signific anc e of the name
"O MEGA TRIBE"?
A : The name was c hosen after some
thought . The word "omega" has many
interpretations, but basic ally means the
final, last, or ultimate
. The use of the
word"tribe" c omes froman ac c eptanc e that
we as human beings require a sense of
belonging
; the sec urity of being one of a
unified groupdedic ated towards the same
aims.
Q: Would you please define the bands'
politic al philosophy?
A : O MEGA TRIBE have no rigid politic al
ideals. we don't c all ourselves an
"anarc hist band", although as individuals
hand, John is the only U.K. music -press
writer who features U
.S. thrashers with
any regularity, so that is some c onsolation
at least.
REALWATTIE PLEASE SHUT U
p.
we may or may not use the word
"anarc hist" to define our beliefs. We do
share beliefs in the need for c hange, the
needfor worldpeac e, the disgusting waste
of life involved in war, the waste of
resourc es in nuc lear weapons. But aside
fromsuc h impersonal areas, the need for
all of us as individuals to take c ontrol of
our lives, open our eyes to what is going
on, and to live our lives responsibly and
with respec t for eac h other without
prejudic e. Q: What do you hope to
ac hieve?
A
: We hope to c ontribute towards an
alternative way of thinking by introduc ing
people to newangles, newideals, new
views.
Q: Do you
believe there ever will be
"anarc hy andpeac e"?
A : It is impossible to say, but we like to
think
there will be one day. Maybe we're
all just dreamers, but giving up c an be
destruc tive. Where there's life, there's
hope.
c ontac t :Daryl/ 18 Kirklands Rd/ New
Barnet/ Herts./ England
KALV'S REPO RT
Hi all! I've got very little to report this
time- this has got to be the most
apathetic al month of the year so far, s000
little has happened. (As a result this
report may look soo boring)
. In MRR ish
#4 Dig spoke of Garry Bushell, the biased
Sounds journalist who "invents the c ults"
and "seems to have the U.K
. sc ene
suc c umbed firmly under the pressure of
his poison pen". O i is dead, if it ever
lived Bushell killed it himself, but he's
trying his hardest not to let it die
peac efully. M.F .N. Rec ords latest LP is
entitled "Kids O n the Streets", it c ouples
many sold out O i and punk bands "a
c ertain music press journalist has been
hyping" with liner notes by, guess who?
Surprise, surprise!! Garry Bushell
himself! More glorific ation and repetition of
the old yawning story of punk and , in
not so many words, "howhe personally
built the sc ene" ; he raves about SHAM69
saying their intense street c redibility was
a great pac e -setting asset to the sc ene
here. What he fails to mention is that the
band sold out c ompletely. Street c red
Jimmy Pursey nowlives in a mansion and
breeds rac ing dogs (amongst other
things), the kids only seemunited in the
rip-off
. # years on and still the c onning
and gullibility c ontinuesBushell seems
to be getting rather paranoid about the
growing, spreading suc c ess of
"politic al/sinc ere" punk whic h has shown
his O i fac ade for the "5 minute fashionable
rebellion" it was, not only does he slag off
CRASS, etc ., at every available
opportunity but fac ed with the growing
interest in U.S
. hardc ore/politic al bands
(and the way that their ideas are more
similar to CRASS/SUBHUMANS etc ., than
to his brainless EXPLO ITED/SKREWDRIVER
mob)
. He's suddenly taken a strong
anti-U.S. hardc ore stanc e it seems.
reivewof the KRAUT LP in Sounds dated
JULY 30, 83 he has this to say: "U.S.
hardc ore is a headac he
. A c omplete
misreading of punk's original intentions, it
c onfuses passion with noise, urgenc y with
speed, c hallenge with inac c essibility and
power with bludgeon", "Like CRASS, U.S.
hardc ore is a bullying inartic ulate mess,
bereft of melody and built on all the
bluster they c an muster ." Not that I'm
saying U.S. hardc ore (or the better
aspec ts of U.K. hardc ore) are always that
exc ellent, ther's always a high proportion
of shitstirrers and bandwagon jumpers
however goodthe sc ene is, andadmittedly
many hardc ore/politic al rec ords are overly
c opyist and are as Bushell desc ribed
themabove,( no more c opyist than his O i
bandwagon jumpers though), but it's the
,honest intentions and c ommitment of the
underground hardc ore sc ene that the O i
In the
HYPE ve
1,4
TE
&l 1ER -
Dt THE Slops
Now!!
Ow!!
sc ene lac ks, and no matter how
programmed he has many kids/individuals
out there, he will never be able to kill . . ..
Lac k of ideas he points out, what an idiot,
he should take a good look at all the
no-thinking/blind/bland/rip-off bands he's
shoved on the road to Fame and Fortune
before c ondemning bands that c are about
their lyric s more than blindly repeating
self indulgent, mac hoists
mentality/sexist/master rac e c rap. Protest
your innoc enc e and voic e your c ompaint,
write Sounds at : 40 Long Ac re, London,
WC 2E 9JT, England. Remember, this is
the sort of horse shit that c reates barriers
betweeen U.S. and U.K. punks. Leading
U.K. punks to believe that in terms of
"punk"(?) we rule the world. (O bviously
bullshit .)
O n a brighter note, c overage of U.S.
sc enes and
bands in U
.K
. 'zines is
growing more and more prominent all the
time. Zines like Blac k- White/1Q32 etc .,
are doing all they c an to expose the U.S.
sc ene but obviously need help. Write and
sendreports to these zines:
Black-White : 15 Oxford Ave, Wimbledon
Chase, London, SW208LT
1Q32 : Digger, 6 Judges Dr., NewshamPK,
Liverpool, L6 7UB
A Feeble Effort : Garry, Weals Bungalow,
Newc astle Rd
., Craven Arms, Salop, SY7
8PP
Raising Hell : 5ik, 6 Welburn Ave, Leeds,
LS 16 5HS
Suicide-No Murder; Keith, 23 Foskett Rd.,
Fulham . London . SW6
One band
a lot of people are suddenly
sitting up
and taking notice of are the
APOSTLES, who've recentlyreleased an
amazinglyoriginal thinking 5-track7"EP.
The APOSTLES are a verypolitical band
whose statementsand ideas differ very
drasticallyfrom those of CRASS/FLUX
etc
., with their Anarchyand Peace
sentiments; theyadvocate direct action as
means of removing the rubbish/shit from
our lives! When contronted withsystematic
o lis -
' nora e
ca'italist
or
fai$Auc rA fAs)iwpNl1
.E PAP
Stet
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. Lee
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$4 i
II
I
Y OV ARE
.' -
tom
. Ifs
otherwise) theybelieve the best wayto be
rid of it
is to punchit between the eyes.
The problem now could be trying to
explain the difference between justifiable
violence and machoist glorification type
violence to people who maymisinterpret
their ideas. Whatever anyone says about
them, it must be said that they've got a
lot of guts and commitment, and most
I mportant, at least theylive their
statements.
On August 6th: FALLOUT/RESI STANCE
77/VERBAL WARNI NG/DAMAGE . I t'll cost
re i . . t 90 n
. .'
s
E
?~~ 1
\ppd
.
.
.
- I
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poi") + LOTS of to
N~~,SE~~D(fI LLU51opE~~
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STERS W^tTK FORME-
WT
1"IN"ININCt
Saboteurs, an organization of caring'
people that make false trails for the elitist
class and trained killing dogs to follow
when hunting foxes. Fox hunting is a
savage, brutal and unnecessaryseasonal
killing sport "popular amongst rich, riding
families"that takesplace here . The sort of
tradition we can do without!
That's it for now. Remember that what I 've
rambled on about this time is just nlx
opinion, a meagre opinion . . . form your,
own!
e--
d' ' G. s
. H
G .B .H . were rec ently in S.F . and I ran
into three of them(all exc ept the singer,
Colin) before
a gig
. They were friendly
enough guys, and questioned me in a
non-hostile manner as to the origin of
reports in MRR that they were
"roc kstars" . I replied that those images
prec eded
themfromEngland, and then
asked themif they would like to do an
interviewto deal with the subjec t . They
said "sure", and we agreed
to do it three
days later, at another gig. That day
arrived, and I went to the c lub early, at
soundc hec k time, andasked if we c oulddo
it when that was over . They replied "later
on" . I ran into themfromtime to time
throughout the evening, but they never
renewed the subjec t or gave me any
inkling that they were nowready. I didn't
press the matter or beg, so it never c ame
to pass. Too bad, bec ause
I had a lot of
questions for them. All I c an do now is
print those queries, public ally, and see
what happens. Perhaps they will respond
by mail
.
Heregoes.
1) The promoters who
put on your gigs
have said that they met your
demands of
$1000 guarantee per show. Isn't that an
awful lot of money, c onsidering that you
aren't, in turn, paying the openers out of
that amount?
2)You have an agenc y, Cresc ent Moon,
arranging your tour here. Some
of the
agenc y's demands on the c lubowners are
stipulatedin a 10 page rider whic h some of
themrec eived just 48 hours before the
show. This rider says that unless the
following are provided, the showwill be
cancelled
: a) 2 bottles of German white
wine, b) a deli tray, c) six hot meals, d)
a 4000watt minimum P.A
. system, e)a 20
channel board, f) specific type of
microphone, g) full lengthtowels. I s this
reasonable?
3) Besides this, it appears that G
.B.H. is
to have an unlimited guest list, and also
has the authorityto limit the guest lists of
the opening bands
. Does anyof this
bother you? I f so, doesn't the buckstop
withyou in terms of whom you have to
represent you?
opening bandswere not allowed use of the
dressing rooms backstage, and were
forciblyevicted when theytried to use
them . Whyisthat?
5) You
have several songs that appear to
be anti-women . Colin announces, "This
one's for all the girls here tonight . I t's
called 'Slut'
: "Another song seems to be
about whores, another is about 'Big
Women'. What is the basis for these
derogatoryand demeaning songs? Also,
while bands had a hard time getting
backstage, young women did not
. Any
comment?
As I
said earlier, the three guys I met
seemedreally friendly (the bass player
espec ially hung out with kids and c hec ked
out the other bands), and c laimed there
was a c ontext that would explain these
"unfair ac c usations " fromhome. It had
something to do with understanding the
sc ene in England. It's too bad we didn't
get to delve Into that. bec ause I was left
with an indelibly marked impression that
the whole "presentation " of G .B .H . was
pure "Roc k and Roll", man---fromthe
business side of it, to the mentality of
some of the lyric s. It
seemedlike any
other kind of Roc k showor Heavy Metal
show, and what was most disturbing was
howthe so-c alled punks at the gigs ate it
all up. When a member of the c rowdyelled
"Sexist bullshit" at the band after "Slut",
many in the c rowd turned and angrily
sc reamed bac k at himto shut up
. That
was the c linc her, rounding out the Roc k
showsyndrome. You take Heavy Metal and.
speed
it up, but does that alone make it
Punk? The mentality exhibited by some of
G .B .H .'s songs and posturing, and the
mentality of the c rowd says "No"! This
experienc e didn't have anything in c ommon
with Punk roc k, and I c ertainly don't see
it as an "alternative" at all .
Ruth- Are there a lot of bands in Holland?
Tony- Yeah, a lot.
Ruth- Are many of them doing the same
things you are?
Marc el- Most of themare not rec ording.
They
really
don't know howto do it. So
we say to these people, "if you
want to
make a rec ord, c ontac t us. We will shqw
you how. Maybe we c an lend you the
money".
Wouter- Most bands find it too risky to
bring out their own rec ords bec ause they
c an lose a lot of money if it doesn't sell.
Tony- Well, there are many
groups over
here who put out their own stuff and
release themat c ost pric e. It's all very
independent
. There's no major label . All
those bands are trying to get more bands
to do their own stuff and not wait till a
label "disc overs you" . You c an do what
you
want. Besides, labels mostly ripyou
off anyway.
Marc el- I don't think they do. I think
we've found a better way- this
independent thing. I think it is far better.
We really don't knowtoo muc h about
Finland, but England and the U.S. are all
labels
. Records are unfortunately
expensive. Theyaren't being sold at low
prices. Tony-There's a whole newwave of
hundreds of punkbands that have started
playing veryfast . The EX, etc, were
playing punkat first . Now theyhave
evolved into different musical styles.
There's people who are more into that
musicand all the other punks
are into
veryfast stuff. But the fact is that the
EX and other groups are doing about the
same as we are
. Their music is different
than ours, but it doesn't make any
difference.
Ruth- So it doesn't matter what the music
is, what you're saying?
Tony- Yep, that's very important. There's
some bands we don't want to play with.
Bands with very rac ist ideas and they
always fuc k uptheir gigs with fights and
stuff. And if we know that a band has
very right-wing followers and they don't
do anything about it-well O K- we're not
gonna play with them.
Wouter- There are bands that make other
sorts of music than we do, but the ideas
are good.
Then we want to play with
Marc el- I don't think that Dutc h bands
c are any
more about ideas than they do in
Americ a . It's just the groupof people
you've met. I don't think that most of the
punks are really interested in lyric s.
Maybe some of themdon't understand
Them..
Rene- But the English bands are more
ac c eptedthan Dutc h bands.
Tony- If you have a showwith a foreign
bandall the people are danc ing like c razy.
The Dutc h bands supporting the foreign
bands are muc h better
than the foreign
Rene-to workfor their dole money. That
was the idea
. I'mafraid it is more diffic ult
for punks.
Ruth- There are a lot of
c lubs here who
get money fromthe government.
Wouter- There's a lot of themthat get
money fromthe state to keepthe
kids off
the street or something. The
people who
work in some plac es get their inc ome from
the state but for the rest , mostly they
have to
do things for themselves.
Tony- Still, that money is often being
spent in the wrong way, Like the Paradiso
Club. They will use the punk bands as an
exc use to have a c oke party.
Ruth- The Paradiso is getting money from
the state?
Tony- Yeah
. Huge amounts of money. And
they're spending it on their friend's bands
popgroups andstuff.
Rene- When we play The Paradiso we want
a lot of money.
Marc el-
Bec ause they gave a lot of money
to all other kinds of bands.
Wouter- Normally, if we play somewhere
and we say O K we want to play but the
tic ket pric es must be low otherwise we
won't play.
Ruth- Can bands make a living doing this?
No
Marc el-
Bec ause there's
no rec ord
c ompanies, you don't get known, you don't
get radio airplay. The thing is that this is
the best way bec ause if you depend for
your living on this, you have to make
c onc essions to all kinds of bullshit.
Wouter- You have to do what people
expec t . Marc el- I want to do it c ompletely
on my own terms if possible.
Ruth- If you're putting out your rec ords
at c ost pric e , you c an't make a living.
Marc el- We make a thousand rec ords and
sell 700 of them. Then the c osts are gone
and the rest is for us.
Ruth- What is out on your label?
Tony- O ur Rec ord (B,G,K,- Jonestown
Aloha) and the c ompilation rec ord with
eight bands. (Als Je Haar Maar CoedZit
Nr. 2) It's all Dutc h bands, hardc ore. But
we want to work together with other Dutc h
bands. A lot of other bands, they see
other bands as c ompetition . They don't
want to work together .
Ruth- What do you think of Americ an
bands? Tony- Some of them are
good.
O thers
. . .? Generally I think Americ an
bands are lots better, both music ally and
in dealing with them. Americ an bands
started to realize that not all the
bands
fromEnglandsoundgood.
Wouter- But Americ an rec ords are very
expensive here for us to buy.
Marc el- I really don't get everything
bec ause it's so expensive. Gigs and
rec ords. It doesn't fit with the ideas they
have in my opinion. It's stupid to be
c onc erned about the poor and let thempay
$10 to go to a gig.
Tony- As bands it is their responsibility.
For example, bands who are singing about
war and a fight breaks out at a showand
they will just c ontinue to play
. That's
what was so great about the MDC c onc ert
here. This guy takes a c hain and starts
swinging it and the singer starts "Hey,
who are you guys? You c ome here to
fight? Better leave." That's what he said.
It's great.
Rene- Everyone looked at the guy and he
n y omn
band c omes on
goes--aaaaaagh.
Ruth- Holland has its own set of problems.
What are Dutc h punks thinking about?
Marc el- I think that about the same time
there were a lot of squatters there were a
lot of bands and punks around. I don't
knowif it's really a link but--
Tony- A lot of bands started to sing about
the squatter problemand stuff.
Ruth- Is squatting an important issue to
you ?All- Yeah.
Tony- There's a squat on the other side of
the street here and there's a lot of
anarc hists and punks who live there. Its
going to be evic ted soon
bec ause
the c ity
c ounc il wants to have a Holiday Inn hotel,
while there is already a very
big,expensive hotel near . It's just to give
the c ity more of
a reputation of welc oming
tourists andmoney. And about 120 people
will be homeless. Meanwhile there's a lot of
things happenning in this squat. There's a
store, an art gallery, a restaurant, a bar
etc . So many things you c ould do there,
so muc h spac e. But sinc e the big money is
involved they are going to evic t it very
soon.
Ruth- Are squatters the same as punks?
Ingrid-
Squatters are punks and punks
are squatters.
Marc el- Ac c ording to the news . But not all
of them.
Tony- If there are riots, you always see
guys with mohawks and stuff throwing
bric ks and then on a news flash you see
punks breaking windows with bric ks.
Ruth- What do you c all the government
here?
Marcel-Religous . So-called liberals and
conservatives.
Wouter- Christian Democ rats.
Ruth - A democ rac y?
Marc el- Well, we won't c all it a democ rac y.
Ruth- You have a
very good soc ial system.
Marc il- No- they are breaking it down.
Ruth- But you're all getting money from
the state.
Wouter- It is muc h better than in the
States. Tony- But they are c utting down
andthe ric hpeople get even more money.
Marc el- It's not good enough
. Even in the
old days you
had a lot of people who
haven't enough to live on while others
have plenty. They're even c utting
lower
inc omes more. Really fast.
Ruth- I get the impression that the
government doesn't expec t you to work.
Wouter- There is no work.
Marc el- They c an't expec t us to work
bec ause we have very high unemployment
rates
. The c ountry doesn't expec t us not
to work. Sure, they want us to work.
O nc e there was a plan that people under
21,
who are unemployed, will c ut trees
Tony-bass, vocals
Rene-vocals
Marcel-drums
Steve-guitar, vocals
Wouter-mana er
u
en a r s
and
everyone
didn't knowwhat to do
. So he walked out.
Tony- A band like the EXPLO ITED sing
about war and armys
. Howc an they just
let their audienc e
beat upeac h
other? And
when it get a little rough, they're off
stage.
Wouter- So many of the English bands are
so stupid. They really are.
Marc el- Not all of them.
Wouter- They go in the studio for a
month. They make a good rec ord- so
great, and you see themlive and they are
so bad
. They're mostly drunk when they
are on stage.
Marc el- They have no respec t for the
people who c ame to see them. If people
c ome to see us it shows their interest,
its nic e. So I show some
respec t for them
by not playing drunk.
Tony- Also, there should be more c ontac t
with Americ an bands. People should start
organizing tours for eac h other on a very
independent basis so there aren't any
agenc ies. It's just the bands that do this
for eac h other. Set upa tour to get
enough money.
Tony-Theycan stayhere and be at our
places . We can set up the gigs and they
can playwithanyDutchband theylike
. I
thinkthe big advantage of this is that
you're not being ripped off and there's no
asshole
you don't know, that doesn't know
anything about the music just making
money.
Wouter- Then you're going to play in the
really good
punk c lubs.
Ruth- Isn't it just as important that people
in Americ a start thinking about doing the
same? Tony- Yeah- Well, I don't knowbut
maybe people in Americ a c ould set up
tours for Dutc h bands
. You c ould reac h a
lot of people then
. Ruth - Howdo people
get a holdof you?
Tony- Write to: Vogelspin Rec ords/ P .O .
Box 70397 / 1007 KJ Amsterdam/ Holland.
We'dlike to set u some bands here.
I ngrid-Social workers
Ruth-Howdo you suggest people do
things? Wouter-Start a band or a real
punkclub that doesn't get moneyform the
state. Or something
else . There's a lot to
do
Tony-Maybe you can't change the whole
structure but you can make it more
pleasant . Get aware of what's happening
yourself. Some things are so easyto see
like the connectionsbetween the big money
and you should start questioning . There is'
also the fact that when there is a Dutch
band and people say"Dutch band? I don't
even knowwhere Holland is . I 'm not
interested."And when it's a band from
England everybodygoes-Yeeeeaaaahhhh.
I t's the same withAmerican bands that
come over here . The people here aren't
I nterested in that . I thinkthat many
Dutchbands are interesting and worth
seeing.
government
. Wouter- But we don't
really
get anything fromit
. What the government
gives to these punk c lubs- they're not
really punk c lubs. Punk
bands c an play
there but the money they get is for the
people who work there
. And those people
have some sort of sc hoolina.
found by reading Shred's Denmark report
that several important bands had missed
his eyes. In the suburbs of Copenhagen
there is a great deal of thrash bands,
who're all very great, suc h as
ILLEGAL'80, ENO LA GAY and APILD AF
TID (Waste of Time), but unfortunately,
some of these bands c onc entrate too muc h
on fighting bands and fanzines whose
opinion they don't agree with, instead of
working for unity. Rec ently "The Boston
Tea Party Tapes" releaseda c ompilation
c assette c alled "Lorteland" (Shit Country)
on whic h these bands plus others c an be
lheard. (Address below) . Another release
lt is great that you deal with women's lib
is the new FRESHLY RIO TS' "Delightfully
t
in c onnec tion with punk c os I've also got
Fresh" EP whic h is, after my opinion, the
'
the impression that many US punkbands
worst rec ord ever done in Denmark, and

are hypoc ritic al dumb asses, who think they
have already rec orded their sec ond
/they're so liberal
. Here in Denmark things one! It is also said that ELECTRIC
really look a lot different

. The main reason
DEADS, CITY X, ZERO PO INT and ADS
/for this is, I think, the strong women's
are planning newreleases. ADS have been

