https://s3.amazonaws.com/omeka-lplks/original/1eddb18da81b227febcd04e1344f3238.pdf 46efab06ea340f83807a1c2b5f5e3a73 PDF Text Text Learn Art At Home With �• ::r 0 ii ..,::r• t \attStm-D \'W.IST! Ht '•• �contents No Hit Wonders Micromag Special Report Bartender's Tip Backtrack Consuela's Double Whammy Guitar Wolf Joan Jett The Great Outhouse Massacre Live Show Photos In Defense Of... Garageshock 1997 Photos Lookout 1oth Anniversary Show Laura's Comic The Fells You Can't Hide Your Love Forever Micromag Soapbox Art Chantry Micromag Talent Test Backstage Pass Wassup 0 ' . ~Vb~c.t 1.···.·•·.• .· .. ·&{Q)~ ·•. ·. ·.. . .. ··,· : .ii~ .•... ,.s~'f. Luscious Jackass Is allve and well In the Land of the Rising Sun. lllustratlon by Craneboy. Contributors Bob Deck, Anne Tangeman , Jon Harrison , Leny Brinkman, Brandon Burke, Bob Cutler. La ura Sink, Grant Lawrence , Kory Willis , Jacki Becker, Brian Mar..hall Stacks , Angus McWhorter, Jon Bruni. Adam Mansfield , Joel , Justin Baldwin C 1998 micromag . All rights reserved . Reproduclion of any material in this magazine Is okay, so long as the author and source is cited . Photography and artwork is property of the artists and may not be reproduced without permlssk>n. mall: PO Box 442337 Lawrence KS 68044 •mall: bobbafet@cJnetlHOrks .com or consuela@ldir.net www.pllgrlmpage.com/mlcromag �The Sm Zeke• Re ~;~°:1. LY IIDD TO flT IN YOU �So smart ... any way you look at it ... 91 r '1tc,,.ekueeu 'Z)o~•~"•• -L4~H•ee (115) 931-0212 �0 HIT WONDERS When it comes to pick the band for this, still new column, I try to keep the bands (obviously) fairly obscure, but also attainable. So for instance: the Saints-yes, the Buzzcocksno. Sure you should know about both, but the Buzzcocks sold a lot more records and are kinda still around. I also don't want this to tum into me trying to one up everyone by writing about the Unrelated Segments (probably not obscure enough for some). So I'll say everyone should know the Rezill os but.. Scotland 1976, a bunch of art school students formed the Rezillos (if you wanna know about the many line-up changes you can buy the cd or look on the internet). With a comic book, sci-fi feel to the songs and stage costumes the band created a fun, energetic, entertaining little outfit. Soon after, Sensible Records put out the "Can't Stand My Baby" 45 . Thier performance with the Stranglers in Glasgow was enough to put them in bed with the mighty Sire records. Sire put out the "Good Sculptues/Flying Saucer Attack" 45, that didn't do so well, mostly due to poor production that didn't capture the energy or the music properly. Early '78 saw the Rezillos in New York to record with producer Tony Bongiori, who produced a couple Ramones records. When the album "Can't Stand the Rezillos" came out it reached 16; with the single "Top of the Pops" makin it to #19. To support the record the Rezillos toured the llses with the Undertones (wish I coulda seen that!). After that a new single "Destination Venus/Mystery Action", charted at 50. At the end of'78 the Rezillos were back in Scotland for what was to be thier final show. That show was recorded and released on THE GREATEST ROCK AND ROLL YOU NEVER HEARD Sire titled, "Mission Accomplished ... But the Beat Goes On". Anytime people talk about the Rezillos you're bound to hear words/phrases like: B-movie, sci-fi, comic book, punk, and new wave etc ... and it's all there. There's plenty more too: energetic, for one. I think for me the first things that sounded out were the Fay Fife & Eugene Reynolds dual vocals and Jo Callis' guitar, both playing and sound. The 60's pop influence mixed in with all the aforementioned aspects combine for a unique and extremely fun sound. So, if you've already got your hands on some Rezillos, hopefully you'll toss em on and remember how great they are. And, if you've never heard them, find those old Sire albums or get the cd with the 2 albums combine plus the "Venus"45 . Check em out, especially with what "they" are calling pop-punk these days. Ya know? by Larry Brinkman AMAZING NEW MICRO-RADIO STATION KAW 88.9FDI prennll NO HIT WONDERS Fridays from 2-4 PM �~TEST DROLL ~R HEARD )n". ou're bound to hear and new wave etc ... r one. 1 think for me ,gene Reynolds dual ,e 60•s pop influence ne for a unique and on some Rezillos, 'iY are. And, if you've cd with the 2 albums with what "they" are 1 ry Brinkman tlO STATION LW ~FDl ...,,11 HIT IDERS from 2-4 PM Records & Stuff We Sell: 114. MAKE-UP ~--=.:.