/liberation movement, whic h had
a big
living in Berlin for the last few weeks as

influenc e on soc iety in the 60's and 70's,
they were tired of Copenhagen and being .
l
and today Denmark might be the one
c lassifiedas "fashion punks' . And ac tually
l
c ountry in the world, where woman is most
Copenhagen is a boring plac e sinc e the
liberated- unfortunately there is still a
squatters movement is almost deadandthe
llong way
until total freedomis obtained
for
gigs
are
few. There has just been a
everyone (one may remember that men are
two-week punk and experimental festival
lalso
tortured in their sex roles!) Anyhow,
whic h only had 3 hardc ore bands in the
tthe
re are lots of Ti-male punks in Denmark
;
large c rowd of bands. 'Soon the WAR O F
an example for this c ould be that two
DESTRUCTIO N'S debut EP is out and it's
years
ago there was
in the c ity where I
gonna be a great one, and in late
ll
ive (O dense) only one girl punk
. Today
September the newRAZO R BLADES/FLERE

there exists a balanc e between boys and
DO DE PANSERE 11 trac k EP will be- out.
lgirls and that's it

. Girls are ac c epted for
The review of the RAZO R BLADES' tape in
being punks as well as boys are

. For
MRR no. 7 was shit; this band is
0
instanc e the singer of the band FLERE
c onsideredone of the best in Denmark and
0 DO DE PANSERE (More DeadCoppers -not
also some of the best music ians in this
taken fromMDC!) is a 13-year-old girl,
c ountry. WRITE : The Boston Tea Party
l
who is trashed by her parents for playing
Tapes, c /o Brian Hansen, Banehegnet 14
the band- her father is namely a c opand
st .th., 2620 Albertslund, DENMARK. AND:

O a
member of the ultra right wing party! DK DECAY, Tietgens Alle 118, 5230
She isn't into punk for the sex, she's here O dense M
., DENMARK. Both are
lbec ause she's ac c epted as a human being
. alternative tables, who've got several tapes
And then for the news sinc e last issue

: I
out.
Yrsa
.
0
PARENTS ARE PUNKERS
wsl~s~ l
Marc el- I wonder if they'd be willing to
not make muc h money though. What I see
of Americ an bands is that they're making
money at it.
Tony- Not MDC.
Marc el- No not MDC
but DEAD
KENNEDYS andBLACK FLAG.
Wouter- But those gigs are being
organizedby agenc ies. They make a lot of
money at them. If you do it our way you
play in other plac es.
Ruth- Any last c omments?
Tony- People
should get more involved
getting things done, whether it's your own
store or helping people out. Making it
work.
Wouter- That's what punk is- doing things
yourself.
Ruth- But here ou c an c ount on the
ATHENS-The first punk groupin Greec e,
my band, was namedthe GUILLO TINE, and
formed an January of
'80 . After a year ,
me and the guitarist left the groupand
formedSO LDIERS O F ANARCHY
. We did
our first gig in a c hurc h (ha ha) with
STRESS andAUSWITCHSS) . We hadsome
problems, suc h as lac k of plac e to
rehearse,
fewinstruments, and the polic e.,
For a
year and a half it was very c haotic ,
but nowthings are c learer . We are nowin
a group called the EX-HUMANS. We have
good instruments now, 'relieved'from a
musicstore.
O ther loc al groups are CHAO S
GENERATIO N, STRESS, PANX RO MANA,
AUSWITCHSS, DEATH TRAP
. They all sing
in Greek, have no idols, no gods, no
masters!
Trobetas Johnny
Rodou 45
T .T . (220)
Athens, Greec e
These are some
photos fromGerman
newspapers sent to us by Helge Sc hreiber
of O berhausen, W Germany
. Apparently,
CUT NOW
IIA C KMA R I(ET BA BY
Roc ker tobten
Steine, Blut,
Trliimmer
Schwere Rocker-
Krawalle inHan-
nover!2S0glatz-
kopfige Skin-
headsand 700
Punk-Rocker lie .
teaensickbluli-
qe Schlochten.
17 Polizisten
wurden verletzt,
180 Roc ker vor-
laufig
testge-
nommen. Die
Chaotentobten
rwei Tage long,
zertrummerten
Schaulenster,
schteuderten
Pllostersteine
nachPassanten.
Allesfiber den
Rocker-Tenor
auf Seite 7b.
.wei Polizistento (tv, hobenebb
. Funke, indie
genonrrnen, drangenihnondenStraflenrond
. UnteresFoto:
Diesel SkinHeod hat Steine ant die Polizislengeschleuderl.
Finjunger seamier nimbi ihnbit gezogener Pistol
. test
punks and skins tried - tO Tiold a
meeting
in
Hannover,
to
disc uss
differenc es and c reate more unity
. Some
right wing skins broke into their "seig
hell" , and sc uffles began . Then 1000 c ops
c ame on the sc ene, and large-sc ale rioting
ensued, lasting 2 days. The papers
reported 180 punks and skins arrested
(out of the 850 present), muc h damage,
and many injuries. The pic tures show a
c oparresting a skin with his gun drawn,
bndplainc lothes c ops hustling away a punk
to detention.
OFFER( NU L p
This rec ordalbumwas made under extreme c onditions
- all
Availablefrom
: _
ROUCH TRADE, DUTCH
:AST INDIA, IYPCRTANT,
CYSTD^"ATIC and IEIDB CARD
'VCRL D
Sc orc hing firebolts in abrasive vigor of
ac tive aggression that is frantic ally fast,
c razed and c haotic , exists the blazing
bombardment whic h is RATTUS. An
initiative, outward outfit fromFinland
whose sound blasts forth a brutal barrage
of rawknuc king mayhemthat stimulates
the senses with volleys of quic k persistent
rhythms. Featuring 'Jake' on guitar,
'Tomppa' on bass, 'Vellu' on drums, and
now'Annikki' c rooning out the voc als, the
stirring quality of RATTUS is agile,
c ontinuing to grow, having an alarming
vivac ity with an osc illating momentumthat
is unprovoked . Latest release "Uskonto
O n Vaapa" is another brilliant dose of
surprising fury and non-hesitant intensity,
an international hit fromRATTUS. Write
to: Tomppa-Rattus / Ritvalankatu / 35700
Vilppula / Finland
Interviewby Pushead
MRR : What does 'RATTUS' mean?
R : 'RATTUS' is Latin , and means 'rat'.
The name was c hosen bec ause of the
STRANGLERS first LP "Rattus
Norvegic us" . They were the band that
turned us finally to punk.
MRR
: List your vinyl, tape appearanc es.
Why were the first EPs so muc h different
than what you play now? What made you
c hange your music al direc tion . What are
your future vinyl releases?
R : These are the releases:
1) Khomeini-Roc k / Muotipunk-July '80
2)
Fuc king Disc o-EP-6 trac ks-Nov '80
3) RO R-EP- 5 trac ks
4) Rajoitettu Ydinsota-EP-4 trac ks-Dec '81
5) W.C .
Rajahtaa-LP-14 trac ks-O c t '82
(also releasedin Brasil)
6)
Uskonto O n Vaapa-EP-9 trac ks-May '83
7) Propoganda Hardcore '83-3 tracks
Tapes:
1)
Punk Ei O le Kuollut-3 trac ks
2) Tyalaisten Kontrolli-4 trac ks
3) Trust And O bey, God Is Love-4 trac ks
4) Raw
War-4 tracks
The music has c hanged quite a lot in our
rec ords; the first rec ord was
old-fashioned, quite slowpunk roc k. The
sec ond a c ollec tion of punk, newwave,
andska-reggae. The third was our worst.
The fourth, fifth, and sixth are hardc ore.
The reason for that is the music we have
listened to while c omposing songs.
DISCHARGE influenc ed us in '81, before
we did the "R
.Y ." EP . NowTomppa is
influenc edmore by U.S. bands and some
heavy groups, Jake by DISCHARGE, and
some U.S. bands.
MRR
: What are RATTUS' favor He bands?'
R
: Well, here are some of them:
U.K.-DISCHARGE,
DISO RDER, CHAO S

U.K.,
MAYHEM,
INSTANT AGO NY,/

RUDIMENTARY PENI, VARUKERS . ..
U.S.-MINO R
THREAT,
NEGATIVE
APPRO ACH, M.D.C .,
BLACK FLAG,
MISFITS, NECRO S, DEAD KENNEDYS,/
GANG GREEN, D.R .I ., FARTZ,
DO UBLE
O , andmany, many more.
O THERS-TERVEET KADET, SHITLICKER:
(RIP), AGENT O RANGE (Holland),
BUTTO CKS, CHAO S Z, O LHO SECO ,
INDIGESTI, WRETCHED, 5BRACCIO ,
RIISTETYT, KAAO S, SEKUNDA, DACHAU,
TAMPERE SS(not nazis! ) ..
MRR
: Do you agree with the beliefs that
are assoc iated with 'hardc ore' or 'punk'?
Desc ribe your meaning of those terms.'
What is anarc hy to you? Why a c irc le A in
the RATTUS logo? What is 'freedom' to
you? Does a free state exist in Finland?
R
: Don't know about those beliefs. It's
everyone's own business what to do and'
what to believe in. Punk is/was a protest'
whic h began in '76 and whic h almost died
in '79-'80 when the CLASH, etc ., bec ame'
shit businessmen . Hardc ore is a suc c essor
to punk. It's muc h better than punk,
bec ause there are not any super bands
among HC groups (are there?) . That's
really a good thing--there are not any
roc k stars, and the bands and fans are all
the same. The A in Rattus' logo is c irc led'
bec ause Anarc hy means freedomto us. It'
means freedomto wear the c lothes we like,
to do what we like (not c rimes!) . And we
don't like to look like all the punks here
with mohic ans. We are quite normal looking
fellows. O r maybe not still. . .Finland is
quite a good plac e to live. Everything is
not O K, but where is it?
MRR : Desc ribe the Finnish hardc ore
sc ene:bands,
areas, growth. Do you like
the sc ene? What are the c lubs like? Are
Finnish
punks
into
an
image,
or
individuality? How does all this affec t
RATTUS? What kind of response does
RATTUS get? How far fromthe major
c enters of ac tivity do you live?
R : Finnish hardc ore: lots of bands, new
ones c oming. The main areas are Helsinki
and Tampere. TERVEET
KADET and
RATTUS are fromlittle villages. Urban
punks are more aggressive. RATTUS is
quite out of the sc ene c ause we haven't
done any gigs this year . The punks, we're
afraid, are future alc oholic s. They spend
all their money drinking all the time
. When
DISCHARGE was here, whic h was a'
mirac le, over half the punks there were
drunk. Fuc king stupid! Some of the punks
are into individuality, but more of them
are into an image-the c lothes and the
appearanc e are the main things. we are
into individuality. We have lived in
peac e
in this small village, so we haven't had to
followother punks' dressing styles . About
the response: we don't get muc h
. Some
magazines write to us and ask for an
artic le, but punks don't write to us. If
they see some of us, they'll talk to us.
Fromabroadwe have gotten many letters,
and that's great. O ne guy fromthe U.S.
wrote to us and told us not to c hange
singers
. We were really glad to see that
someone c ared. We live quite far from
Tampere (100 kilometers) andHelsinki (270
kilometers) .
MRR
: Is RATTUS a serious band or a fun
band? Is there a
message or general '
opinions in your songs? Explain your song
titles and meanings of your lyric s.
0
R :
We are both.
O ur lyric s are
serious--we sing what we feel about
different things. The song titles of our'
newEP are
: "War Lunatic s", "Religion Is
A Danger", "Animal Bodies
As Vic tims",
"Idol", "Roc k Editor", "No Hate, No
Jealousy", "Voluntary Death"(an anti-
drug song), "Wine In Vessels, Urine In
Head", "W
.C . Blows Up#2".
MRR : Do you disagree or agree with
Straight Edge or Anti-poison ? Do you
drink, smoke, etc ? Are you vegetarians?
Explain your lifestyle/habits?
R : We don't agree or disagree. Everyone
of us drinks onc e a week. Jake and
Annikki smoke
. But we are against drugs.
We are not vegetarians. We eat meat and
averything that tastes good. We are very
friendly people. O ur habits are O K.
MRR : Do you believe in God? O r religion?
What does it represent to you? Do you
believe in life after death?
R : Don't know about God. Maybe we
believe in something. we don't believe in
religion. It's brainwashing
. Maybe there is
some kind of life after deat--don't know.
MRR : The RATTUS opinion of war? What is
Finland's army like? Wouldyou fight?
R : We have sung very many songs
about
war and the threat of war . It is a
senseless ac tion . It's c aused by c razed
presidents
and kings who have had to
prove their power that way. There is one
big mistake in the laws of Finland. Every
male has to join the army for 8 or 11
months. Fortunately you c an work in a
hospital or airport for one year if you
have ethic al or religious reasons that
obstruc t you fromjoining the army. Every
one of us try to work somewhere to avoid
the army, although it's quite hard to do
so. For us, there is no native c ountry for
whic h we would kill and die. Death is the
end of life. But everyone should die
without any violenc e.
MRR : Final notes?
R : We wish to thank Vote (of P . Tuotanto)
for selling our rec ords abroad, and
Pushead for drawing really c ool c oers for
our rec ords. We also want to thank anyone
who has written to us
. If you haven't
gotten an answer yet, we're sorry. . .we're
just so fuc king lazy!
tarted
shouting
"Traitors!"
and
Sell-outs!".
Another
took
fire
xtinguisher
and
started
spraying
I
And now, for a change, quitean episode.
After thesuccess of Rio's Circo Voador
festival, punks theregot a bit of
"Rockstaritis" ( hello, J eff B ale) , and
climbed themountain called Sugarloaf, to
play on top of B razil's most famous
postcard
. Threebands ( FOGOCRUZADO,
T.F.P., and L IXOMANIA) played at the
disco there, a placewheretourists,
romantics, and social climbers climb. The
night was tense. Punk wasn't exactly what
theclienteletherebargained for
. A flop!
B ut then maybenot, becausea mad
Englishman, drunkas Andronicus, tooka
Dearles--Here I go withthe third article
dozen punks in his van to another part of

on the Brazilian scene . I could go on
town for a visit withno one less than

playing
storyteller,
describing
the
Ronald BI GGS! Clemente (I NOCENTES),

adventures and misfortunes of the
Mingau (RATOS DE PORAO), Bitao

movement here in Sao Paolo, but all of a
(PSYKOZE), and Miro (LI XOMANI A), and

sudden. .
.seems like it's vanished . First,
Mike (Bigg's son) wanted to play, but

withthe move of PunkRockDiscos(record
Bigg's wasn't in the best of moods, his

store) from itsideal location downtown to a
privacyhaving been invaded, so he sent

small box in a glassygalleryof glossy% his son off to the studio (he's in the cast
pretentions in a middle class fashion
of a TV showlike Sesame Street), and the

street, manypunks feel inhibited and get
madman split withtheyunks.

tense on their waythere
. And there's nom
room there for the good old spirit o
chatting there either. But this chapter of
r.
'Punked Off'goes even further
; since th
last Carnival time
(february), when 'punk
got bad headlines in the sensationalistic
dailies (a punkof sorts knifed and killed
rocker in a casual fight), a curtain has
fallen on us. The "image"is now"punkis
M
M
ee
not for the kids of good families to corn
'C
out and playwith
."And the polic~
continuallygo after punksnow. And vox
populi (
) wants the movemen

ended now
.
At the fewplaces punks were
CC(1 )5
k
allowed to congragate or play, there are
N ~
w+t ~'n
always fights, etc . And who wants to go
' 1
to those horror shows? Then a lot o
ll~
bands broke up. So, no plac e to go, no
bands playing.
Simultaneously,
the countryin 19831

c ollapsed ec onomic ally, with inflation
running over 200$. The average salary
here is nowabout $68 a month. But then
there's the ric h people at the opposite
end. Third World shame! Howc an anyone
live in dignity without ec onomic freedom?
People
c ouldn't stand it anymore, and in
April, Sao Paolo started 2 days of rioting
that spread all over the c ountry. Folha De
Sao Paolo, one of the more respec teddaily
papers ran this headline--"Panic In S .P .-
Punk Prophec y Comes True." Workers,
unemployed, and protesters in general
marc hedfor justic e. They went right to
the Government palac e, where they tore
down part of the fenc e. This was televised
to the whole c ountry. At Santo Amaro,
where it all started, journalists reported
that about 200 punks took part in it . O ne
of themis well-known as Caveira (Skull).
In other areas of the c ity, near their
regular meeting plac es, punks broke down
shopwindows, andtook c lothes andshoes
they needed. All this happenedat the time
Brazil's external debt payment bec ame
due--billions of dollars. It seems our
Planning Minister (a kind of Prime
Minister) planned it all wrong . And the
systemis so fasc ist, and the proles so
dumb, that all that is left for us to do is
feel suffoc ated. Shit. To explain Brazil,
one
would need a
whole book. It hurts,
It's ainful .No good!
I
Photo by Bivar
I
Meanwhile, newrecordshave come out . "0
Comeco Do Fim Do Mundo", a live LPwith
19tracksand 19bandswasreleased . I t's
a nice remembrance of last year's punk
festival, but it's not of good sound
quality. "Botas, Fusis, E Capacetes",by
OLHOSECOis a T'that captures them in
another superb moment of inspiration,
roughness, and guts. And I NOCENTES'
"Miseria E Fome"is furious in I ts anger
and revolt . And we had an international
release--Finland's RATTUS put out it's
"Rajoitettu Ydinsota"EPthroughPunk
RockDiscoslabel . A great record
. Also, a
group of young filmmakersare working on
a movie about S.P. Punks, the script
being written together withthe punks.
Newhope came for the scene in July,
when a newclub, Napalm, opened . The
first night was a mixed up one, withnew
wavers, nouveau chic, straights, rockers,
and punks. Three bands played
(MERCENARI ES-3 girls and a boy
drummer, I NOCENTES, and RATOS DE
PORAO) . . .and three fights. One of them
started after I NOCENTES decided to get
rid of their singer . Aria!, the ex-singer
was drunk, and when the band went to
playone of hissongs, he went in front of
the stage and demanded theystop . Thd
second night was Depression Musicnight
witha fashion show. Finally, the third
night was punknight . The daybefore,`
the I NOCENTES decided to split up . When
Clemente announced it over the
microphone, the reaction wasmixed . They
were one of the oldest bands around, and
their contingent was one of the roughest
and toughest elements. One of th
everywhere
. A horrorific atmosphere was
created, and fights broke out . .
.and to
make a long storyshort, NOPUNK SHOWS
AT NAPALM! That
was fucking awful,
because the place was good--right in the
enter of the city, $3
tickets (a bit
expensive for Brazil), and was organized
bypeople withgood intentions, I ncluding
some representatives of the punk/hc
scene
. Clemente and Tonhao(of
NEUROTI COS) were front door men,
Callegari (I NOCENTES) was DJ, and Meire
(SPPunkfanzine) sold tickets. Most
punks are nowreallyrevolted bythe
negative image created bya few
estroyers
. Theyare the real traitors,
use instead of destroying other
estroyable things, theyare destroying
unkspossibilitiesof growing and making
things
better for themselves, even if only
in terms of having a good time .
Anyway,
art of me is still optimistic that punks
I I again be allowed to playin Napalm.
for me, I want to thank all the
international punks for writing
. I'm
nswering as many as time permits
. Sorry
for the delay, but due to lac k of money
for postage, and with the inflation so
high, we're working like Roman slaves, I
feel
. Is It the end of the world, or just
another eon? Let's see, let's see
. Cheers,
Antonio Bivar/ Rua Dona Verdiana, 410 -
apt. 63 / Sao Paolo-S.P
.
/
Brasil
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What follows is a disc ussion, led by Vic
- Bondi
of ARTICLES O F FAITH, with lan
Mac Kaye
of MINO R THREAT, and Dave
Di( for of MDC
; three of the most
aggressive, verbal, and outspoken
frontmen in punk, anywhere
. It was done
late
.one night, after a gig they all played
in Chic ago, and the partic ipants were
understandably tired
. But, despite the
meanderings of the c onversation, it is a
remarkable insight into their thinking on a
variety of subjec ts, their similarities, and
their differenc es.
NNE
V: Why do you think there so many

politic al punk bands on the West Coast?
Ian : I think a lot of people pic k upon it
the same way
in the East Coast. It sort of
sets a mood
. There's plenty of bands on
the East Coast that have pretty radic al
ideas, you know
. Not exac tly the same,
but similar
. There are plenty of politic al
bands out there, too.
Vic : O k, maybe they're just not as
rec ognizably politic al as the stuff that MDC
is doing?
I : Well, the differenc e is that MDC is
knowledgeable about what they're saying
and they're not just a bunc h of fuc king
kids getting on stage and shouting,
ec hoing what they've already heard
. I
mean, "Fuc k Reagan" has just been suc h a
fuc king over-utilized c lic he, and these
guys c hec k into it
. When I got to San
Franc isc o this time, I found Dave leafing
through a book about Guatemala in this
bookstore. I have great respec t for that,
bec ause these guys get down and they
fuc king c hec k it out, and that makes a
differenc e
. And a lot of bands do not, and
that's who I have no respec t for; the band
that gets upand whines about politic s and
they don't even know what the fuc k
they're talking about.
V
: Do you think the same way?
Dave: Yeah. There are a lot of people who
pic k upon an idea and they don't have
the nec essary follow-through.
I
: They don't researc h it at all.
D
: We researc h it. .
.you know, you've got
to be
wary of not c hec king out your
sourc es, bec ause you hurt politic al people
by c oming off like an idiot.
I : Sure do
. That's what the R .C .P
. and
the Yippies' biggest weakness is
. The
majority of those people are just a bunc h
of fuc king idiots, who're just as bad as
anyone we know
. They're just the same
people having a different trip. There are a
few real goodpeople
who have goodideas,
and those people I support
. It's the same
with punk roc k
. Punk roc k has more
assholes, in a ratio sense, than any other
kindof music . They don't have respec t for
anything. It drives me c razy.
V: Well, here's an interesting thought I
had the other day
. I'mnot saying it's my
opinion . I thought that perhaps politic s
are not a good thing to be approac hed in
music . Bec ause music is a very
emotional
medium
. You don't sit at a show and
analyze it the whole time like you would
reading a book or something
. It's
something you respond to physic ally and
emotionally.
Now, when you put politic s
into music
; you're asking, you're
demanding, an emotional response from
people
. And, sometimes, I think maybe it's
better that when disc ussing politic s, we
talk about rational responses, rather than
emotional ones. The thing is, if you
respondemotionally to a problem, you may
end upmaking a mistake
. What I'msaying
is, music being an emotional medium,
thing, I'mnot asking for disc ussion, I'
just telling what I feel, what I'mseeing
my viewpoint . Ian does the same thing, i
he's talking about "Filler" or "Bottled
Violenc e" .
It's a c lipof his life, and he's
sharing his emotion of it on stage
. He's
not asking for a disc ussion about it. it
just is, and that's what I'mdoing when I
do a song like "Corporate Deathburger".
I'mjust giving you howI feel about it . I'm
not asking everyone to raise their hands,
"Who are the vegetarians?" I'mjust
sharing my emotion about eating meat and
about c orporate manipulation of food and
what happens to Third World c ountries
whose land is bought upby multinationals
and have c ash c rops that are exported
instead of feeding the people, so therefore
the people go hungry
. And I'mdelving
into the emotion of that
. So, yeah, it's
emotional, but not everything politic al has
to be a sit-down disc ussion.
I : The thing about politic s and music is
that by thrusting it into the music , at
least it gets people interested enough
where they might sit down and read the
lyric s. It's basic ally an awareness thing
. I
c an't imagine going on stage and playing
music and ac tually expec ting people to
bec ome Democ rats andRepublic ans, that's
ridic ulous. But if people say, "I like MDC,
I'mgonna buy their album," buys their
album, hears their words. The same thing
with us. Then the message is sent through
the lyric s. But, the same
way, too many
people got blindly into the Straight Edge
sc ene andwreakedhavoc to Straight Edge
and the idea, just twisted it, distorted it,
and fuc king abused it, the same thing is
happening with MDC
. Where they did that
'Millions O f Dead Cops' just got so blown
out . The same idiots who pic k upon
'Straight Edge' and mutilate it for their
own thing and don't even think about what
the
idea is, the same thing is happening
with politic s. The worst thing about the
politic s is that, I would say, it's just so
muc h easier to say, no offense Dave,
"Fuc k Reagan", than to say "I'm
Straight". Ac tually, there's no reason to
be offended.
V
: The thing about what you're saying
about is you're going to be 'Straight Edge'
is that it demands a c ommitment to a
mentality, the same way that his politic al
ideas demanda c ommitment to a mentality.
I
: But the point is that it's a lot easier on
a soc ial level to say "Fuc k Reagan", it's a
politic al, radic al thing, whereas "I'm
Straight" is sometimes, depending on
where you are
. I'mnot trying at all to say
that our thing is better; it just makes you
look a
little more stoic , espec ially the
'Straight Edge' thing
. Nowfor you to say
you like MDC bec ause of all the bac klash-
we got plenty of bac klash, now they're
V
: 'ou seemo e ma ing a is c on
between the way your music is
appropriated by people, as though there
are some people who are going to take
your music to c onfirmwhatever feelings
that they had in the first plac e
. And there
are other people who are going to take it
as a means of maybe opening their minds a
little bit.
I
: That does not enc ompass everyone at
all
. There's still a whole other sec tor of
people whd take music just to fit their own
thing at the moment, who just pic k upon
it
. There are plenty of people who just
pic k upon it and it doesn't mean shit to
them. It's just what they're like and what
they're wearing at the moment
. I'mnot
talking about what they're wearing, like
punk roc k, but what they're wearing for
at the time being
. In two years or so,
they'll be as far away fromit as they were
two years before.
V: What do you think the func tion of
music shouldbe?
I
: For me, it's a total emotional outlet . I
think the func tion of music is. . .the blues.
I do like listening to the tec hnic al aspec ts
too, however. I think it should be
whatever a person wants out of it
. But I
sure as fuc k do like Janis Joplin . She and
I would probably not agree on a lot of
things, but man, the fuc king lady did it!
What you hear in her voic e is what I love
about music
. I'ma brutally emotional music
person
. I don't like the tec hnic al aspec ts.
I play piano
.' refuse to take lessons
bec ause I'msc ared that the way I play will
bec ome warped if I learn the tec hnic al
aspec ts and will take away my personal
approac h and my totally emotional way of
playing. It's like with our band, those
guys are into playing it right, whic h is a
great thing for me, bec ause I would
personally rather just go, go, go
. Like the
ampyou used tonight was fuc ked-up
looking, right? I love it like that . I prefer
it like that, but those guys say "That's
pretty ugly". But I say "Just do it"
. The
emotional thing.
V
: A lot of c lassic al music ians would
maintain that they find a lot of
emotionalismin the tec hnic al.
I : Like I said, they have the same
differenc es I do. I'msaying it's emotional.
Everyone should have their own fuc kin'
reasons for doing it.
D : It's c ommunic ation for me, as well as a
lot of emotion.
I : Definitely c ommunic ation, but emotions
are c ommunic ation.
doesn't seem to be an apt plac e for
getting some. It's good

. It sort of
V : O K, but c ommunic ation for what

disc ussing matters that need to be
humbles, and at least people are thinking
purpose? It seems to me that what you're

e - s o , yu
now, or 'my blues

right?
I : Yeah, but bec ause my blues I'msure
are felt by so many people, just like the
real blues were, my one c ommunic ation
thing is that I got tired of hearing how
bad life was for everyone, and not hearing
about what we c an do about it. And I
really attempt, instead of putting out
whiny-ass songs, put out a song that
says, "This is the problem, and this is
what c an be done." Most of themare just
basic ally saying, "I wish everything c ould
be better." By stating that you're
unhappy with something, just basic ally
means you want it to be better . In some of
my songs, I don't have any real solutions,
that' s where the frustration aspec t c omes
in . And other times, it's sort of like,
"hopefully everybody c an get respec t for
themselves and eac h other, and then
everything will be a lot smoother ." I sure
have a lot of respec t for Dave and MDC
just bec ause of the fac t that he respec ts
me. I like what I'mdoing, and I like what
he's doing, and that is why we're able to
sit here and do this, whereas I do not
respec t a lot of other music ians and other
bands where I would not even want to be
involved in the same interviewwith them.
I wouldn't want to have anything to do
with them. I wouldn't even go into an
interviewwith themto denounc e them. I
wouldn't even mention them. I won't waste
my time with them, bec ause that's the way
I feel.
D: Whic h is good. That's like saying the
things we have in c ommon, and that's the
fac t that we both see what we want to
c ommunic ate and the whole approac h is
straight ahead. And Straight Edge and
that part applies to what we're doing.
That's to be straightforward and do what
we're doing and not c log it upwith drugs
or being drunk or not being the best that
you c ouldbe in c ertain situations.
V: Sinc e the idea is to c ommunic ate with
your audienc es, howdo your audienc es,
c ommunic ate to you?
D
: They do it at all sorts of different
levels. Sometimes I get all these people
sc reaming bac k, and I wonder if they are
really getting into it or if they've heard
the albumon the radio or have it and
when they see it live, something triggers
off in them
. I gotta wonder. . .a lot of
people who are singing "Corporate
Deathburger" and they just whistle their
way on down to Mc Donalds, just like
people c an be singing "Straight Edge" and
drooling all over Ian, and 20 minutes later
be drinking a beer on the sidewalk waiting
to get fuc kedupto go to
some party.
I : At least we're still throwing it upin
their fac es.
D : O h yeah! Even if they just have it for
a c ouple of minutes. You just gotta fac e
the fac t that you're not nec essarily
c hanging them
. You're approac hing them,
whic h is the first step. And you say,
"Howdo they c ommunic ate bac k?" A lot of
different ways. People c ome upafter the
showand tell you - tonight there were 250
or so people there. A lot of people c ame
upand just said hello or just looked at me
for oneinjitute.
V
: For MILLIO NS O F DEAD CO PS though,
it's not simply a matter of
. ..
I :
You
mean
MULTI
DEATH
CO RPO RATIO N.
V: Right
. It seems different , to me, from
MINO R THREAT in that MINO R THREAT is
dealing basic ally with a c ommon expression
of emotions
; you seemalso interested in
educ ating people to a c ertain awareness
about the way you see things. I mean,
tonight before you started, you got up
there and talked about poitic al situations
worldwide andmultinational c orporations as
you see themexploiting nations
. Have you
ever stood upand talked about straight
edge?
I
: Not for a long time, but I take
knowsome of the lyric s, and I c an't

even thing about the politic s and all is that
ady nt a of whis
a enin at t:
N
w re t~c ~t
~ ~~~i~
moment.
me Imes ere s not

at all . It totally depends on the situation.
I like to be spontaneous and do not plan it
out
. I don't c ome upwith raps, bec ause I
don't like to rap-I like for it just to
happen . Perhaps something will happen at
a show, and it will go so well with what
I'mdoing that I'll pic k it upand use it. I
might say a few words, but in general
there's not a whole lot I c an say on stage.
I've gotten to the point now where my,
total c ommunic ation is when I'msinging. I
c an't fool people, bec ause the music is the
vehic le. When I'msinging, I'mthere. When
I'mnot singing, I'mnot there
. I go
through a whole fuc king rowof things, so
I c an't be one thing the whole time. I've
got to be honest about it
. When I sing
"Betray", I'mlike "Fuc k you man
. My best
friend and you stabbed me in the bac k."
And then I sing "Look Bac k And Laugh"
and I say "Man, l knowwe c an't fuc king
pull it off sometimes, but let's work on it,
let's keepIt together
." And then I go into
"Filler" and it's like "You got suc ked into
something that you didn't even
believe in.
Not only do you abuse yourself, but you
abuse religion, you abuse romanc e." I just
go through every one of these emotions
and then into "Stepping Stone", whic h is
like "Everyone,
c ome on ." I c an't go for
one, so that's why I don't bother talking.
V: O K, why do you Dave?
D:
Bec ause I want to, and also I need to.
The points I think that Ian makes in his
songs are more subtle. I think the points
we're making aren't so subtle. I did the
set at some
points where I didn't talk
hardly at all between songs. I just did the
sings as hard and as fast as I c ould
. I
was always interested in themgetting the
song title, and I'd throw in a c ouple of
tidbits
. But at the time I was too afraid to
put all the heavy views on the point . I
was ready to sell out for the music , for
the tightness of the group
. And then I
found I wanted more out of it . I wanted
that c ommunic ation to happen and I
extended it. I felt more sec ure
: "This is
not just a song c alled
'Corporate Death
Burger'-I'll tell you about it
." "This Is not
just a song c alled 'John Wayne Was A
Nazi'-let me tell you why I think he was a
nazi", and talk about his c areer and how
it influenc ed
people in the subtle,
psyc hologic al stuff ; where he was using
movies to portray the 'good white man' in
c leaning out Americ a
fromIndians and
Mexic ans and Japanese and even the Viet
Cong, when it c ame down to it
. So I just
felt the need to c ommunic ate farther, so
people have more of an understanding, so
it bec omes not just surfac e politic al stuff,
so it's all c omprehensive andit's there and
it's intelligent
. If you do something
politic al, it's like Ian said before, you
have to be well upon it
. You gonna say
"Yeah, Reagan's doin' real bad stuff, he's
doin' really c rummy things"
. It just sounds
bad. You have to be upon it.
I : O ne thing I've notic ed
about MDC
anyways is that when I first sawthem,
and I've said this to themso many times,
that here
they have this heavy
fuc king
statement, and they play so fast that I
ve wou somet mes ose t e in ec t on,
so that their whole thing is all music .
Every time we see them, we say "Yeah,
you play fast, but man, you're not getting
this out."
V : Does that bother you sometimes that
maybe your
message is getting lost in the_
medium?
I : They're not folk singers.
D : Yeah. I've tried at different points to
slow the groupdown, but I really c an
empathize with my group. They're feeling
the same things I'msinging about, so they
get in this adrenalin sourc e that c omes out
at the speed of the music . They have this
theory that the c loser it gets to 1984, the
quic ker it's got to be said. . .in emotion,
the harder it's got to be felt, If they're
going to portray their end of it.
V: It seems like what you guys politic ally
do is portray these emotionally politic al
points with a real desperate sense of
urgenc y.
I : Yeah, it's definitely urgent music .
V: So what we're talking about Is
portaying a sense of emotion that you c an
give some definition to. It's more than just
a trstise on the politic al state of the
world.
D : UM, I'mnot sure I understand.
V : Yeah, I'mnot quite sure I understand
either.
I : I think what he's saying is that
opposed
to you just informing people, that you're
informing thembut with opinion.
D
: Yeah. . .you have to have the emotion
there to tap into. I t can sound hokeyor
weird or phoney, but I reallytryto tap
into this spirit that feels a lot of the
universal pain
. That'sthe emotion and my
uglylook when I 'm singing
about desperate
things. That's where it's coming from; I t's
coming from a third eye or sixthsense, I
don't know.
But that's whypeople can say
"On stage you lookso ugly, so monstered
out". And that's because I 'm tapping into
the emotion that's flipping me out . Then I
can do it on a more rational level later,
when I 'm sitting here, because I 'm not all
pumped up and squeezing and feeling that
direct thing. I get to sit backfrom it and
discussit.
V : You're both talking about tapping into
something that seems almost mystic .
D
: It's weird to try to give it a label, like
third eye. It's some different side that you
don't nec essarily bumpinto all the time.
We're pitted into bumping intr it every time
we've got to go upthere, and there's
people there ready for you to do your
thing and relate to them. That's when you
turn on to It, or you get left behind; that
happens every so often.
V: The whole premise of doing this
Interviewjust seems shot to shit, bec ause
It seems Tike the more you talk, you don't
have any differenc es, more or less,
whatsoever
.You guys have got to have
differenc es. What are they? What's the
differenc e between MDC's approac h to
playing music and MINO R THREAT's
approac h?
D: I'd say, right offhand, the differenc e
is that they deal with muc h more soc ial
situations, and it's obvious, and we
deal
with more overt politic al situations, even
though we deal with a lot of the soc ial
things within a politic al situation.
V: What's the defining line between soc ial
andpolitic al situations?
D
: I think a lot of Ian's things are in the
"I"
. First person.
I : Every song I've written is about me
and -
you. Every song.
Bec ause every song I
write is this,"That you did this, but man,
so have I" . That's the whole point
. It all
boils down to like "Seeing Red"
; "You see
me and you laugh out loud, you taunt me
fromsafe inside your c rowd
." Man, I
know. I've done it too, and I fuc king hate
;.that
. Every song I do, I put on both sides
of the c oin
. That's the way it is. The
one
" 'tf'el
.
.o
.N
...
.NNNNNNH
.s
t, r
po c a eve.
thing. And it's ridic ulous, man, for either

know
; it was me. First person . Andthese
V: What does "Guilty O f Being White"
side
to feel like that. I mean, I'mwhite,
guys, even though we knowthat they may
mean? That's a song that c an be fine

. A hundred years
ago, I was not
be personallyconcerned, obviously they
mis-construed.
alive. Twentyfive
years ago, I was not
are, but it is not the first person
. And
I : Not at all, I don't think. But I 'll
alive. So whatever happened a hundred

like Franc o said to me-we had kind of an
explain it. I live in Washington, D

.C .,
years ago, I amnot responsible for. No

arguement about it- he sais "If it was first
whic h is 75%blac k
. My junior high was 90$ more than, sinc e I'mSc ottish, I should be
person, we'd be dead ."And I said
"That
black. Myhighschool was 80$ black, and

responsible for the Celtics or whoever
we
may be
." So that is like a big differenc e.
throughout my entire life, I've been
fuc ked with then. O r the Egyptians should

One reason
I thinkyou're having problems
brought up in this whole thing where

the feel bad about the I sraeli people. People
getting at the differenc es is that I don't
white man was shit bec ause of slavery.So I
have got to get off the guilt wagon. And

_ want
to
say
something
that
go to c lass and we do history, and for 3/4
I'mjust saying I'mguilty of being white -

would. . . .because we don't necessarilydo
of the year slaveryis all we hear about .
its myone big crime . That's whyI get so

it doesn't mean that we don't think they
It's all we hear about. We will rac e
muc h fuc king shit at sc hool, that's why I

should do it
. That's the main reason,
through the Revolutionary War or the c annot get on welfare in Washington, most
' bec ause we both don't want to get into an
founding of Americ a ; we'd rac e through all
likely. That's why when we took the

arguement about who's right and who's
that junk. It's just straight educ ation . We
PSAT's, when Jeff c hec ked off the blac k

wrong
. I do not think MDC is wrong at
rac e through everything, and when we'd box, he got awards, he got sc holarships,
all . I think that for me and my band, I
get to slavery, they'd drag it all the way
he got all kinds of interest, but when he

feel that it's pointless for me to try to
out. Then everything has to do with
admitted he was white, all that was gone.

attac k a mountain when I know I c an
slavery or blac k people. You get to the
Just like that. It's ridic ulous

. I don't
c hange this and that . To attac k something
1950's, they don't talk about nothing
think it's fair.

so big, I would feel frustrated, and I
exc ept the blac k people. Even WWII, they
V
: You seemto totally not have any sense
c an't feel that I would ac tually do
talk about the blac k regiments. In English,
of groupidentity whatsoever
. In this
anything
. I think that I would like to work
we don't read all the novelists, we read all
c ountry. . .well, go ahead. You talk first

in my spac e-that's the whole personal
the blac k novelists. Every week is Afric an
and I'll go fromthere.

thing in general.
King's Week. And after a while, I would
I : Take my position, Dave

. Remember
my
V: Well, would you even say that you're
c ome out of a history c lass, and this has
position,
tac kling a mountain with what you do?
happened to me many times, like in junior
D
: I understand what you're saying you're
D : Yeah, talking about the Multi Death
high sc hool, and you knowthat kids are
doing as an individual who's part of a

Corporation,
change is gonna have to
fucked up system where to reverse the

happen .
problems that they set in, you know,

I : Mountain is an under-exaggeration .
there's suc h a bad

self- image given to
V: But don't you share his feeling that
blac k people and their history has been

you really c an't be that effec tive in this
almost wipedout . I'mnot going to lay onto

area, obviously.You wouldn't be playing
you that you accept the guilt part, but

the music that you're playing if you didn't
just what happened

to the blac k people
feel you c ouldbe effec tive.
that got kidnapped out of Afric a and

I
: I didn't say that. That's exac tly the
shipped
over here is really horrible, it's
point I was trying to make. They c an be
really sc arring. They're trying to give a

very effec tive in that area . But, for us, I
sense of identity and you knowall that. A

don't feel it
. I guess the differenc e is that
lot of bad things that have happened in

when Dave goes to Mc Donald's andbuys a
the urban c ity situations have been at the

hamburger, he thinks about the c ows, etc .
expense of urban white people bec uase all

Every
time we talk,
they tell me
the ric h people left andtook all the money

something, so at least it makes me think
out to the suburbs and sent their kids off

and I feel guilty sometimes. I don't even
to private sc hools and out of the hellhole

eat at Mc Donald's that muc h, regardless,
of public educ ation in bigger c ities. What

but they told me that one quarter of the
I'mjust trying to say to you is that it's

world's grain, or something like that, is
ok not to be guilty of being white,

fed to produce cows for American beef,
because I 'm not saying you should feel

whereas you could feed the whole
guiltyfor being white, but don't you be

world . . .,wasn't that
how it went?
guiltyof being ignorant about how there is

D: Yeah.
still a lot of oppression of blac k

people in
I
: So when Dave walks into Mc Donald's,
this c ountry. A quarter of blac k men will

then he thinks about that
. If I walk into
go to prison by the time they're 60 years

Mc Donald's, I think about me being
old
. The ec onomic and the educ ational
hungry. I'mnot on tat level . When I walk
opportunities for blac k people in this

into Mc Donald's, I just think of it as food
c ountry are statistic ally worse than they

to put into mystomach. I don't think. I t's
are for white people. You could say,

a different awareness. But, at the same
Photo byJim Saah"Well, is it the chicken or the egg? I s it

time, while Dave is so worried about this
bec ause they're fuc king upso bad that

and that-like when we were out in S.F
.
belligerent in jr
. high, and these kids
they're not doing nothing, or is it that

and we reallygot into it about this whole
would jackmyass up and say, "What the
society's fucking up so bad that theyjust

Multi Death Corporation thing and what is
fuc k, man, why are you putting me in
c an't do nothing?" I might say,it's part of

'happening in Latin America, whichI agree
slavery?"To me, racism is never going to
both. That's just sociologicallyhow I feel

is a very fuc ked upsituation, fine-but
end until people get off this whole thing.
about that
. You're just expressing
an
four
bloc ks
away
from
them,
or
It's going flim-flam, bac k and forth

. When
emotion about how you feel towards

downstairs, or whatever, there I s
some
people will just get off the whole guilt
something, and that'sok.

really bad stilt going on. Bec ause of what
trip. . .First, all the white people were like
I : But it's simpler than that. I'mmaking a

they're going for, theymiss that the same
"Fuckthe niggers", and all of a sudden,
statement that I thinkthe whole thing

wayI misswhat they're going for . I mean,
it's "The blackman is great . We love him .
boilsdown
to race. I would
prefer
to see
there's like 13 year old kids shooting
We're going to do everything for him

." all
the whole thing out of the way. There

speed, the whole thing, man. I t's ugly.
the time .
I t's never going to get
sure was a time when the I rish or the

It's a fuc king ugly situation . And where I
anywhere, bec ause one generation it'll be
Jewish people in this c ountry were getting

might have a whole lot more punc h on that
the KKK, the next generation it'll be the
a lot of fuc king shit and just

bec ause
they
and I may be ignoring what's happening in Blac k Panthers. Nowwe see the KKK c ome
were white they had one good thing going

Latin Americ a, it's sort of vic e-versa for
bac k in again, more popular

. I think the
for them. Things worked out eventually

MDC . I like to see it as the two of us kind
best way we're going to have to deal with
where the Irish people were just a part of

of being like a full novel, filling the whole
it is that if I amable to say "nigger"
this c ountry
.
Whereas before, they were
pic ture.
without everyone gasping, and if I'mable
always made fun of, they were ostrac ized

D: I got that feeling tonight, too. I got a
to say that word, bec ause I don't have
and treated like shit in general.

good feeling that they got their politic al
any problems with that word

. I say
V : There's a differenc e. Irish people c ame

dose
and theygot their social dose . When
"bitch", and that means a girl asshole . I
over here voluntarilyand black people

I say soc ial, I mean "Howdo I ac t? How
might say "joc k", whic h means an athletic
didn't. When you c ome over to Americ a and

amI fuc king up?" You know, the guy
asshole
. But you say "nigger", whic h
you get shit,
you're,
"Great, but
breaking the bottles, starting the fight,
means a blac k asshole, everyone flies off anything's

better
than what I had. I'll do
c ausing the c ops to c ome and c lose down
the handle. That's where the rac ismthing anything I c an to get my shit together
the c lub here tonight . I think that's real
is kind of fuc ked

. That's where the whole
here,"
and you're soc ially motivated

important . I'mtrying to do both, ac tually
.
thing gets out of hand

. I think it'd be
towards it. Blac k people were never given

We have a
song, "SelfishShit", whichis
great if people could come down from that ., that option. That kind of choice was never
about drug dealers.
I'msure you knowabout the rac ismthing .
demanded of them. There's talk about

I : We have a song, "Guilty O f Being
V: I live in Chic ago.
soc ializing blac k people into Americ an

White"
whic h definately
deals on a
I : You just of over the most u I fuc kin

9
soc iety,
assimilation-like
other ethni
i
i. ...ii .
01ri'tIPs
04 111' ve
een as~m~lat
pic k upt e as ng on os an
rea
eggie ac son or a s
u ter an a
differenc e is that their set of standards in
it .
I don't read it for any ac tual
these other people applying their physic al

c oming to this c ountry wasn't the same
.
information. My most interesting things are
prowess. That's the only thing they c an

I
: I understand what you're saying. The
little tidbits about weird things happening
trust
in
left.
think it's almost

point is that there are still ugly feelings.
like guys getting impaled on stic ks

.
dangerous; someone
like Ralph Nader said,
The main thing is that they're a different
Bec ause
every front page, I've been
"We need professional c itizens." We need

c olor, and that's the worst part
. But what
reading for ten years, whoever's in offic e,
people who c are, who are going to look

is guilt going to leadto? Dave?
it's the same story, it's the same fuc king
behind what's going down and not just -

D : I don't think guilt is good at all .
plot lines, and I've been desensitized to
ac c ept it and not just

bec ome desensitized
I : No, I'msaying if someone made
you
politic s to the point where I don't have
to it, but bec ome more sensitized to it.

c onstantly feel guilty, what do you think
any interest in politic s.
V: Would you say that just being resentful

that may result in?
V: It still affec ts you, nevertheless.
that you're being fed this blac k stuff when-

D : A resentment. .
I
: Yeah, but I don't think it affec ts me to
you don't want to be

is an example of
I : Thank you. And what would that
the point where it really c onstric ts me that
being
desensitized? Is that an expression
resentment lead to? You just go right
muc h.
of being desensitized, bec ause maybe

bac k. They're going to beat me over the
V: But it sort of works in a c irc uitous
you're not going beyond it to look at the

head about African kings and stuff to the
route, because
the thing about Jeff
reasons behind it or the

ramaficatlons of
point where I'mgoing to say "Well, fuc k
putting himself as blac k on his test and
it?
the Afric an kings. And fuc k the blac k
getting all his things bec ause he was
I : But the point is it's always down to the

people too
. Fuc k all this shit . I've had it,
blac k. Jrhat's the result of a politic al
blac k people have been

shit on by the
blah, blah, blah. ." Guilty of being white.
dec ision .
white
people, that's what it all boils down
Well, fine. I'mnot going to play it like
I : I know
. That's why I said "Guilty of
to
. And that nowthe white people owe the
that. It's an unfortunate thing, but when
Being White" is a politic al song, is a
blac k people. So the white people owe the

I'min Washington, D
.C ., I'mthe minority,
politic al statement. I don't know, maybe
blac k people,
that's what the song says;
so I have a totally different view.
I'mwrong, but if we c ould at least

try
I'mguilty of being white, that's my only

V: You c an make the arguement though,
and treat everyone as equals

. It seems to
thing
. But, I will say again, tht it may be
Ian, that it's not going to c hange
. If you
me that if you give the blac k kids a little
really horrible, but I amnot white people,

say "Fuc k this guilty shit, I ain't gonna
help, I think it will just go in a c irc le. I
I amme, and I don't apprec iate

my
feel guilty. It's not my fault ." They're
think someone
will end upbeing resentful
sc hooling, my life being threatened, I

going to say "Well, who the fuc ks fault is
and it's not going to work out . When you
don't like being beat upfor white people.

it?" It's like, well, it's nobody's fault ; it's
D : I don't want you to like being beat up

history
. But the situation is that they're
for white people. A song that someone else

still left with the remains of their
does, it's the FUCK UPS, and Maximum

historic al past . Blac k people as a group
Roc k 'n Roll will hate me for talking about

still do not have the opportunity that
them, but I like themto a c ertain

degree,
white people as a groupin this c ountry
and one of the songs they do is "White

have. What affirmative ac tion and all that
6`
Boy in the Mission" . It's about howbeing

in the 60's tried to do is instead try to set
left In the inner c ity as a poor white

the c loc k a little bit ahead towards
more of
person, you are

a minority within a
point where we c an ac c ept eac h other as
1 /,G
minority. The minority being a Spanish

a
equals but different .
part of town, you are a poor white

I : That's fine with me
. I understand, but
person, a
minority in the minority. I think
I guess what it basic ally boils down to is
that's kind of where that's almost c oming

that you guys talk soc ial and all that and
from. In D.C ., the white person left in

if I c an deal with people as individuals,
1 '
that urban situation left to fend for

not blac k and white, whic h is the way I
himself in those public sc hools is a

do
. Even though if I'mwalking down the
minority. They are the ones getting fuc ked

street and I see a whole lot of blac k kids
over bec ause all the money and all the

c oming upthe street, I know frommy
ric hes got taken out of that neighborhood

experienc es, I know that there c an be
and it really is trillions of dollars that is

trouble
. I know someone c an say, "O h,
tied upin banks and lending institutions

you've been bred to hate blac k people."
that really should be going into Investing

But if I'mwalking down the street and I
in the earth with more of a thought- out

see a bunc h of rednec ks c oming down, I
ec onomy of howthis money will be spent

knoweven more that my ass is about to
and the resourc es that it will provide. And

get fuc king kic ked. But people don't jump
that's not happening, so that resentment,

on me for hating rednec ks, even with
so Ian's feeling reverse disc rimination.

c ollege kids, a groupof anything
.
And other people are, and for those, that

feeling is a validfeeling.
V: But you
would not hate rednec ks
I' '' '
!
y \fur ray i > .~ ir
j
V: I'mnot disputing that.

period bec ause
a groupof rednec ks jump
D
: I'mnot disputing it either . I'mjust
your ass.
saying, we're all being ripped off, and

I : That's the whole point, though. I work
helpout one bunc h of people and you
that situation is ric h white people that

on an individual level . I c ould say, "I hate
don't helpthe other bunc h of people - in
have left the c ities to be as terrible as

hippies," but that's baloney
. I don't
. I
that c ase it should be helpthemall out .
they are. When you say blame, those are

know plenty of great people who may
I'msure Dave c an say, "Well, you don't
the people we've got to get to c hange

c onsider themselves hippies. And one thing
understand. Blac k people have a heavy
things.
that used to c ause a lot of c ontroversy
thing going on ."
V: Do you think so?

was I used to say, "I hate everybody
. I
V: What wouldyou say, Dave?
I : I'mfromWashington, D.C
., where now
hate blac k people, I hate white people. I
D
: I'd say that as far as the blac k people,
ric h blac k people are moving out and

hate everything. I like individuals." Just
you're not giving themanything . It's like
sending their kids to private sc hool too.

blowthe whole generalization, ac ross the
payday, retroac tive, starting right now.
What just oc c urred to

me was that
board business out
. I c an't do it. Even
PhillipMorris plantation, whic h holds over
probably has a lot to do with the whole

the whole c opthing. "I hate c ops." Well, I
60,000
ac res of land in Virginia and North
politic al/personal thing -in that at my

age
may agree with some of the c opthing, but
Carolina . . .
I don't feel on a level that wants to deal

what it stands for
. I c ertainly don't hate
l : See. That's exac tly what I expec ted him
with going down to the Capitol and raising

all c ops. I know c ops who I like on an
to say.
havoc . That's not my thing. So that's what

individual level, and I c an understand why
D:
. . .has used blac k people's and
my music is about. This is not something

people c an be resentful towards c ops
. But
exploitedblac k people's labor for hundreds
that I amc apable of dealing with

. I do not
that's not the way I work.
of years. Collec tively, there is a debt .
want to attac k; I do not even want to

V: Well, how do you work in situations
Let's not put it in terms of "you're giving
enc roac h in any way. However, MDC is

where you're going to have to rec ognize
us anything. You owe us." It's part o
c oming on with their thing where they do.

some sort of groupsituation? Example
: how
what you want to ac c ept out of history

.
But first off, MDC is older than me, and

do you feel about the good of U
.S.A
. and
Some people don't want to ac c ept that

. I
obviously wiser in that partic ular

area. A
the way the good of U.S.A . system
think what Ian was saying before is real
25
year old might read my lyric s to "Small
works? I mean, there you c an't deal with
important . A lot of people will just get so
Man, Big Mouth" and be like ,"Right,

that on an individual basis, right?
distrustful of what they hear in the media,
boohoo, blah, blah." But he might read

I : But, the way I would answer that is
so desensitized, it's like someone said,
something of theirs and go, "This is really

that I don't . Probably the big differenc e is
"When one person dies, it's a tragedy,
interesting, intelligent
." But a 15 year old
that I grewupin Washington, D
.C . When
when 10,000 die, it's news

." I think that's
might pic k uptheir thing and go "What

you growupin Washington .D.C, you are
why a lot of Americ ans turn to sports,
are they talking about?"

beat over the head withpolitics and you
becuase that'swhere they

believe the last
V : Do you give 15 year olds more credit

will hear no end of politic s on both sides .
bastion of honesty is in Americ an c ulture -
than that?
All
life I've heard olitic s and for me
~~~ peI
s c er ball or
N_my_
NH~SN~O NN~~N0060~~' N~~NNN~ o 1INMIINIHN
I r II
IININ6N
N
N
I
on .
t n
ere are some,
an agony.
n ess i appens o you. . .
or animal or rutis or whatever, ut

definitely
. I thinkyou might get an
say
"personal conduct changes"sounds
believe in violence as muchas I believe in
awareness, and you might be able to slant
weird .
just
mean
control
over
sex or anything else . I f it's done purely,
them.
themselves. I mean, in S.F ., if you've I think it's a fine thing, a natural human
V: Slant them? You c an get themaware,
seen it, they have some really hard thing. It's not like I want to go
break
and you c an get them slanted
;
those are
slam-danc ing . And there isn't a bunc h of people's noses or poke out their eyes, but,
two different things.
old friends who knoweac h other fromthe as a formof c ommunic ation, violenc e is
I : The point Is that MDC does not say
old neighborhood, fromthe old sc hool, in really good. You're putting ac ross the
"Chec k it out. Chec k out Mc Donalds."
a c ommunity sense. San Franc isc o is a c ity message, so if it's a pure thing, then I
They say, "Don't eat at Mc Donald's. So
of people
who ran away there or split say "go for it ." If I'mat a show, and let's
you can feed people that kind of
there. There's a certain amount of people sayI meet Dave and I 'm talking to him,
Information . But I don't think that a 15
who c ome fromS.F . or the

area
around and this guy c omes upand starts fuc king
year old is going to have the grasp that
there;Marin, Oakland, Berkeley,

SanJose
. with him, I sure as fuckam going to hit
perhaps
a 25 year old might have.
And there are those people like that

. But the guy
. And Dave might be on the floor
V
: What are thereasons why?
.S.F
. is a c ity made upof young adults going "Don't hit himIan . Let himbe." O n
I : I don't think they really c are as muc h.
who have moved there, like me, who are a spontaneous level, I'mprobably more
It's just a different thinking level .
between 18- 27 . If you speak to

people,
it likely to fight than him. What do you
V:
But at the beginning of this
seems they hang out with and plan think?

disc ussion, you
did say that Dave saying
ac tivities with people they haven't known . D

: I've had to put my personal forc es up,
"Don't eat hamburgers" is the same thing
I don't even knowpeople's last names

. It's and it hasn't always c ome to a fight, thank
as you saying "Don't drink."
almost like people would go and smash upgoodness

. But I haven't quoted myself as
I
: Yes it is, I agree. But on the other ' the
bathrooms, or beat
the hell out of being a pac ifist. I think a lot of people
hand, it's not a peer pressure thing. It's
anyone they figured didn't look c ool

think
"Dave's
real
big,
and
he's
not a general, soc ial, thing about whether
enough. That was going down a lot and

aggressive
and emotional", but I don't
you eat at McDonald's or not . However,
there wasn't a communityof people that

necessarly like that view of myself,
it's a very soc ial thing about
whether you
ac tively would raise a revolt and say

bec ause I don't like playing the heavy.
drink or not. Whereas Dave's reasoning for
"That's got to go. Man, you're hurting V

: I wouldn't fuc k with either of you
not eating hamburger is bec ause of the
people." Sometimes it would happen, but

personally.
grain or whatever, my reasons for not
San Franc isc o's suc h a strange c ity of I

: I'ma doll . I c onsider myself to be a
. drinking are pretty simple-to be aware,
people that don't have long roots with eac h little shit . I don't think I'mthat big, so
and to be In c ontrol of your body
or not.
' that's why I don't really have muc h

O r to not let the drinking fuc k your life
pFRRO R
PO LITICS STRAIGHT
EDCE
problem. I don't c onsider myself to be a

up.
heavy,
but on the other hand, I have a
V
: Well, this is an interesting thing,
MANCF
DO PE
NO /~/O U
love-it's
s have
dif
a
ferent
feeling
than
foranviolenc e
else
o
I
bec ause
It seems that your music , whic h
know-I
c ontend, by your own admission, to
A ~
/SM
aggressiveness, or whatever . I love it

. it's
be very Individualistic , would seemto have
weird, but when I'mdoing something that

a response
to It that it that is on a more
V/O L.f
I'm100%justified in, it thrills me. Don't

soc ial level . You just said that.
a
i NCE
,~
get me wrong, I don't fight as muc h as a

I : Right.
lot of people think I do. O n the other
'`~'
~.~ :'
V: Whereas, what you're
saying Is that
hand, I sure have fought

'
. ~ ..:
a lot in the
Dave's
music, which is more socially
ti : . .,
past . this tour, I 've had one altercation:
aware, seems to have a response
that's
in Orlando, Florida . All those kids were

more individualistic
. Somebody who listens
~S going "There's a hippie in the house. Let's

to Dave's music and says "Yeah, I'mnot
kill him." I got upon the mike and I said

going to eat meat" is making an individual
"Forget the hippie. I saw this little old

c hoic e
that
wouldn't
nec essarily be
lady down the street, and I was thinking

re-inforced by a peer
group or would
\ ~ 'r
we could go down and kickher ass . I t'd

necessarily
have peer ramifications.
be a lot easier ."I was just trying to point

I : They would. If you don't eat meat,
you
//
. vJ~
out how stupid it was, and so the 'hippie '

get a lot of pressure
about that .
comesup to the mike and he's mad because

D: I know
a lot of the people
that write us
I've belittled himby c alling hima little old

.letters are the kind of people
that are
lady, whic h didn't even oc c ur to me, and

pretty
. . .well,
they're individualistic, but
he ripped myshirt . I don't like people

at the same time.
they're almost coming at
who rip myshirt, so I an immediatelyhits

It froma loners
perspec tive.
him, but the big c atc h c omes next:
Same
with me. Almost every time,
everybody goes "Yeah, beat the hippie

they're always like "I'mthe only one."
up' "
V
: Yeah, you get those letters fromkids
D
: As far as fighting and forc e go, a lot
in New Jersey that are like "There's
\ of times I let people get my goat and I feel

nobodyaround here. I 'm the only
one with
if I 'd have dealt with it a little more

a skinhead."
calmly, I 'd have come off with more

I
: "I'mthe only Chippewa punk who's
other . So I try to affec t a c ertain kind of strength.

'straight edge' . " Ac tually, for me, the
c hange on a soc ial level of peopials
I : In general, when I get into a situation,

problem is that I get letters-long, real
behavior, which isn't like stopping the I 'm very

good withwords. I can burn
personal letters-from both guys and
girls.
meat industryor stopping the nuclear

people . Humor'sthe best way.
I have so muc h mall, and I c an't keep up
bomb industry. What I'mtrying to do is V: O ne thing about the attitude you were
with it, bec ause
I have to write real
relate on a soc ial level too, and just say
talking about-about what you c an deal

with
letters
to all those people. I think it's a
"Don't beat the hell out of eac h other and
Immediately- there's a lot of people

in this
personal level where I start, and that it
leave yourselvesbloodyat mygig . You're countrythat use that as an excuse

for
may have soc ial ramific ations, but only in
really sharing it with me, bec ause I'mnot
selfishness.
the sense that it's still a personal
choice .
digging it ."I 'm not digging how at the I

: Onlythe same waythat people who do
It's all
personal ;
it's all individuals'
end of every gig, there's. . .for a while. .a
Dave's thing are just selfish too, bec ause

decisions. I don't want to change a group
couple of broken legsand arms.
all that they're doing is pumping their own

of people. Ac tually, I don't even want to
I
: I have seen so many more fights and so fuc king pork about howgreat they are and
c hange people. I don't like the idea
of me
muc h more violenc e in the East Coast than howmuc h they love the whole world and,
going out to c hange or
open people's eyes.
I have in the West.
how they're going to helpthe poor,

I don't like that idea . I don't want to c ome
D: I guess you just see more of your own
starving Ethiopians All they're doing is

off like I'minc redibly great. I prefer to
dirty laundry.
getting off on themselves.

sort of spin a fewtales and see if maybe
I : Even though you might think it's fuc ked V: Well, that's true, but in the sense of
they c an pic k upon them
.
that people
are getting beat up, you don't like there are people in the suburbs
V: What about you?
even knowwhat's going on

. You just knowwho're going to make an exc use, "There
D: You know, it's semantic s almost .
that these kids are fuc king with eac h are people starving in the world, but I
Change implies that you are a
voodoo
other and fighting, but it c ould go bac k c an't do anything about it, so I don't
doctor or something like that .
so
far and so deep .
care."
I
: O r that you're a higher being.
V: Dave talks to them. I've seen you do it
I : But I do c are about it

. The point is,
D : I do like affecting people.
before. Whydo you deal withthem?
there's things I 'm doing and things I 'm not

V: Well, so does lan .
l
: It depends on the situation . I've fought
doing. V
: And other people c an do those
I : Definately.
many times, and I've talked more. I think
things
. I mean, what you're saying about
D : Right. So on one level, it's just - a lot
the main problemis usually what you have MDC is that they c an do something about
of plac es we've played are really gnarly
.
is one person who thinks he's real
starvation.
People dance hard and theyalmost
overdo
super-fucking bad. All it basicallytakes is
I : I thinkit's great
. The point is, I just
It
. They don't understand one person's
to bruise a little ego and say "You're not
c an't go "I'mgoing to do everything."

good time can be another person's pain
all that fucking tough."I t maybe violent
What about the plight of animals? T

NNNNNNNNN~NN
w ole v visec t on t ng. I ha a viv sec on,
it bothers me, but neither of us are going
"Leave the fuc king bunnies alone
." I hat
it, and I'mc onc erned about the situatio
in Central Americ a, and believe it or not,
I amc onc erned slightly about the state o
politic s. I'malways c onc erned, bec ause i
affec ts me in that sense. I don't deny it.
But, as far as my attac k goes, I'mno
singing about the vivisec tion, I'mno
singing about football violenc e
. There's s
many problems in this world, there's tons
of stuff a punker c ould sing about . . What
it all boils down to is I c hoose to sing
about one thing and he c hooses to sing
about another.
D
: You've got to do what you really feel
sinc ere about. That I, I think, has led to
the c loseness of MINO R THREAT andMDC;
the fac t that they're both approac hing it
with sinc erity
. A lot of other people
who're in the 'politic al music business'
really don't live it. That's really bad;
they're almost hurting things, bec ause
they don't live what you say you are.
People
c an't believe the next person. O ut
two groups have met a fewdifferent times
and have gotten to spend hours, and in
some c ases days, c hec king out where we're
c oming from
. I think there's a mutual
respec t
. The emotions are real ; it's not
just that we turn themon and turn them
off.
I
: I knowwhen we talk with MDC, when
we meet, they definately leave an
impression on me. I c ertainly don't take
everything they say 100$, bec ause
I don't
allowmyself to take anything anyone says
100%
.But
I'll tell you one thing; when I
hang out with these guys, I'll feel literally
guilty going to Mc Donald's.
V
: I did tonight. Mc Donald's was two
doors down and I was so fuc king hungry.
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ABOVE : JAK'S TEAMTODAY
RI GHT : JAK'STEAM1965
Skating isn't partic ularly new to the
sc ene. In fac t, boards c ould be seen as
far bac k as the early days of BLACK
FLAG
. Just as the skate parks were
reac hing their heyday, a handful of
skaters were looking over their shoulders
and listening to the noise being made
. c ould write about. To give ose of you
Henc e, the first ties
between skating and who are
non- skaters (any of you out
hardc ore were forged
. In the beginning, a 77there?) more of an insight Into the skate
definite distinc tion was seen
. Many felt phenomenon, we interviewed some people
that skating as a sport should stay on one we felt were integral to both the skate and
side of the fenc e, and punk on the other, punk sc ene
. So I'll stopmy
blabbing now,
so the two remained seperate. Skaters
and let some of these folks do the talking.
were sc offed at, and ac c used of being
"joc ks" and "surfers"
. It was hard to Noisebush
bring a board to a show and not get
c ritic ized. None the less, the seed was
planted, and it didn't take long for the
/
/RO LLINS %ETTING RAD
addic tion to spread
. Rec ently, we've seen
a rash of skate 'zines, c ombining news
about bands with skateboard info. Clubs
+:
have been having "Skate Band Nights"
.
c
Bands have held outdoor shows at skate
ramps, with the audienc e skating and
thrashing
simultaneously. We've seen skate
"performance art'in the guise of a band
c alled the DRUNK INJUNS. Sure there // V
w
seems
to be an element of trendiness about / Z
k
all of this, but what has c ompelled band /// m
CJ
members fromgroups like AGRESSIO N,
_
BIG
BO YS, CO DE O F HO NO R, DIE
KREUZEN, JO DY FO STER'S
ARMY, LO S
<
Z.
,
O LVIDADO S, MECHT MENSCH, MINO R
THREAT, NECRO S, etc , etc , to pic k up/ ,Y
C' .`
o
boards? What has motivated great skaters
like Steve Caballero andTony Alva
to play
in bands. There seems to be more to it //
w,
j~z
~//
than meets the eye
. At least more than
SI NCE THI S I NTERVI EW, THE 1/2 PI PE
WAS TORN DOWN BY CONSTRUCTI ON
VANDALS BENT ON BEAUTI FYI NG
WALNUT CREEK WI TH MORE OFFI CE
: P .C~.wI AlI I 1XI ~1X~
PI ERRE BENNY TaMARCOand PAT BLACK
0(vocalist for S.F
. band SACRALI GE
MRR : Do either of you see
skating asan
art form?
PI ERRE
: Hell yeah. Sure. Cause
everybodyskates differently
. Everybody
has their own style
. No two people skate
alike.
PAT
: I t's a radical art form!
PI ERRE : There are different kinds of
skating
. You can do Freestyle or Downhill.
Eachhas its own different maneuvers.
There are 'hand plants'and 'acid drops'.
So manyways you can do all this stuff.
t
And there aren't any
limits to what you
cando. You can make up your own tricks.
MRR
: Have either of you been harrassed
for skating?
PAT : Almost everyday,
it seemslike:
PI ERRE : I t
dependson the cop, and where
and what you're
doing . I f you
skate witha
crowd of people at night, on
Broadwayor
in the Financial District-if you get busted
theycan give you a ticket, take your
skate, maybe even take you in.
O
PAT : They're fuc ked bec ause
I've been
pulled over so
many times during the day
and they'll tell me "Get off the
street
;there's no skating on the street".
7$So
I'll
be
on the sidewalk
and then they'll
pull me over andsay
"There's no skating
on the sidewalk"! What amI supposed to
think?
BELOW : PI ERRE t PAT EXPRESSI NG
THEI R VI EWSON AUTHORI TY
Interviewwith Panther, 18 year oldwoman
skater
P: WhenI started skating, I didn't
really
skate because of punks. I skated because
I wanted to learn. I saw a lot of boys
doing it, and being the real feminist type,
who was macho all the time, I wanted to
learn howso I could turn around and say
to girls, "Heywimps, I can skate!"
MRR : So you did it to get more girls into
it? P : At first it was my goal. But after a
while I was doing it for personal reasons.
MRR : It appears that more and more
women are starting to pic k upboards.
P : Some will tell you they skate, but you'll
watc h themand they hardly ever will, or
they'll just kinda hold their board. I've
walked upto some of these girls and said,
"Hey, let's go skate." And they've said
that they c an't ; they're waiting for
someone,
or they have a dentist

appointment or something.
MRR : Do you thinksome women maybe
afraid of what might physicallyhappen to
them if theyskate?
P: I don't know, but I would be if I had
to maintain a certain image . You go
througha lot of pain when you skate . A
lot of women I knowaren't verytolerant of
physical pain.
MRR : Women
have traditionally lived with
c ertain kinds of role models. Do you think
this has prevented many fromriding a
board?
P : I think it has a hell of a lot to do with
it, bec ause women are supposed to be
pretty muc h passive, and not aggressive
in any way. You're supposed to look
"nic e" and if you c ome to
a
showin ripped
up jeans with smearedmake- upor none at
all, it doesn't quite fit the feminine image
some girls want to fit into
. If you skate,
you c an't wear tons of make-up! You also
tend to get hurt. I've gotten stitc hes in
my hand, sc ars on my knees and stuff
fromtrying to learn newtric ks. I've fallen
so many times. If I were anybody different
I don't think I'd put myself through this
just to get a "name" or something like
that. That's why some people do it.
MRR : You do it more from a genuine
interest then?
P : Skating for me is like
meditation . I get
into this plane where I don't need to skate
with anybody, and I don't anyhow. I don't
skate with massive c rowds of people like
many boys do. They'll skate plac es just so
they c an showoff to eac h other. When I
skate, I skate for myself-I skate alone. I
go all over the c ity, and there's no one
with me. It helps c lear my mind
and
.
. .
.makes my body GO ! It feels really
good.
ABSOLUTE
AgUnIfLalWilMWAIII. e
MRR
: HowdidJak's c ome about?
TO M: We were just a bunc h of friends that
skated together a lot. Dec ided to forma
team to do a demo to get me out of
a
drunk driving rap. I had to do a
c ommunity servic e, so for 40 hours we had
Jak's do skate demos at the Sonoma Boys'
Club
. We also did some films of us skating
/ after that and it just went on fromthere.
MRR : Why did you dec ide to c all it Jak's?
/TO M: Well, it was meant to be an offshoot
of Jak's teamfrom1965, whic h was these
kids that were about twelve years old who
used to skate in tournaments. Really
straight, short pants, you know. Were
sec ond generation Jak's. Not quite as
straight.
MRR : Do you know of any other skate
teams aroundbesides just yourselves?
TO M
: There's Jerk's Team, and Team
Tony. Rats Ass fromSac ramento. Thers's
this other funky c rapass teamfromSan
Jose but I c an't remember what they're
c alled
. Slugs O n Skates or something.
JO N: My favorite bootleg team is Wards
Team. Ward is this guy who's totally
enthused, has to skate, has to skate rad.
When we were skating with himhe would
like be going down these big hills, and he
would, literally, no exaggeration, fall off
his board onto fhe street . And I mean
hardfalls!
THEO : Like as in "Fall down, go Boom".
JO N: He would be wearing ten knee pads,
two helmets, five pairs of gloves, and
have stuffed the bac k of his pants with
7
mattresses
. I mena he would be riding
down the street and all of the sudden ho
would tip over his board and go flying
through the air and go smackon the
ground . I 've never seen anybodyskate
and fall so much, it's great! Their motto is
"Ward'sTeam Falls!"
MRR : Howmany people are in Jak's?
TO M: About a dozen or so in S.F
. We
have one in Pac ific a, another in
Sac ramento.
SPO RTICUS : O ne in Vanc ouver that isn't
in vanc ouver right now.
THEO : There are a c ouple of Jak's upin
Seattle.
A n o un ; m usic who 's p a ttern s in so un d a re
n o t illustra tive o f,
o r d ep en d en t o n , a
text o r p ro gra m . (Ra n d o m Ho use
Un a b rid ged
Dic tio n a ry).
TOM: Nowthere's a definite music tied
into Jak's team
. We've always been in
bands. Jonathan has been
in bandssince
NEGATI VE TREND. I used to be in a band
/
called REGI ME quite a fewyearsago . Then
Jonathan went TOI LI NGMI DGETS around /
the same time Paul Castille was in the
WOUNDZ, and they used to be a skate
band. A couple
of the WOUNDZ used to be
on the Lottaflex Skateboard Team a long )
time ago. Then theyquit skating when
theyquit getting paid for it
. That'swhen
skating died out for a while . So theyquit
doing it . Theystill played ripper music! /
I 'm in SWI VEL right nowwhichis a local
S .F. band . Theo's in TWI ST E SCREAM,
they've been together for nine or ten
months.
THEO
: TWIST & SCREAMwas originally
c onc ieved about a year and a half ago. It
was more of an idea between this skater,
Morgan, and his friend Marc o
. They just "
went around writing "twist and sc ream" /
everywhere, and the band just grewout of
the graffiti . /
TO M: Jonathan's in FIFTH CO LUMNnow
Everyone in that bandskates.
JO NATHAN: Exc ept for Pete, but he does
the wheelies in fourth gear on the Great
Highway.
TO M: No way! You c ould die doing that!
AnyhowPaul's the singer for the BLACK
ATHLETE'S right nowand Anthony from
the WO UNDZ was in that bandfor a while.
But I think Tony Guerrero is playing
guitar in Anthony's plac e c ause he c an /
only do it part time. Tony is a ripper
skater by the way! But anyway in the /
midst of all of these people going in and
out of bands is like. . .Bif, an original /
Jak's member fromway bac k, Kevin
O 'Conner and I formed a band c alled
I
ABSO LUTE MUSIC . We used to all go to
sc hool together and instead of doing work I
we would look upsex words in the
dic tionary just to kill time
. O ne day we
lookedupABSO LUTE MUSIC andit fit the
kind of music that Bif and I were playing
at the time so we c alledourselves that
. We /
did
a
fewgigs but slowly it developed into
a whole idea of music that involves many /
bands.
JO N: TO ILING MIDGETS were a prime
example of absolute music before Ric ki
Sleeper joinedup.
TO M: Yeah, TIO LING MIDGETS were
playing absolute music before the band,
ABSO LUTE MUSIC, existed. It began as
just an idea
of music at the time, that the
bands we mentioned, had something in
c ommon with, andnowit's enc ompasseda
whole Jak's bandsc ene.
MRR : It's very obvious, nowadays, that
skating has bec ome pretty popular among a
lot of punks, band members and audienc e
alike.
JO NATHAN: Yeah, it's bec oming a hot
thing to be a skate punk. There seemto
be a lot of people who walk around with
skateboards that have never hit the
ground.
//, //
./
JO N: I remember when there was a long
period of time when there was myself and
four other people in Jak's who would go to
shows, and the only boards around would
be ours. Everyone had pic ked upthe L.A.
attitude that skating is for surfers and
punk is stric tly for punks.
Even now it's kind of unc ool to bring a
boardwith you to a showin L.A.
SPARTICUS: A lot of people in L.A. have
the impression that if you bring your
skate with you to a show, you're a surfer.
Cause when I was down there, I was like
skating around at this show and the /
sec urity put their flashlights on me and
tell me to get off my board then these /
guys yell "Get off your board you fuc king
surfer go bac k to the beac h!" And I've /
never surfed in my entire life. We
Canadians don't have
beac hes!
/
JO N: It used to be pretty
quiet in S.F.
too, upuntil about a c ouple of yeras ago. //
Then suddenly there's this big explosion
and if you look at any given showtoday, //
and c ount the boards inside, you'll see a
lot. With some kids it's not so muc h an
interest in skating but the fac t that it's /
bec ome fashionable.
THEO : I started skating way before I got /
into punk.
TO M: Yeah, I started skating before it/
/
c ame along.
JO N
: I startedskating before griptape!
//
JO NATHAN: When Ringo Starr started
singing for LED ZEPPLINis when I
started.
SPARTICUS: I've only been skating for
about a year.
TO M: And you're paying your dues
dearly!SPARTICUS :
But I'mc atc hing up.
TO M. : Yeah, I'm improving all the time,
slowly though
. I have it figured by the
time I'mforty I'll be doing good tric ks.
And by the time I'msixty I'll be applying
them.
JO NATHAN
: Hey, you knowFrank Sinatra
skates
. He broke his armdoing it! O r was
it Fred Astaire? It's one of those guys.
TO M: I have a photo of Katherine Hepburn
doing the grapevine. She's like doing the
c arve down the grapevine, I swear! It's in
blac k andwhite andyou c an see the board
and everything! And she's pretty old; too.
Course, she's been old as long as
skating's been around.
TO M
: What you have to understand about
TO M: Teah, Tommy Beer Thief & Joe
Tatonga, they're part of our Northern
Division . We have a travelling division,
too. Spartic us is fromVanc ouver and he's
an international Jak's.
LBW/BM
/i.
&
Jaksmaking street runsdown a
busyS.F . blvd.
//Alt.
a //a
''// '11
a s is t at even thoug a ew o us ave
been
skating for years, were not some of
the greatest skaters around.
THEO
: And that's not what its all about.
JO N: What's stressed is that we have our
boardwith us wherever we go.
SPARTICUS: And when you're skating the
idea is to go for it.
TO M
: To get fully into what you're doing.
JO NATHAN: Jak's is more of a lifestyle.
You don't hold down a real job. You don't
fuc king lic k your boss' asshole every day.
You dec ide what it is you want to do. Not
what the worldsays you shouldbe doing.
TO M
: Well, I beg to differ. I have a job.
JONATHAN : Yeah, but you have a cool
job . You can go anywhere you want for
real cheap.
TO M: That's true, I like my job. But I set
it around my lifestyle, I didn't set my
lifetstyle around it . It's involved with
skating and stuff. Jak's is definitely a
lifestyle. It's not as muc h of a "team".
THEO : It's an attitude!
JO NATHAN: It's a four letter word!
JO N: O ne thing I'd like to c lear upright
now is the fac t that bec ause we wear jean
jac kets with our c olors on the bac k, a lot
of people
think that we might be a gang or
something.
THEO
: The c olors just stand for unity.
JO N: We're not a gang and neither do we
advoc ate any violenc e, EVER . Just wanted
to c lear that for the retod
MRR : It seems like skating is experienc ing
something of a sec ond resurrec tion,
wouldn't you say?
TO M: Yeah, skating is going through a
sec ondrevival . An underground revival.
You don't have these big, famous, full
7lY/1J I /1JY//lY/flI ///Y/
c o ore magazines
. t s not
ateoarder
mag financ ed by Surfer. It's not "pros"
being paid $600 a week to jac k off.
THEO : But wait, for some kids it's sold
out . Cause you get these guys who take
these old boards and put totally spastic
paint designs on themjust so somebody
will buy them. "Here, it looks c ool, buy
this!"
TO M
: Like the Bogie board with the
Humphrie Bogart on it or the Star Wars
board, what the fuc k do they have to do
with skating?
MRR : Howdo you feel about a magazine
like Thrasher?
TO M
: Thrasher's right in there with the
whole scene.
JO NATHAN: Thank you, Dr. Ric k Blac k
Heart . (Ric k Balc kheart writes a c olumn
for Thrasher) TO M
: Yeah, but he's kind
of funny. He has a great sense of humor
and stuff. He's also a ripper skater ; he
c an't bedenied"that,
but he's like
. ..
JO NATHAN: Pretentious?
TO M: Too famous.
THEO : Big ego.

TO M
: I'll say, the Thrasher mag guys
have the
right idea . When you
do a mag
you have to do for the masses and you
have to be
right on about what you're
writing
. I think they do a good job
. They
don't sell it out like the older skate sc ene

did. O h, before
I forget, Jak's had a dish
party the other night at Hunter's Point.
There's this skate bowl at the topof this
hill and after this showat the Tool & Die
a lot of people went upthere. It was great

fun, I was giving people rides around the
dish on my bike and stuff

. Anyway, we
had this great idea
for a sport . We're like
getting a
hoc key
teamtogether, with
stic ks and hoc key puc s exc ept everyone
will ride a skateboard
. And there will be
goalies for both teams,they would have

ac rosse stic s. "e wou have morotc yc les
riding around the dish giving people power
tows just like in that film"Rollerball".
APARTICUS: And Jak's Teamwill bel
wearing spikes and studs all over our
c lothing!
JO N: And no one survives at the end of
the game.
SPARTICUS: It'll be the hottest new
sport, they'll outlawit in a sec ond!
TO M: It will be outlawed just for the
spikes alone. If they kic k us out of the
Hunter's Point dish we'll take it to a
basketball c ourt, and if we get kic ked out
of there we'll do it in street intersec tions
and use the c ars as meteorites like in a
video game.
SPARTICUS : This game is so hot it will
probably make the next O lympic s.
TO M: Yeah, well play in L.A . It'll be
great . Bec ause the smog down there makes
you play better! Americ an Teams are used
to smog, so we will exc el! . Espec ially
everybody in Jak's. O ne thing we really
get off on is getting skate tows from
buses. Those fumes are great! You get a
high anda towat the same time!
/ Photo by lofo Courtesy Thrasher //'
/~i
;ff."'
//
1
tN, b
irAttYo
SrTi
5
'Now' u
tar
.
/A
ET
9
d
ums
THE FACTI ON ARE A BAND FROM SAN
7
JOSE, WHO HAVEBEEN TOGETHERSINCE
LAST HALLOWEEN
. THEY"REMANIC
SKATERS, AND HAVEMATERIAL OUT ON
A TRASHERCOMPILATION TAPE, AS
WELL AS A 5-SONGEP CALLED
"YESTERDAY IS GONE".
MRR : Do any o you fee! that skating
influenc edyou to get into punk?
A : The first plac e I ever heard any punk
was at Winc hester Skate Park. All these
kids used to bring their tape rec orders in.
At first people used to play a lot of
AC/DC and heavy metal . Then, one day, I
showed upand they were c ranking out
I
"Never Mind The Bulloc ks", 999, and
GENERATIO NX . After a while they
workedthemselves up to BLACK FLAG and
bands like that.
S :
It bec ame more hardc ore, as time went
by. A lot of punks though used to hate
skating. But now it's bec ome
a part of
punk.
G : I remember going to shows at Brynar
Hall in San Jose about 2 years ago
. I'd
bring my board and would get laughed at.
I t was ridiculous. People would point
fingersand go, "God, who isthat kook?"
MRR : Nowsome of those same people are
7
skating.
a raiIXIIAKiari i A iIr rl/sW' 1MAr/WINrO
N
MRR : Do you knowanything about the
phrase "Skate and destroy?"
M: "Skate and destroy"is a phrase that's
like a lot of others. "Skate lkdie,"etc.
But it's been maligned . People thinkit
means skate and breakeverything. But
it's not that . Like if you're going down
the street and it lookslike a normal street
but you find all sorts of things on that
street that you can use to skate on . I t's
sort of an energyoutlet . To dance with
the street, and when you're done, you
lookbackand thinkof all the stuff you
did withone little stretchof street, you
MRR
: What do you feel is the c onnec tion think to yourself "Boy, I
destroyed that!"
between
skating and punk? Like when
someone c omes
to ramp anddoes
M: Skating tends to
be hard
and fast and everyting in the worldpossible on it, he
punk is hard and fast
. That really boils just "Destroys" it.
down
to what the connection is
. Skating is MRR
: Have you ever experienced any
a sort of progressive-minded
sport
. Where police harassment?
punk is on the forward
edge of music M
:
Now,
there's another c orrelation

today
. Skating isn't a sport buried in a
tradition fromthe sixties, it's what's
happening now.
MRR
: Why do you think a lot of kids who
are skaters are
turning to punk and
IJ vic e-versa?
S: Yeah, it's bec ome ac c epted.
MRR : It's bec ome ac c epted, but at the
same time I think that a lot of people see
skaters as "kids" . Someone will say, "O h,
look at that kid with the board. He doesn't
have any politic al values." But having
listened to a lot of bates with skaters in
them, it seems like there is definitely some
thought going into lyric s. It's not all 'fun
andgames'
. Like your song, "Bullets Are
Faster Than Words".
G : Yeah, well I don't c onsc iously think
about writing stuff like that; it just kinda
c omes naturally, we don't c onsider
ourselves any kind of politic al band. We
just write about things that we c are about.
"Bullets" is saying what I would do if
there was a draft. I would never get
drafted! I would never fight somebody
1lI I P r .
/J)j f/~'
.
Shine
.
else's war. Shinne that! ! That
stupid
. Cut
if there
ever was a war where someone
c
ame over here,
I wouldn' t just pack up
(ljandrun . That' s a lot different.
% ~ 77 EA: We try not tobe tootheoretical about
a things that we write about. We prefer to
,
write about stuff that may be right outside

9,2 our door. Somebody tearing upour
1
favorite skate spot, or something
. I think
in
it's kinda dumb to go marching down the

street because you want to save a bunch
l of of whales off the c oast of Peru, when
there's stuff to be done right here.
W h
thilld "Wh S eaves one song c aeyave

A
Whales?" Why not save us?

MRR
: Some people have ac c usedasserted
that, bec ause
of all the attention Steve has
gotten due to his skating reputation
(partic ipating in tournaments, representing
skate manufac turers, etc ), the band would
not get the kind of billing it does, nor
would it have its present reputation
without him
. How does the rest of the
bandfeel about this?
: When we first began a lot of people
were saying that FACTIO Nwill be popular
just bec ause Steve is in it, and he has all
these skaters following himand stuff . But
I think after a while, when we started
playing a lot of shows, people began t
watc h us a lot c loser and sawwe weren't
messing upor going to shows really
drunk. They gave us a c hanc e, and now
knowwhat we're really like.
S : This band just c ouldn't be "this band"
with any of these people not in it . With
one personnel c hange, we would be a
different band. Eac h member is as
important as the next
. I mean, who c an
talk as fast as Gavin? Who c an play my
guitar lic ks? Who c an drumas fast as
Keith? Andwho c an sell boards as goodas
Steve! ?!
between punkand skating . Let me quote
Don Pendelton "Everywhere you skate, it's
illegal!"You get hassled for it on the
streets, on the sidewalks, anydrainage
ditc h, peoples' property, you have to
c limb fenc es into peoples' bac kyards to get
it's all illegal. But that doesn' to pools,t
M
: First of all I think it's a matter of stopa skater at all
. You just learn to talk
exposure
. The two groups will gety your way out of a mess when you're
together and let eac h other knowwhat's c aught.
1 happening and turn eac h other on
. Like MRR
: Have you ever gotten a tic ket for
some skater will c ome to a show, out of$ skating?
c uriosity, andmeet people
there and turn M
: Nah, I've heardabout 'em.
themon to skaing
. There is also an MRR
: They're really popular in San
element of trendiness of kids thinking to Franc isc o
. A lot of skaters I've spoken to
themselves, "Cool, yeah, I'll be a skater
." have gotten them.
`But when the band
was touring, I didn't M
: In Philadelphia they have passed a law
find too muc h of that
. Most of the people that says you c an't skate within a few
we met who were skating seemed to be
hundred feet of a c ash register when it's
genuinely into it
. The only town we went in
operation.
What kind of shit is that:
to that did not have a skate sc ene was What does that mean? That everyone on a
Pittsburgh
. The people there were really skateboard is going to immediately skate
interested in learning how, to see howinto a store and ripoff their c ash register
they c ouldride well
. and skate away? What's the rational behind
MRR
: Do you personally see skating as a that? Like, I would really want a c opto
lifestyle?
have a tape measure whenhe stopsme!

MRR : So there's more to Tt thi i just
M
: Oh, yeah, it's definitelya lifestyle
. being a game for little kids.
Like if you're hanging around with a9' M
: There is more to it than that. But it's
bunc h of skaters and driving down the hard to explain exac tly what.
street, they will always be pointing out MRR
:
I'msure it's also a different

plac es to skate
. . It's a c onstant obsession
.
personal experienc e for everyone.

M: I got a reallyinteresting letter from
t is one guy t at sal .
on
why there are so many skate punks . Why
aren't there tennis punks, football punks
or suc h and suc h punks? The way that
skating separates itself fromall those
other sports is that first of all it's an
individual sport
. Every time you skate,
you skate alone. Whether you're with
people or not, it's just you and whatever
you're skating on.
MRR : And you're not c ompeting with
anybody.
M: No c ompetition . It's more of a c reative
outlet than it is a physic al outlet, even
though it c an get real physic al
. It's a
c ombination of the two. It's like a danc e.
It's been c omparedto a danc e before andI
think that's pretty ac c urate
. Danc ing with
your environment, so to speak.
/1X///XOl C/17 UI WI //
t enn you
ye got
got f~
r
ien
/
ds
m1
instant y.
//
Akin
y/
of brotherhood exists.
want complete and utter freedom,
skateboarding isthe answer . You must hop
on your board and create . I n howmany
other sports can you be this innovative
3
and creative? There are always rules.
You'll have a ball in a court or something.
But in skateboarding, you're the creator.
P
: Even when you get down to skiing and
surfing. To surf you need to relyon a
wave to come. And what I f the wave isn't
right?
C : What if the snowisn't right?
MRR : You went fromskating into punk
music . Any personal reasons why?
C :
The music I was listening to while
skating wasn't fast enough. .
.number one.
Number two, wasn't c reative enough. It
didn't c ome fromthe gut level.
P
: I t didn't have a rawessense to it . I n
the earlyphases of skateboarding, we
would find ourselves skating and creating
stuff, but the music wasn't creative
enough.
MRR : What would you listen to backthen?
C
: VAN HALEN, TED NUGENT.
P: Fast stuff.
C: I 'd crankit up and think, "Yeah, this
I s skate music". Then as soon as punk
came along,
it was a slap in the face.
P: I t started withstuff like
DEVO. They
were a real influence, cause skateboarding
is real crazyin a way. DEVOcame out and
theywere stupid and proved you could be
stupid and wear Bermuda shorts, which
turned out to be practical clothes for
skating
. I f you rode a ramp, theyturned
out to be prettyeffective . The funniest
thing is people would stare at us for
wearing
this stuff, but in a couple of
weeksthey'd be wearing it asfashion!
MRR : Skate fashion! Do you think the
media is responsible for this?
C
: I f you lookat what theycall "trendy"
clothesnowadays in the L.A.
scene, you
can trace them backto Steve Olson and
the roots of
skateboarding. The shit that
Duane Peters and all those guys wore
yearsago are nowcommon.
MTT
: Howmuchof a role do you thinkthe
media has played in popularizing punkto
skating?
C : It wasn't a
spontaneous thing, but it
still was very quic k. After eac h issue of
the biggest skateboard
mag, things were
happening
. As soon as many of the pros
started getting into different music ,
hardc ore esoevially, it
began to take off.
P: I think
everybodywho ever went on a
skateboard was disconnected with
something and wanted some sort of
attention
. Maybe just to prove something
to themselves because no one else ever
gave them the gratification that they
deserved .
When this music came along,
people jumped on it
and thought, "Here's
somebody
just like me and they're doing
music". And the raw energyand the
desire waslike skating.
C : Very
similar. When you're out on a
stage setting upfor some kind of stage
dive loop, it's almost the same as c atc hing
a bac kside
air in skating. Now you see a
lot
of punks doing flips, but the skaters
started it . They were the
very first to
stagedive c ause they had already been 10
feet in the air
and flown all over the
plac e.
P: One thing I
can say, skating has done
for me is that it has helped me conquer
fear
. I f you take a normal person and tell
them to dive into a 10foot deep
pool,
they're gonna lookat
you like you're
crazy. But
because of the waywe've been
able to use padding and protection, it's
real easy.
MRR : Skating
also seems to be a pretty
c onvenient formof transportation.
P : Yeah, c ause I mean you c an watc h the
Roc kford Files and see James Garner
blazing down the street at 120 miles an
hour doing all these c razy things, but you
c an't do anything like that in your c ar.
You're c onfined, c ause in reality a c ar is a
dangerous weapon . And if you aren't
c areful, you'll die in it
. But with your
skateboard,
when you're riding home, you
c an
try something a little c razy and not
worry as muc h, c ause you knowhowto
fall and stuff
. It works real simple. And if
you had a tough day at the job and tou're
skating, you've got some anxieties building
up. Instead of going home and taking it
out on the wife and kid, or your best
friend, you c an do something on your
skateboard.
MRR : Pushead, you seemto be in touc h
with a lot of skaters. Do you knowof any
fromother c ountries?
P : Bands like CHAO S U.K., DISO RDER,
andAMEBIX .
Now, AMEBIX
are
different
than the other two, but they all have a
very strong appearanc e and their music is
some of the rawest forms of music c oming
out of England--plus they all skate.
MRR : I didn't knowAMEBI X skated.
P: Sure, Aphid skates, and he wrote me
and asked for a couple of Thrasher mags
and wanted to knowif I could get him
some equipment and stuff.
C : Skaters get along internationally.
Whether you go to Sweden or England, if
you have that skateboard in your hand,
P : There's a great unity between skaters,
just as there's a unity between punks.
Like when we were in Reno, this guy with
a skinhead just walked upto my friend
and said "Are you a punk?" It was an odd
way of saying hello, but he was genuinely
interested in where we were from
.
He
wasn't afraid to just walk upand talk.
Skaters are like that.
MRR : Do you see skating and art
c onnec tedin any way?
P : They're different in a lot of ways, but
they're both outlets for c reativity and
imagination. When you begin skating, you
c reate your own style and learn to improve
it. Another thing I find is that, when I
c reate my art work, it builds upa c ertain
c onfidenc e in myself . The same goes for
skating. You learn to apprec iate what you
c an do. It gives you a feeling of belief in
yourself. That's one of the greatest things
about it.
MRR : Howdo you feel skating has been
represented in the media?
C
: I don't feel it's ever been represented
c orrec tly. At first it was represented as a
business proposition. That was in the Wall
Street Journal andpapers like that . All
you heard was "Get into skateboarding,
it's the next big thing". Then it was
represented as something of a threat,
something that was c ausing ac c idents. You
wouldhear of all these statistic s about how
skating was the number one
c asualty-orientedac tivity. Nowpeople are
making a big deal about how it's making a
resurgenc e, but it's been around all along.
P : Andwe don't see that as a goal.
C : I'd like it to remain underground. It's
so personally satisfying, that I'malmost
greedy about it . It's my sc ene and I want
to protec t it.
MRR : Many people have ac c used skating of
being a mac ho sport . Howwouldyou reac t
tothat?
Both: Not at all!
P: I t'snot limited. Especiallynot to men.
I t's verysad when you hear someone say
"oh, girls don't skate ." 'Cause there are
lot's of women who do it . Theyhave a
great deal of grace and can reallyadd a
certain style to it, that I never could.
P: There's a smoothflow to howthey
skate, and
I c an really admire it. It's very
impressive to watc h.
C : Another thing is, just bec ause someone
knows howto maneuver on a
board, people
will ac c use them of being an athlete or
joc k.
P : Most people will go "O h, I wish I c ould
do that." "I wish I had that
c oordination ."
The funny thing is, I just love to tell
them"Well, I used to be just like you,
wishing that I c ould do stuff
. But I c ould
never wish, for something and expec t to
get it
. I had to earn it myself ."
C
: Skaters are c onstantly working at
getting better
. Anyone c an skate, really.
All you need is a strong c ommittment
. It
isn't a mac ho thing. I
mean, how c an you
be mac ho on something that doesn't even
have a motor?!
THI S I NTERVI EW
~C/ON~D~UUCC/TEED
BY MAATI
ANDNOI SEBU
PUSHEAD I S THE LEAD SI NGER FOR
SEPTI C DEATH, AS WELL AS A
FREELANCE ARTI ST AND WRI TER (FOR
MORE ON HI M, SEE ARTI CLE ELSEWHERE
I N THI S I SSUE) . CRAI GRAMSEY I S THE
MANAGER FOR THE SAN JOSE BAND, THE
FACTI ON, AND A COLLABORATOR ON
SEVERAL SKATE ZI NES. BOTH ARE
SKATE VETERANS WI TH YEARS OF
RI DI NGBTN~ N THEM.
I BM
MRR : What doesskat ng meanto you.
P: Wail, for me skateboarding is the only
sport where you're one on one with
yourself. You, and you alone, control what
you're doing . You can go anywhere . Up a
wall . I t's up to you and your imagination.
I don't thinkthere's manysports where
you canhave so muchcontrol.
C . I f you're an athletic person and you
P: I think, basically, theydon't cover it
I
well because of the age group involved.
Whenever you have a younger group of
kidsdoing something, theyare classified a
certain wayand not given a chance.
Somebodyhas to do something really
incredible, like go througha wall, before
people take notice.
C : O r have
an organized teamon
a
national level, with uniforms and stuff . I
don't think skating will ever make it big in
the
media
.
Twm'u
''E
MRR : Why do you think skating ha
bec ome so popular amongst punks?
M: Bec ause of Thrasher Mag!
MRR : Explain!
M
: Well, a long time ago there was a
skateboardmagazine c alledSkateboarder;
then they sold out and c alled themselves
Ac tion Now. They c ut out almost all of the
skateboarding
. You would find maybe two
pages of skating per issue.DRY! They left
all the kids nowhere. Instead they put in
surfing, body surfing, volleyball, over the
line, a bunc h of garbage! All of a sudden
you have these skaters in the Midwest
going "Hey, I DO N'T SURF!" These kids
were thinking to themselves "I'mbeing
heavily denied, I'mgetting a mag that's
keeping me dry on my skate sc ene." So
some manufac turer types start thinking
"No mag, no media, we go out of
business." So they dec ided to start up
another magazine and to c over
skateboarding for what it really is. Like,
at Thrasher we are into the rawthing. We
don't want to dic tate to these kids, telling
themto wear o.p
. shorts, get super c uts,
put on topsiders, and go skate in a park
and be safe. No way! We say "Skate tough
or go home!"
MRR : ow many c opies of Thrasher are
printed upnow-a-days?
MLast time I heard we were printing
somewhere between twenty and thirty
thousand an issue. But that was like
months ago; now it's doubling at an
inc redible rate.
MRR : What do you think is so "RAD"
about skateboarding?
M : It really takes the right kind of
"balls" for an individual to do it. You've
got to be a person of exc eptional ability,
to have the right kind of balanc e. You
have to be able to take risks. You're
c apable of getting high on it while your
totally straight
. It's like. . .energy wise,
you go upthere and you get this feeling
in your stomac h, you know, howwhen you

ride in a c ar and go over a bumpand you
experienc e that feeling of weightlessness.

Well, it's way gnarlier than that . Imagine
yourself 12 feet off the ground, flying off
a ledge, looking down . Andthen when you
land there's a c ertain feeling of

satisfac tion you get fromhaving done
something that wild. I mean you just c an't
grab your average kid off the street and
tell him"O K, do a ten foot jump, yeah
go!" It just doesn't work that way. You
need to have it in you. Not everyone is a
skater.
MRR : It's kinda like a rollerc oaster without
the superstruc ture.
M: Yeah, something like that-you get that
feeling.
The adrenalin.
It's hard to
explain . It's something that touc hes you
deepdown inside. Andthen the aggression
involved in the whole deal is. . .You've got
to be athletic ally oriented and really in
tune with your body to pull it off . You
c an't be a slob. It just_doesn't work.
MRR
: Howdo you see aggression as tied
into it?
M: Well, I mean there's aggression that
goes a ong with it
. 'ou c an e c c an an
all, _goody goody about it, . _c ause you're
gonna get dirty. You're gona sweat
. Alotl
of guys don't wanna do that
. They just`
want to hang out and have girls look at
them. "O h wow, like I'mso c ute
." I mean
that isn't c ool
. If you're going to skate,
you c an't be wearing designer jeans-you're
gonna ripthemup.
MRR
: It seems Thrasher is pretty open to
Punk
. It's not unc ommon to see a 2 or 3
page layout that c overs bands, and stuff
like. ..
M
: The "Puszone".
MRR : Yeah.
M. Well, we don't really
see ourselves as
being a punk magazine
. A lot of people
have c alled us punk, but we're only a
reflec tion of what the skaters are into.
Some of themaren't punks
. Punk and
skating have aspec ts in c ommon
. They're
both rebellious
. And there's the energy
c ontent
. A lot of the kids will go to a~
show and thrash, get into that high
energy, and they are not even drunk or
on drugs
. The energy level is somewhat
like that of when they skate. You'll go out
there and let loose c ompletely
. Just g
c razy
. It's like stage diving
. You get up,
jumpoff, and then get bac k upagain.
Same goes for skating
. Sometimes you bail
off, you get bac k on andride again.
MRR
: So do you feel that the energy level
is one of the main things that skating andL
punk holdin c ommon?
M
: That, and the kids rebelling against`
things
. Bec ause if you skate on the?
street, it's illegal in most plac es
. You'll be
skating, and then a c opwill c ome over to
you and give you a tic ket for skating in a
business distric t or whatever. And you'll
tell the c op"Hey, I'monly skating, Isn't
somebody being murdered
somewhere?"~
Where do most kids have the money to pay
for a fine anyway! It's skate harassment.
Spec ial thanks to Mofo andThrasher
Mag,
Maati, WilliamPaul, andRoberta Wong for
their helpin putting this feature together .
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KNOWL EDGE 06 POWER
B Y J EFF B AL E
REVI EWERS
(JB)JEFF BALE
(RF)RAY FARRELL
(RS)RUTH SCHWARTZ
(PU)PUSHEAD
(SS)STEVE SPI NALI
(TY)TI M YOHANNAN
MEMI TEMEMMEEMEMEMEI =n
DEAD VIRGINS - "Four" EP
ARMED CITIZENS - "Make Sense" EP
Another 10th-generation
punk band
from America'ssuburban
wasteland
. The DEAD VI RGI NS produce good "classical"punk
witha garagysensibilityon the A-side
; "Rape Capitol Hill"is
particularlyappealing
. Side AA has slower, rockier cuts, but
"Emotional Strain"hasa niftymid-60'smelodyline
. (JB)
(900
NewHyde ParkRd
.--NewHyde Park, NY 11040)
O ne side of this is thrash
; the other is a bit slower, but all
of the songs have good qualities
. "We Want the Money," the
title c ut, and "O n My O wn" are espec ially strong
. This
EP
isn't any great produc tion, yet there's definitely something
about it that stands out
. (RS)
(Big City--2329 Vanc e St .--Bronx, NY
10469)
AVENGERS - LP
From1977-79, the AVENGERS were the quintessential S
.F.
punk band
. Fronted by the elec trifying
Penelope Houston and
powered by Greg Ingraham's amazing guitar playing, they were
far ahead of their time and, like many others in that situation,
unable to stay together
. Finally, this 14-song momento has been
releasedfor those poor unfortunates who never sawthemlive in
their
heyday, never got their
first 7" EP (inc luded here),
and/or never got their 12" EP (alternative versions inc luded
here)
. O ther trac ks inc lude unreleased studio outtakes and an
inc redible live version of "Fuc k You" that totally destroys
. A
must. (TY)
(C .D
.--1230 Grant Ave., Suite 531--S
.F ., CA 94133)
BAD BRAINS - Roc k for Light LP
The trac ks on this albumexemplify the BAD BRAINS' unique
blend of reggae and metal-embellished hardc ore. Ric O c asek's
exc ellent produc tion works espec ially well on the thrashers by
underlining some of their c omplex arrangements and superb
music ianship, and even though a fair proportion of this material
has been released previously, it's diffic ult to ignore memorable
blasts like "Fearless Vampire Killers" and"HowLowCan a Punk
Get?" Solidandpowerful . (SS)
(PVC, dist . by Jem)
BLACK MARKET BABY - Senseless O fferings LP
This is sort of a mixed bag. Some of the songs here exhibit
the worst elements of Heavy Metal, whereas other c uts ("Fight
for your Life," the title trac k, and "World at War") are
c lear-c ut well-designed punk jams like those of YO UTH
BRIGADE andTO XIC REASO NS . Most of it is pretty good. (RS)
(Fountain of Youth--5710 Durbin Rd.--Bethesda, MD 20817)
CIRCLE SEVEN- "Suburban Hope" EP
Clever modern roc k with some post-punk elements
. Tasteful
and distinc tive twin guitars c ombine with a fluid bass and tight
perc ussion to formengaging, tuneful material
. CIRCLE SEVEN
c ertainly won't appeal to the hardest c ore, but anyone who
apprec iates
groups like the EMBARASSMENT shouldenjoy this.
(JB)
(Fevor/Ruthless--1419 N .E . 66th, apt
. #2--Seattle, WA 98115)
DISO RDERLY CO NDUCT - "SlamDanc e" c assette
Extremely rawand intense thrash froma newNewYork-area
outfit
. Unfortunately, the lyric s are on the Quinc y-punk level,
as in "SlamDanc e": "You fake fuc kin' punker.
. . .Get on the
floor and take a c hanc e
. Just slam, slam, slam, slamdanc e."
Yeah, right
. If the ideas expressedhere were even half
as
appealing as the raging music , these guys might be serious
c ontenders. (JB)
(J . Lezaja--30-45 44th St
.--Long IslandCity, NY 11103)
DETO X - "Beer
Gods/Dino"
The debut
release
by DETO X showc ases older-style
mid-tempo punk.
"Beer
Gods" has some unusual embellishments
and interesting lyric s, but overall this 45 needs a bit more
spark, and doesn't quite c onvey their live humor
. GEZA X
helpedwith the rec ording
. (JB)
(Monkey
Palm--5131 Etiwanda--Tarzana,
CA)
D .I . - "Ric hardHung Himself" 12" EP
D .I . have well-exec uted, c onc ise
songs with interesting but
not nec essarily innovative arrangements. There are alot of
obvious influenc es here--FLIPPER, ADO LESCENTS, CIRCLE
JERKS, MISFITS--but the witty lyric s and good produc tion
make it plenty entertaining.
(RS)
(Revenge--P .O . Box 4--Plac entia, CA 92670)
D .Y .S. - "Brotherhood" 12" EP
A c ontagious masterpiec e
. DEPARTMENT O F YO UTH
SERVICES ric oc het outrageous doses of full horsepower
ac ross
the c ranium. Strong instrumentation provides an invinc ible
attac k of intense staggering speed, rawness, andmomentum
. An
unrelenting, sustained guitar growls and whines, as c rushing
voc als lunge out notes of gnashing abrasive melodies
. From
Boston, the D.Y .S
. rate high with the likes of S.S.
DECO NTRO L andNEGATIVE F
.X . A shimmering release. (Pus)
(X-Claim--8 LongwoodRd.--Lynn, MA 01904)
EMPTY RITUALS - "Dressedto Kil
Hardc ore"
An excellent guitar-driven post-punkattack
. "Dressed"
borrows
a riff from the
STOOGES'"I Wanna Be Your Dog"and
places it in a distinctive newcontext
; "Hardcore"is alternately
quirkyand forceful
. The lyrics in the former are also extremely
good
. Thisdebut deserves
your attention
. (JB)
(Mental Assault--31 Watts St
.--Chelsea, MA 02150)
F .U
.'S - "My Americ a" 12" EP
To quote Pushead,
the music here "storms out
detonating
gusts of energetic exertion, wild euphoria flailing in rapid
determination waiting to explode
." The lyric s, on the other
hand, tread a fine line between obnoxious satire and mindless
reac tion, and after c onduc ting an interviewwith themin whic h
they stated "Americ a Rules" in all seriousness, adding that
immigrants entered the U
.S
. bec ause they were "too dumb to
run their own governments," it's all too apparent that theirs is
a regressive mentality better suited to fraternity joc ks than
so-c alledpunks
. (TY)
(X-Claim)
FLESHTO NES - Hexbreaker LP
The FLESHTO NES have enormous potential, but they've
rarely lived upto it sinc e the release of their debut single over
five years ago. They either put their great 60's
punk-influenc ed material aside in favor of R & B and more
poppy stuff, or take the rawsneer out of it by settling for a
wimpy produc tion . Hexbreaker suffers espec ially fromthe latter
problem; great tunes like "NewSc ene" and "Sc reamin' Skull"
are emasc ulated by a slic k, squeaky- c lean sound
. C'mon,
guys! Kic k the I .R .S. lac keys out of the rec ording studio and
do it right next time, or you'll never break the hex. (JB)
(I .R .S.)
I
ARYAN DI SGRACE -"Faggot
in the Family/Teenage 5 & M"
Some old-fashioned '77-style garage punkwithdumb
and everything
. Totallyridiculousand enjoyable. (TV)
(Mystic--6277 Selma Ave
.--Holt wood, CA 90028)
lyric s
FAI TH. NOMAN -"Q uiet in Heaven/Song of Liberty"
Heavybass-and drum-oriented post-punk
withrichguitar
frills. "Q uiet"inexorablyadvances like
a slow-moving freight
train, whereas the flip is more up-tempo and guitar-heavy.
Thoughnot as abrasive or reminiscent of KI LLI NGJOKE as
their live show, this record is quite good.
(JB)
(Ministry of Propaganda--55 Sutter St .
#375--S.F
.,
CA 94104)
G .G . ALLIN6 THE SCUMFUCS - "HardCandy Coc k" EP
G .G . apparently has a newband this time around, and I
c an't say I'mc razy about them. Instead of his earlier 60's
garage punk sound, he nowhas more of a late 60's Metal
sound, solos andall . Idiotic andpoorly rec orded. (TY)
(Orange--P.O
. Box 54--Hookset, NH 03106)
I like this newG.I
. EPalot better than their recent 12".
"Teenager in a Box"is a particularlybrilliant trackcombining
power, hooks galore, and good lyrics
; "Sheer Terror"hassome
psychedeliceffects
; the others are supercharged thrashers in
the D.C. tradition
. Highlyrecommended . (JB)
(Fountain of Youth
HEART ATTACK -"Keep your Distance"12"EP
This 6-songer varies from great to exceptional thrash. Well,
maybe one cut drags a bit ("Society"), but the rest reallyrip.
Unconditionallyrecommended
. (TY)
(Serious
Clownc/o
J.
Malin--162-41
Powells
Cove
Blvd .--Whitestone, NY 11357)
MENSTRUAL CYCLES - "} Skin, } Punx" EP
This band is
based in
Florida,
but they sound exac tly like a
British "skunk" group
. Normally, that wouldn't be a c ause for
c elebration,
but these guys manage to pull it off by virtue of a
fast tempo and an extremely raw,
unprofessional
sound.
Although marred by phony English ac c ents, this is ac tually
better than the standardU
.K. release
. (JB)
(Cycles--1056 West 43rd Place--Hialeah, FL 33012)
NECRO S - Conquest for Death LP
A verystrong new
release from
Ohio'sNECROS. Thisalbum
containsa fewslow-fast metallicnumbers
; the rest consists of
power-charged
thrashers, including a remix of "Police
Brutality"from their long-out-of-print debut EP
. I don't
understand whyBarrydevoted so muchlyrical attention to
pettyin-scene
squabbles
when he'sobviouslycapable of writing
highlyintelligent critiques withbroader themes (like the title
track), but this
record should
neverthelessappeal
to all fans of
forceful hardcore
. Waycool! (JB)
(Touc h & Go--P
.O . Box 421--Maumee,
O H 43537)
The NO side c ontains two maniac ally intense blasts in the
KILLING JO KE vein
; they have whiny, abrasive guitars, a
heavy bass-drumsound, and layers of c razed voc als. The
TREND side has a music ally uninteresting ballad with
exc eptionally c lever and perc eptive lyric s. You'll either love
themor hate them; we love them. (JB & RS)
(1014 AshtonRd .--Ashton, MD 20861)
LINCO LN
STREET
EXIT -
"Baby
Gessus"
EP
Three songs in the old Texas 60's psychedelic vein
. This
could be either a re-issue or boot of a vintage group, or a new
band witha great sense of history, but it sounds reallycool.
Musically, it isn't the frantic punkystuff
; it's more of a
DOORS
type
of sound, organ and all
. (TY)
(P
syche-Out, dist
. byRoughTrade)
LYRES -"Help You, Ann/I ReallyWant You . . ."
Nowthis is
more like it! After a great debut 45 and a
disappointing 12" , the
LYRES have returned to top formwith
"HelpYou, Ann." It's a great 60's punk-type number with an
ultra-c ool
tremolo guitar; the flipis another nasty c ut with
one
of those endlessly-rec yc led60's guitar riffs. (JB)
(Ace of Hearts--Box 579--Kenmore Stn
.--Boston, MA 02215)
SATAN'S
CHEERLEADER
S
- "Created
in your
Image"
c assette
Wic ked! A totally feroc ious thrash attac k, enhanc ed here by
the poor sound quality
. Sometimes that spec ial garage quality is
a plus, as with SUBURBANMUTILATIO N
. The lyric s here are
also deliveredwith c ommittment andintelligenc e, making this an
all-aroundtreat
. (TY)
(Unsound--P
.O . Box
216--Centerport,
NY 11721)
SAVAGE REPUBLIC - "FilmNoir/O Adonis"
More
psyc hedelic exotic a
fromSAVAGE
REPUBLIC . "O
Adonis" is a
Mediterranean-influenc ed
instrumental whic h lies
somewhere between Greek bazouki music and the
KALEIDO SCO PE .
"FilmNoir" is slower and more atmospheric ,
nd c ombines haunting voc als with similar "O riental" guitar
sounds. Unique. (JB)
(Independent Projec t)
U-BO ATS - "Dead andDesperate" EP
UNDEAD - "Verbal Abuse/Misfit"
YARD TRAUMA - "Reptile House" c assette
17 PYGMIES - "Hatikva" 12" EP
This groupis akin to other Independent Projec ts bands, in
that they're rhythmic , stylized, moody, and very hard to pin
down . Side 2 is a little too sweet for my taste, but side 1 has a
great rendition of "Lawrenc e of Arabia ." Wonderful soundtrac k
music . (RS)
(Resistance--P.O. Box 11563--Marina Del Ray, CA 90291)
SICK PLEASURE - "SpeedRules" EP
An historic al c uriosity more than a music al nec essity
. This
bandwent on to bec ome CO DE O F HO NO R with the addition of a
newsinger, and evolved out of the TO O LS and X-ILES
. SICK
PLEASURE's voc alist is nowin VERBAL ABUSE
. The music here
is metallic thrash punk that sings the praises of shooting
speed, killing parents, and mental breakdowns, the dark side
of the S.F . sc ene. (TY)
(Subterranean--577 Valenc ia--S.F
., CA 94110)
SO CIAL DISTO RTIO N- Mommy's Little Monster LP
You've got to know by now what S.D
. sound like--those
distinc tive voc als, the harmonies, the roc kin' guitars, and
melodic hooks galore
. Their albumis filled with more of the
same. Nothing here is too frantic exc ept The Creeps," whic h
really blazes forth
. There's prec ious little exc iting punky-pop
around tie days, but this is one of the rare examples of it.
(TY)
(13th Floor--P
.O . Box 6246--Fullerton, CA
92634)
SO NO F SAM- "Bring O ut your Dead" c assette
Slow, intense, fuzzed-out hardc ore with lots of
feedbac k,
sort of in the FANG or FLIPPER vein
. There's something really
menac ing and c ool about this tape, whic h c ontains fifteen songs
rec ordedlive. (TY)
($2 .50 to Lac y X--20139 Mark Twain--Detroit, MI 48235)
SUBURBAN MUTI LATI ON -cassette
Hey, are these guys selling out? O n this latest tape from
Norb and c ompany, you c an ac tually hear the music and stuff.
And it still sounds like shit! No, ac tual
it's still manic , noisy,
and psyc hotic Midwestern thrash with real c lass
. Get a c opy
today! (TY)
(blank tape 6 postage to Norb--708 St
. Joseph St.--Green Bay,
WI 54301)
More garage punk fromFlorida's U-BO ATS, though this time
around the produc tion is better. The lyric s are a little goofy,
but the music is very appealing in a real basic sense and the
grungy guitar adds a nic e touc h. I like it. (JB)
(Crow--3126 East 54th--Zephyrhills, FL 34248)
Latest from
one-time MISFIT
Bobby Steele.
The line-upon
this release is nowdefunc t, as Bobby movedto S
.F ., linked up
with O lga of LEWD, and is moving to L
.A
. A-side is pretty
powerful punk, of the mid-tempo variety, right upJac k Rabid's
alley. B is even slower
. (TY)
(Post
Mortem--P .O
. Box 358--New Milford, NJ
07646)
VELVET UNDERGRO UND - Live
'68 LP
A new
bootleg-quality
release of a vintage V.U
. performanc e
in Cleveland
. The VELVETS are undoubtedly my favorite group
of all time, so I c an't
be too objec tive
. Suffic e it to say
that
this rec ord c ontains some real rarities--songs unreleased in any
form--and some of Lou Reed's most manic , dissonant, and
nerve-wrac king guitarwork ever
. (TY)
(no address)
YARD TRAUMA are a very versatile band, in that they
deliver slic es of industrial, psyc hedelic , and garage punk
material
. Aside froma few live trac ks, the rec ording is very
good(like most Ic onoc last tapes) . These guys are not ordinary!
(RS)
(Ic onoc last Int .--4447 E . Eastland--Tusc on, AZ 85711)
VARIO US ARTISTS - "Why Are We Here?" EP
The STILLBO RNCItRISTIANS, NO LABELS, BLO O DMO BILE,
and C .O .C . c ontribute about three songs eac h to this
exc eptional testimony to the variety and power of the North
Carolina hardc ore sc ene. Don't miss out. (TY)
(No Core--P .O . Box 5091--Raleigh, NC 27607)
VARI OUS ARTI STS -"Garage
Musicfor Psyche Heads, 1"cassette
Where did they find these rec ordings? This tape c ontains
lots of long lost original psyc hedelic bands, inc luding the BAD
SEEDS, the CHO CO LATE WATCHBAND, STILL RO VEN, the
LO ST TRIBE, and
a bunc h more. Anyone interested in
obsc ure psyc hedelic punk fromthe 60's should look for this.
(RS)
(Psyche, no address)
VARI OUS ARTI STS -Get Off myBackLP
From the Cityof
BrotherlyLove comes this great
compilation
. I t features a fewsongs from ten bands (see the
Phillyscene report for a list), and includes all kinds of modern
punksounds
. There's out-and-out thrash, quirkypunk, slower
punk, faster punk, jazzypunk, etc
. Mandatorylistening. (TY)
(Red--810Longfield Rd
.--Philadelphia, PA 19118)
VARI OUS ARTI STS -Life is Boring, So WhyNot Steal this
Record LP
The third in the Life is series
. This one's got two live
GERMS c lassic s to its c redit, plus neat stuff by the
MINUTEMEN, MO DERNWARFARE, ANTI, MO O D O F DEFIANCE,
HARI KART, SIN34, ARTISTIC DECLINE, and MO DERN
TO RTURE . REDD KRO SS
disappoint with their "metal" number,
andSHATTERED FAITH is so-so
. Then there's nine more bands
that get into elec tronic s, folk, jazz, etc
., for the adventurous.
(TY)
(NewUnderground--4305 W . 153rd St
.--Lawndale, CA 90260)
VARI OUS ARTI STS -"Your Skull isMyBowl"cassette
Two Richmond bands share this tape--HONOR ROLE and
GRAVEN I MAGE
. The former is a bit better recorded, but it
matterslittle since bothproduce great manicblastsof hardcore
hysteria
. (Uhoh, I 'm starting to sound like Pushead) . Send
away. (TV)
(P
. Rollins--8413 MichaelsRd .--Richmond, VA 23229)
VARIO US ARTISTS - Lung Cookies LP
O riginally released
as a c assette c ompilation,
LungCookies
features an impressive c ollec tion of bands fromall over Americ a
expressing a
variety of styles
. The rec ording quality varies
fromc ut to c ut, with most being quite garagy, but these
c ompositions provide an intriguing view of domestic
underground music with an emphasis on hardc ore
. The bands
inc lude R
.F
. 7, SACRED O RDER, RED MEAT, the REJECTO RS,
TENMINUTE WARNING, andseveral others
. (SS)
(Smoke Seven--7230 Desoto Ave, Suite
104--Canoga Park, CA
91303)
VARIO US ARTISTS - "Starving Dogs" c assette
A Chic ago-area c ompilation
with lots of styles
represented.
There's plenty of thrash, some
experimental stuff, andsome
punky
pop.
The sound quality isn't the best, whic h tends to
hurt the impac t of some of these groups, but garage outfits like
EVIL EYE benefit thereby
. The other bands are BLO O DY
NAILS, NEGATIVE ELEMENT (nowdefunc t), END RESULT,
PO LITICAL JUSTICE, VERBO TEN, the SEISMIC WAVES,
K .G .B ., GRO ANBO X, R .O .T .A
., A .O .F ., the ANTI-BO DIES,
BLO O DY MURDER, NO RELATIO N, andO NO . (TY)
($4 to Little Farmer--11034 W
. Doogan--WillowSprings, IL
60480)
VARIO US ARTISTS - "We Can't Helpit if We're fromFlorida"
EP
Five Florida bands share this record
. HATED YOUTH are
full of cliches, but have a reallyintense thrashsound
; SECTOR
4 do both thrash and fast punk
; MORBI D OPERA are
simultaneouslyweird, melodic, and garagy, and have female
vocals
; RAT CAFETERI A offer thrashypunkwithgruff singing
and some cool guitar leads
; and ROACH MOTEL (who put out
this entertaining EP) return withmore garage
thrash,
including
"MyDog's into Anarchy,"the best funnypunksong to have
appeared so far thisyear
. (JB6 TY)
(Destroy--110N .W
. 39thAve
., 673-A--Gainesville, FL 32601)
VARIO US ARTISTS - The Master Tape, vol
. 2 LP
Double LP, to be exac t
. O ut at last, seemingly a year in
the making, it features 19 bands, most fromthe Midwest, and a
fewfromthe East
. There's some great stuff, some so-so stuff,
and lots of variety in aggressive, abrasive, punk styles
. It'll
take too long to run down who does what, but you'll
undoubtedly find out for yourself, as it's really affordable, and
definitely nec essary
. But it's murder on disc joc keys(finding
the c orrec t trac ks)
. (TY)
(Affirmation--P
.O . Box 30253--Indpls, IN46220)
U.K.
U.K.
U.K.
U.K.
U.K. U.K.
U.K.
U.K. U.K.
ACTIO NPACT -
"London Bounc ers" 12" EP
Powerhouse drumming is
the only
thing going for this
Oi-punk
release .
ACTI ON PACT's style changes so little from
song to song that this 4-tracksounds like a
re-tread of old
material, except withplodding temposand even a sax section on
the title track. Boring
. (SS)
(Fallout)
ADI CTS -"Bad Boy/Shake, Rattle, Bang your Head"
"Bad Boy"
I s an incrediblyboring CLASH-type
"rock"song
whichis best
ignored; the flip is a muchfaster pop-punk
number with some sparkle to
it . I still thinkthe ADI CTS
are
rapidlyin decline, but it'sa bit too earlyto be certain
. (JB)
(Razor)
ANTI -ESTABLI SHMENT -"Anti-Men/Misunderstood"
The A-side has feedbackand a bit more spunkthan their
last offering, but its catchyriff could benefit from even more
oomph. "Rock"vocals and banal themes mar the measured flip.
Thisband never quite lived up to their potential . (JB)
(Glass)
ANTI-SYSTEM- "Defenc e of the Realm" EP
An insistent, demanding
politic al thrash attac k that seems to
c ome from the
heart. Releases like this remind me that high
quality stuff c an still
emerge fromEngland. Get it today!
(TY)
(Pax)
ATTAK - Zombies
LP
This rec ord is better than alot of the LPs being produc edby
the most rec ent generations
of British punk bands. The
guitar-enhanc ing produc tion here
is upto the usual U.K.
standard, but these guys have more energy than most of their
plodding c ontemporaries. O n the other hand, the
lyric s aren't
too interesting
. (TY)
(No Future)
BARRACUDAS -"House
of Kicks"12"EP
An absolutelystunning EPbythe BARRACUDAS, wherein
theyfinallylive up to the enormous potential hinted at in
"Somebody,"a classic trackfrom their first album . This is
brilliant mid-60's garage rockwithelements of 60's punk(the
vocals and fuzzguitar) and folk-rock(the chords and jangly
guitar)
. A must for aficionadosof that era'smusic . (JB)
(Flicknife)
CELI BATE RI FLES -"But Jacques, the Fish?"EP
Catchypower-chord progressions, tasteful lead breaks, and
extremelyclever lyrics set this debut 4-trackapart from most
current Britishhardcore . "Kent'sTheme"integratessnippetsof
cigarette jingles witha sharp anti-smoking
attack, while "Let's
Get Married"adopts a loose, good-humored quality
. An
exceedingly
winning release from a relativelyunknown band.
Bravo! (SS)
(EMI Custom)
CHAOTI C YOUTH -"Sad Society"EP
These guys
maybe youths, but I certainlywouldn't describe
them as chaotic
. The music here is predictable mid-tempo
Britpunkwithno real edge; it's onlysaving graces are the
presence of some catchychorusesand good lead vocals . (JB)
(Beat the System)
CO NFLICT - "To a
Nation of Animal Lovers" EP
CO NFLICT return with more CRASS-like piledriving punk on
"Berkshire Cunt," along with a very heavy anti-vivisec tion
theme throughout this EP . Both are immensely powerful in their
own distinc t
way, and the gruesome pic tures should stimulate
some animal lovers into ac tion
. Not for the faint of heart or
weak of
ear
.
(JB)
(Corpus Christi)
CRASS-"Who Dunnit?"
This is more of a novelty rec ord than a punk rec ord per se.
The song gets to the c ore of British life, both thematic ally and
struc turally, sinc e it's in the formof a rousing pub singalong,
but it's also about looking at ourselves as being responsible for
the offic ials we elec t, not just pointing the finger at themlater.
CRASS may be serious, but here they display their anger in a
humorous format. Americ ans may find it a bit inac c essible, but
if you knowthat "#10" is the residenc e of the Prime Minister
and that "Birds" is akin to Jello, you should get the point and
have a laugh besides. (RS)
(Crass)
GENO CIDES - "No
Romanc e/Keep
your Hands O ff Me"
Both
sides have a slight
HEARTBREAKERS
rock'n'roll feel,
with punkier drumming and some sharp guitarwork.
Unfortunately,
the lyricswould make JohnnyThunderslooklike
a paragonof enlightenment . (TY)
(Flic knife)
INSTIGATO RS - "The Churc h Says c assette
Melodic mid-tempo Britpunk
. Some
of it's all too typic al, but
the INSTIGATO RS
have a nic e
dense guitar attac k and
a few
notable tunes
. "Monkey Man" is a sharpc ritique of the mac ho
goons who go out looking for trouble at someone else's expense.
(JB)
($2 to
Retaliation)
NEWTO WNNEURO TICS - "Blitzkrieg Bop" EP
The N
. NEURO TICS' c ommand of melodic '77-style punk is
rec onfirmed with this single. They c over the RAMO NES' c lassic ,
but add explic itly anti-war lyric s in an effort to inc rease its
salienc e as '80's politic al punk; the c hange works, though the
voc als aren't as affec ting as Joey Ramone's
. O n the flipside,
they reprise the splendid song fromtheir debut single,
"Hypoc rite." (SS)
(Razor)
O NE WAY SYSTEM- "C'mon, Feel the Noize/Breakin' In"
I hate to
admit
it, but the SLADE c over song on the A-side
is a surprisingly effec tive merger of punk and Metal-glitter
styles, with its
wall-of-noise
guitar and c atc hy bac kground
voc als
. The B-side is an exc ellent fast Britpunk number whic h
already appeared
on the O .W.S
. album
. Muc h better than
antic ipated
. (JB)
(Anagram)
PO TENTIAL THREAT - "What's So Great, Britain?" EP
A very hard-to-find English debut. P . THREAT are one of
a
new generation of British thrash bands that get ridic uled or
overlooked
by the "established" c ritic s over there. Too bad!
Though they're not as intense as DISO RDER or CHAO S U .K.,
this EP c ontains some
solid material and features a female
voc alist. (JB)
(O ut of Town, no address)
CHAO TIC DISCHO RD - . . .
.Fuc k the Lot of You LP
Enough is enough! Entertaining sc ams soon run out of
mileage when people see
through themand the perpetrators
make no effort to
c ompensate by produc ing something of real
value. Suc h is the c ase with C
. DISCHO RD, who'ddearly love
to get ric h off satirizing thrash
. The music is hot but
unoriginal, and the themes are in the idiotic ANTI-NO WHERE
LEAGUE vein
. I say stuff these jokers along with Beki . (JB)
(Riot City)
DEAD MAN'S SHADOW -"Toleration Street/I n MyDreams"
"Toleration
Street"is barelytolerable pop/punk/rock ; the
B-side isn't at all tolerable . Enoughsaid . (TY)
(Expulsion)
INSTANT AGO NY - "No Sign of Life/Taste of Power"
This is the third INSTANT AGO NY single, and they're
slowly degenerating
into medioc rity. I like the lyric s and the
general
approac h, but I find the spec ific s very ordinary.
Generic English punk
. (RS)
(Flic knife)
PO RK DUKES - Pig O ut of Hell LP
Just when you thought they had been sold off as bac on, the
PO RK DUKES make their grand return to vinyl after a five-year
hiatus
. Admittedly, their newalbumsuffers frominc onsistenc y,
but the DUKES seem to have rec overed slightly fromtheir
c alc ulated trashiness to c onnec t with some real pop-punk
delights here. Rumor has it that this band is ac tually
STEELEYE SPANinc ognito, and Jeff Bale detec ts elements of
the SPANsoundin a c ouple of songs . (SS)
(Wood, no address)
RIO T SQUAD - "Don't Be Denied" EP
The newRIO T SQUAD release features mostly faster songs.
The super rawguitars are the best part
; unfortunately, the
drumming seems to hold bac k their momentuma bit
. Not bad.
(TY)
(Rot)
SERIO US DRINKING - "Hangover" EP
Like their first 7", this newSERIO US DRINKING release
c ontains a mixture of c ool singalong funnypunk (the title song)
and silly quasi- ska ditties
. The former is what makes this a
worthwhile investment
. Eye-c atc hing c over, too. (JB)
(Upright--49-53
Kensington
Gardens
Sq .--London
W2
4BA--ENGLAND)
SYSTEM- "The Systemis Murder" EP
"Let's Be Free"
leads in with a modified version of the
guitar riff fromCRISIS' c lassic "U.K
. '79," and stands out for
that very reason
. The other trac ks are tasteful, mid-tempo
punk songs with politic al lyric s and good melodies. I
partic ularly like their c ritique of the Spec ial Air Servic e
(S.A .S.), Britain's rough equivalent of our Green Berets
. (JB)
(System)
UNDERDO GS - "East of Dac hau" EP
Melodic Britpunk at its c ontemporary best. The UNDERDO GS
c ombine a ric h, powerful guitar sound with strong tunes and
c ome upwith a winner on their debut EP . "Dac hau" is a timely
reminder that mediumtempo punk songs c an grab you when
they're infused with imagination and a slight poppish
sensibility; "DeadSoldier" is fast andeminently hummable. (JB)
(Riot City)
UPROAR -
And the Lord said Let There Be LP
Fast punk and thrash that's well-produc ed and snappy
. The
guitars sound great here
(as they do on
most English
rec ordings), and the songs have that little extra something that
makes them
memorable. A pretty
good albumfromthe U
.K.
(TY)
(Beat
the S stem
UPROAR -"Rebel Youth"EP
Reasonably fast Britskunkthat sounds a bit too much like
G.B.H. for mytaste . Still, the title song is particularlyhot,
withits great singalong choruses and classyguitar frills ; "No
War No More"is almost as good . Likeable, but not
groundbreaking . (JB)
(Beat the System)
VARUKERS -"Die for
your Government/All Systems
Fail"
The B-side is the star trac k here
. Ithas the powerul,
thrashed- out
VARUKERS we've c ome to expec t
. They slowedit
down on "Die," whic h is somewhat disappointing, but it's still
tuneful andwell-produc ed
. Watc h for an upc oming album
. (RS)
(Riot City)
VARI OUS ARTI STS -Demolition BluesLP
Eighteen previously-unrecorded young bandsthat range from
'77-style punkto thrashto current Britpunkto Oi . The quality
of the material and sound varies, but most of it is absurdly
predictable. I like SOLVENT ABUSE,
the ABORTED, and
DEVOI D the most, but
there certainlyaren't anyclassics here.
(TY)
Insane
WORLD WORLD WORLD WORLD WORLD WORLD WORLD WORLD WORLD
BETON COMBO-"Sound Ltd ."EP
A lot different than their post-punky LP
. This 7" features
quite dec ent English-sounding punk with some great hooks and
an engaging style. They also do
a c ouple of thrashers. (RS)
(SoundLtd., dist
. by Rough Trade)
BLITZKRIEG - "O hne Zukunft" EP
Monodimentional but
well-produced German punk.
BLI TZKRI EGfavor a basicmid-tempo attackwithsome join-in
background vocalsand a female lead singer, but the amateurish
drumming puts a bit of a damper on the proceedings.
"Auschwitz"has well-taken lyrics criticizing popular inertia in
the face of genocidal horrors . (JB)
(No Nordstadt, dist. by Rough Trade)
BOSKOPS -SDL 12 LP
An extremely likeable thrash albumfromGermany that's well-
produc ed, powerful, and full of great hooks. At times, the
wall- of-guitar sound reminds me of DISCHARGE or CHAO S
U.K . There are some slowsongs, but most of them really rip.
(RS)
(Frostsc hutz, dist . by Rough Trade)
CANALTERRO R - Zu Spat LP
CANALTERRO R produc e diverse hardc ore material on their
debut album, inc luding full-tilt thrash ("Muftis", the title c ut,
etc
.), O i- influenc ed stuff ("Bonn-Duell"), '77-punk with
melodic guitars ("100 Mann"), reggae-punk mixtures
("Mallorc a"), some c ool roc k 'n' roll ("Hey"), and even a
funnypunk version of "My Bonnie." The guitars should have
been emphasized more in the mix, but this rec ord
is still
entertaining as hell . (JB)
(Aggressive Rock--Skalitzerstrasse 49--1000Berlin 36--W.
GERMANY) `
HALSABSCHNEI DER/NACHDRUCK -split EP
HALSABSCHNEI DER remind me of a sloppier German version
of the NEOS
. Theyplay78-r
.p .m
. garage thrashwhichstutters
along incoherentlyand withconsiderable humor (except on the
slow"Unser Lied") . NACHDRUCK, on the other hand, have a
more controlled '77-style punkattackwithengaging choruses,
more serious lyrics, and an occasional post-punkflourish
. A
good contrast . (JB)
(dist . by Rough Trade)
EU'S ARSE/IMPACT - split EP
Two bands share this 7" slab
. EU'S ARSE, who have a
previous
release, c ombine breaknec k DISCHARGE-like repetitive
riffs with unlikely-sounding voc als that suggest a poet gone
berserk. IMPACT add a bit more variety, inc luding fuzzier
guitars andraspy voc als that mesh better . (TY)
(A . Digaspero--Via Delle Cave 1--33040 Faedis (UD)--ITALY)
KO SILI - "Hardc or aus der Provinz" c assette
Well, hardc ore thrash it's not! KO SILI play older-style punk
that's quirky and sort of funny-sounding
. The lyric s are
probably funny too, but they're in German and Italian so I
don't know
for sure
. That's probably to
be expec ted
though,
bec ause these
guys hail fromthe
rarefiedatmosphere
of the
Swiss Alps
. (TY)
(MMonti--Steinradweg
2--CH-8806 Bac h--SWITZERLAND)
MO RNINGTO NCRESCENT - "Greetings fromAmsterdam" EP
1000-m.p.h. lightning darts
. Rapidly flailing unbelievable
lashings of
tremendous thrash
. But wait, bring that all to a
sc reec hing halt
. The label states 45 r .p.m
., whic h would make
this the wildest vinyl in existenc e, but it's ac tually 33
. The
music is still manic , unc ontrolled fury busting out of the
asylum, but the voc als bec ome the rawest, severest c ase of
throat growls and harsh havoc ever
. At either speed, this
4-song EP leaps forward with hammering rage and ec static
swiftness, the c agedbeast unleashed
. (Pus)
(Sc ratc hed--Elpermeer 56--Amsterdam--HO LLAND)
NO TAG - Can We Get Away with It? LP
Medium- to fast-tempo punk, with a bit of thrash thrown in
for goodmeasure
. This live rec ord is
well-rec orded, and the
band displays good music ianship, some neat guitarwork, and
strong voc als
. O n this rec ord, NO TAG suc c eeds in shedding
their previous O i approac h, a c hange for the better
. (TV)
(Festival)
O .H .L. - "
O ktoberrevolution"
12" EP
Having lambasted Nazis and neo-fasc ists in their first two
albums, O .H .L
. nowturn their venomagainst the Soviet Union.
I have no objec tion whatsoever to anyone attac king doc umented
Soviet repression, but they've adopted an extreme right-wing
approac h worthy of Bavarian minister Strauss by inc luding a
sleeve c artoon suggesting that independent peac e
demonstrators
are under Russian c ontrol
. The remixed punk and thrash songs
here sound great, but suc h ignoranc e doesn't deserve support.
(JB)
(Rock-O-Rama--Kaiserstrasse 119--5040
Briihl--W
. GERMANY)
NO TAG - "O i, O i, O i" 12" EP
Copycat Oi from New
Zealand . That wouldn't
necessarilybe
bad, except that
NOTAGend up witha
glossyoverproduced
sound like the 4 SKI NS rather than the down and dirtygrowl
favored by
the likes of I RON CROSS and
NABAT . The two cuts
onside 2 far overshadow
the band's theme song . (JB)
(Festival--P.O
. Box 1170--Auckland--NEW ZEALAND)
NI LS -"Now"cassette
Hard-driving melodicrockmeetspunk. The NI LS remind me
a bit of the WI PERS, in terms of the vocal qualities, the heavy
guitar orientation, and the hooklines
. A nice change of pace.
(TV)
(S . Sechi--Box 1914--Stn. B--Montreal, Q uebec--CANADA H3B
3L4)
P.S.A
. -"Withour Life"cassette
Highlypolitical hardcore witha rawedge
. The sound quality
on this tape is prettymediocre, so I t's not the best opportunity
to judge this
band,
but they
sound pretty
repetitive here.
(TY)
(dist
. byS Roberto Via S
. I ppolito N
. 850051 Castel
S.
Fiorentino--Firenze--I TALY )
PUTRI D FEVER -"Putrid
Fever"cassette
God, howmanyhot hardcore bands can there be in I taly?
Here's another 10-song power release, mostlyin an
American-style stop-and-go thrashmode
. The lyrics are
overtlypolitical
. (TY)
(dist . byS. Roberto)
RIISTETYT - "Brainless
Violenc e"
12" EP
RIISTETYT c ontinue to
produc e
insistent c ranks of
c ompelling aggression, an invasion of rapid-fire artillery
frenzied
in a
blizzard
of thrash
. This time, they
c ome out more
music al, glowing with a metal
appeal,
strong leads, andc reative
arrangements,
but still with the veloc ity of a speeding train
bombarding
the trac ks in quic k pursuit
. Another overwhelming
blitz of amplified mayhemthat shatters the senses and leaves
the body spasmodic . (Pus)
(Propaganda)
SCAB-"Knowthe Enemy"cassette
Ten songs of a political nature, most of whichare pretty
long (perhaps too long) . The music is eclectic and rockish,
incorporating funk, pop, jazz, etc. (TY)
(Cabbagetown--1124
Dovercourt
Rd. --Toronto,
Ontario--CANADA M6H 2X9)
SKEPTI X/O
.H
.L
. -"The Kids are United"EP
England'sSKEPTI X and one of Germany'spremier thrashers
share this 4-trackEP
. While the SKEPTI X's "Got No Choice"
boasts a scorching deliveryand good treblyproduction,
O.H.L
.'s "
Spionage"ranks as the best song on the record,
withits catchyguitar progressions and clever stop-and-go
ar
rangements
. The mid-to fast
tempo hardcore
on this release
earnsa strong
re
commendation
. (S5)
(Rock-O-Rama
SOI LENT CRON -
"Die
Fleisch"
EP
A reallyunique German record
. SOI LENT GRUN employa
disconcerting combination of chaoticdrive, shrieking vocals,
rawproduction, and an undistorted guitar tone
. The songs
varyalot, and the overall a ec is va uei reminiscent of the
MEAT PUPPETS
. (JB)
(Soilent Griin, dist
. by Rou h Trade)
The STALIN- r[pJ LP
This great band fromJapan has been putting , b
out
ut rec ords
sinc e 1979 (five 7"ers, one 12" EP, and two
somehowesc aped notic e in the West until now
. Their latest
picture disc album is amazing, like those of the best Finnish
bands
. The slower songs are wickedlypowerful and tuneful,
withgreat wrenching guitarwork, and the more numerous
thrashersare awesome
. Plus, Japanese production is the best in
the world, so order them when Rou hTrade begins distributing
them
. (TY)
(Climax, no address)
TO XO PLASMA - LP
This is a good
basic album
. Most of the songs are fast
punkers with c atc hy c horuses and a buzzing guitar wall,
though there are also thrashers ("Teenage Frust"), songs with
slow breaks ("TrSumer"), and slower numbers ("Fiihrer").
"Vakuum" sets the music al tone for the remainder of the
rec ord,
and the lyric s range from
broader subjec ts like polic e
states to more immediate, personal topic s like teenage
frustration
. Rec ommended
. (JB)
(Aggressive
Rock)
UNNATURAL SILENCE - c assette
Wild blistering insanity
. A whirlwind of piledriving quic kness
blasting explosive voc als at a sonic split sec ond rate
; c razed
grinding and drumc rashing rapidly storms this band into an
invading blizzard of frizzling thrash
extraordinaire
like D
.R .I.
Brutal non-hesitant lyric s
(espec ially
"Misfits are Innoc ent")
keep the
nervous
systemrunning amuc k
. This tape
is a must.
(Pus)
(#209-668 Lakeshore
Dr
.--Penticton, B
.C
.--CANADA U2A
189)
UPRIGHT CITIZENS - Make the Future Mine andYours LP
O ne of Germany's better bands follow their 12"er with
another mixture of thrash and punk
. All of it is c ompetent, and
some of it is espec ially moving. I love the c ut entitled "The
End," whic h is
moody and sc ary until all hell breaks loose. As
the UPRIGHT CITIZENS say, "fuc k their wars." (TY)
(H'Art--Sc hellstrasse 15--4630 Boc hum1-W. GERMANY)
Nine bands, onlyone of which--ZMI V--appeared on the Als
je
Haar . . . compilation reviewed last issue
. Yet all of these
bands are terrific as well, and indicate the depthof the new
Dutchhardcore scene
. On this 70-song tape of varying sound
quality, one can hear the SQ UI TS, LARM,
ZWEETKUTTEN,
the
VI KI NGS, STANX, GLORI OUS DEATH, KNAX, and la
RESI STANCE . (TY)
($2
to
Er
is
Hoop--Koerierstersweg
21--3815'
NT
Amersfoort--HO LLAND)
VARIO US ARTISTS - 0 Comec o do Fimdo Mundo LP
Raw, full of energy, rec orded live fromthe punk festival in
Brazil (November 27-8, 1982), and featuring nineteen bands
sc ratc hing the vinyl in a brutal assault of blistering fury.
Attac king, inc inerating numbers by O LHO SECO , CO LERA,
LUZIO FINAL, HINO MO RTAL, andFO GO CRUZADO surge forth
in a stampede of bulldozing mayhemthat is harsh andabrasive,
c arrying a heavy momentumof unrelenting power
. The live
rec ording is the only thing that mars this effort
. (Pus)
(Rua
Carambei
37--Vila
Santa
Maria--CEP
02561--Sao
Paulo--BRAZIL)
VARIO US ARTISTS - Blender Mix LP
Eight bands fromO ttawa andpossibly Quebec
. Some are
thrash (O UTBREAK, HERGS CO RPS), some are
punk (RANDY
PETERS, MO DERNES PICKLES), one is garage (the LAST
PRAYERS), and the rest
are experimental or HALF
JAPANESE-type noise bands
. Another ec lec tic regional
c ompilation for the arc hives. (TY)
(Youth Culture--Box 2541--Stn. D--O ttawa--CANADA KID 5WD)
VARIO US ARTISTS - "Holland Hardc ore" c assette
STOSSTRUPP-"Keinschoner Land"EP
The
A-side
here
consists
of
crude
straight-on
thrash-and-bash, whereas the flipc ontains two raw
O i-influenc ednumbers
. STO SSTRUPP have really improvedsinc e
their appearanc e on the Die Deutsc hen Kommen c ompilation LP,
and the sc reaming guitar mix on this rec ord should be the envy
f every hardc ore band
. (JB)
(Rock-O-Rama)
VARI OUS ARTI STS -Waterkant HitsLP
Here are
ten new
hardcore bands
from West Germany,
without a sleeper in the bunch
. Most of the bands
thrash--E-605,
RAllI A, MASSAKER,
S .S.
ULTRABRUTAL,
and
H .H
. MI LCH are all great
; OXENSCHWANZ istotallyweird, and
the others go off in a varietyof directions
. Well worththe time
and money
. (RS)
(WeirdSystem--Lange Reihe
101--2000
Hamburg 1--W. GER)
Go -0 0 3--$8
The d efin itive ha rd c o re
c o m p ila tio n . Rec o rd ed
live.
GO! Records-1 230 Grant Ave.
Suite1 1 0--SF CA 941 33
NOW AVAIL AB L E
FOR
MAIL ORDFR
RECORDS & TAPES
ULAU KLnntUIS
I CALIFORNIA
USER ALLES/MAN WITH THE DOGS
SINLLE
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DEAD KLrNLUT0
2 TOO DRUNK TOFUCK/THE PREY
7- SINGLE W2IH LYRIC-
SHLB1$2 . 00
LEI /H!'.n LA1 JLLLTZSAfl
4 1 7 SANDS-LP WLIN PUSl1 I( OR CASSETTE $6 .0 0
5 UL AUKL NL EOIN
IN COD WE TRUSTINC.
B
SONG12" EPOR 11 SONGCASSETTE$5 .00
UEAUKLNNCI]Ia
NAZI PUNKS FUCK OFF/MORAL MAJORITY
7 't
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10
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6 SONG T" ^ LP
$ 2 .00
14 1AAInun 105,4 n
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NOT SO QUIET ON THE WESTERN FRONT
47 BANDS FROM NORTHERN CALIFORNIA
COMPILAIION DOUBLE LP WITH FANZINE $ 7
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27 UL AUKL $NL Ura
BLEED FOR IR/LIFE SENTENCE
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WAS ON 4s
B SONG 1
C< OR CASSETTE1 3 .0 0
uc AU ....means
27
PLASTIC SURGERY DISASTERS
1 1 SONG LP WITH LIBRETTO OR CASSETTE-___$6 .0 0
DEAD KLnILLIZ
28
HALLOWEEN/SATURDAY NIGHT HOLOCAUST
/ SINGLE"
$ 1
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T .S .O .L.
29
BENEATH THE SHADOWS
1 0 SONG Li
OR CASSETTE$6
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DUIIHULL 1 2
was tni
BROWN REASON TO LIVE
$ 4
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2 . 91 .0 0
the time of the escape
. "I
i- s2 . 5o?e
male-female aspect of
s- $1. 00
m
In
prison tobrainwash'
F/Np
ou7 -
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z3K /S 7
-
RASH AND ,CSR/A< ME
THE/~2 PE
-ADS O/V A STfc k
~ edtrs1. ofBnfala -1
lIant W$$$' -
ZS
t' scketee
0-1' s
S
e imprii
a
in California andass
trict Judge Terry L I
attempting tointerfel
non .
Black 6
Red on White
The Bureau of, Prls
LNr..I .V.
the Fret
e carried
itterran
tributed
e. But Ft
that Mlttt
rview an
ely refit
Idthe Fri
edabout
gan Adm
Mg radar
lrcraft in
said. "Th
with prior
full knot
governs
seven 51w 0Us
1 3
SKINS
BRAINS AND CUTS B .P.
Y SUNG
/- EP WITH INSERT$ 2 .50
1 7 'AXIL
WORLD FULL OP HATE
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43
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7 to
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3 to
3 c olor on
White
All Ca n a d ia n o rd ers a d d $
.50
Plea se m a ke c hec ks a n d m o n ey o rd ers

All European orders add $1 .50 b payable co ALTERNATIVE TENTACLES RECORDS .
S-M-L
$ 6 .00 ' $
.75 p o sta ge
Emissary
whohave
s with L4
Racial p
itbut t
rotect tb
have see
ith Kadaf
hung lti
bel fora
forces at
Ouse of
identified
the Admi
Ight sett{
with the
he controls
ernment
wouldel
ventlAr ,
' Piet Inl
owtl
; ~ ALTERNATIVETENTACLES RECORDS
ng th As
PO BOX 11458 SAN FRANCISCO CA 94101'

; ;
ime effect. he andIncrease
.
R.
French Seed
The French.
friendly relatlo
sell arms toth
andbuy oil Prot
obUgatlon tof
colony of Chad
sary totalk w
endtothe fl
Libyan andr
Black
denies that his
White in the civil war.
One White
askednot tobe
are fears withi
that France
aeetabilize
. ent. "saidW
. - man Larry Spe
catloning Prat
only destabill
with is by the e
todestabilize
Clad. "
The article I
f paper Le Mon
quotations by
content was at
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The article
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that it was sen
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Chad. Speakes
were deployed
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Tc
Frae:
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wnaocGRE

Karen d'O rleans

Paul d'O rleans

the opposition and antagonisms

Like it our not, politic al

hey come here

White boy shoot,

right? They're not the

v i yi_ NON F4I(

thinks man, I think we're fuc king hot.

other fuc kin band in the fuc kin entire

P : Hey, I don't really intend to plug

with these guys bec ause this is my true

FAITH, too, and we understand that and

and did nothing for awhile and then we

PANTY SHIELDS andplayedall over.

to the punk movement . For example, a lot

they talk about

Nic k quit the organization,

saved the scene. They've

MRR : Do you c onsider the ZERO BO YS to

PAUL: Yea, when I first joined the band I

That doesn't answer you

c hanged personnel again, throwing out

VIO LENCE still

O wn The Whole World/

O ther Ac e O f Hearts great newrec ords

fromBIRDSO NGS O F THE MESO ZO IC

(ENO /TERRY RILEY-influenc edEP), anda

hot garage single fromthe LYRES out

now. Upc oming releases inc lude an

in mono(!) fromthe DEL FUEGO S,

live MISSIO NO F BURMA EP . The

DANGERO US BIRDS, one of Boston's most

interesting live bands, have broken up.

Singer/guitarist Thalia Zedek is supposedly

playing with the guitarist fromthe

PRO DUCTIO NCLUB . . .generic

rears it's uglyhead in the shape of STP,

FRO NT . . .best newbands in Boston area

are MO VING TARGETS and BUSTED

STATUES, the former a surprisingly tight

BURMA/HUSKER DU attac k, the latter

more psyc hedelic

pulse. . .NATIVE TO NGUE LP out nowon

Modern Method, better than the PYLO N

LP . . .newtape fromMaine's VIO LATIO N

sounds better than most Boston bands,

'c ept for the new FLIES tape. . .NO ISE

PENCIL are nowthe TURBINES, andmuc h

harder in the process. . .The FALL

MO NO CHRO ME SET are both bands that

ZERO ZERO remindme of, but that doesn't

mean they're unoriginal

gone into hiding. . .newfanzines out : Sugar

Guide, Smash #5, a newSuburban Punk,

REASO NS/F .U.'S/

on tour through the West

-++ Mykel B oard of

There's some other albumout,

not fasc ist

I think that it's probably more

The Vanocuver 5 benefit is still planned,

for the Rock Against Reagan gig July 3, a