~t'i:. :: 113. MAKE•UP 'In Mau Hind' Ill. BLUETIP 2-son11• • ® © ® © ® 112. SMART WENT CRAZY 'Con Art' • 109. HAPPY GO UCKY t::w~li SR 108. AUTOCLAVE SR @ 107. BRANCH MANAGER '"""'..:, • © 106. LUNGFISH 'Indivisible' • © 105. MAKE-UP =~.:.::: 'AARr Dark' • © IOI. BWETIP 'Dlschord No. IOI' • © 90. FUGAZI 'Red Medicine'•• © 50. SKEWBALD (Al,o'i:.~~ " ® 40. MINOR THREAT CD has ew,ry sore! ® 14. DISCHORD 1981 ::,~,:.,~ @ 13. MARGINAL MAN SR @ II~=-= •~rCO.price@/ ·=~ +eu..u.. prb @ J t+co,,...,pra G NEW Price Guide, Including postage, in U.S.$: .sg,:~ A!mli!! ® © @ ® @ 7" LP CD MaxiCD CD single 3.50 8.00 9.00 I 1.00 I 0.00 I 0.00 12.00 5.00 6.50 I 3.00 12.00 I 7.00 W. •a,tVIMI HC/0-- · Cal (10J)lSl •7S07 w l-fNI or l'a w ~-J~41tchof'1110cltMMf'f.C9ffl Wfflllww•w • (70J)JSt.7Jl1 s_._w.._~ J :~s::::: ~1.~~· fflHfffl ~s;ru: :,o::;:~,.c. lllu1tr1ted CATALOOI ,Or a plaln but comp Itta 3819 BEECHER ST. NW. WASH., D.C. 20007-1802 �SPEC~ REPORT While most of the world was glued to their television screens watching the Super Bowl on the 24th of January, my buddy Larry and I opted to watch the A&E Biography on Marilyn Monroe. It was two full hoursof "The Mortal .... ...... to that set for the entire time. It was a much more memorable event~ · could ever be. Well, the program the Celebrity Death Match was ended about the same time about the most entertai _ly lasted about IO minutes, leaving us looking for though Larry is relatively new to the sport, it cle had an old Bally the first thing I ran to Touchdown! game when we visited. otally sucked. It was really thick rubber slow. It had huge onded me with my bands in place aunts and uncl of the time. y favorites became ipped in college in e that beckoned me anyway), so we din its place was Dr. RUB's horrible about bar sports and a brand new X-Fileii' nervous breakdown I particularly pinball. At first inspe .· Sega. This should make any seasoned pin-head immediate! Hi's not a Bally or Williams game. It's pretty humorous that the game brags·a t;u: 'all business for IO whole years! Hell, I've been in pinball for longer than that ! The only way to play pinball with two people is to play what I call "Double Doubles." What you do is you put in four credits (this game is 50 cents a game or three credits for a dollar) and punch up four ·-layers. Be careful though, this game has a six player capacity! Player one plays players one and two 1 bring higher 1 from the bar, a row, and th~ Theph the focus ofth exciting of a Madness." Th you first start, logical reason all. It's kinda r pushing the bu lane that drops that. It seems I: doesn't even w1 the staple back on the playfiel electronic shoe! Once ye goes around the 75% ofmy drai, opinion this is nl light up one by c ht. This is prob cabinet drops do pretty hard to do think the replay Another A trap door opens u most viewers wil ramps/loops. It's 1 philiacs have ab~ Overall, offers nothing ne, Cheers and good f �one and two and player two plays players three and four. This enables both players to get in their respective grooves and tends to bring higher scores and longer games. Alternately, when its not your tum to play, you have just enough time to get another beer from the bar, or deposit some beer in the bathroom, or whatever. Plus, if you get an extra ball, you end up playing three balls in a row, and that's a whole game! The playfield is simple and open, and has two long and winding ramps. In the center of the playfield, and therefore the focus of the game is a file cabinet. I.)?ipl"(A'.s~:'X.cli;f\~~-!!!~med game, but for some reason a file cabinet isn't quite as exciting of a centerpiece a~ a UFQ tb{jifi#1:il~ 'li:ki(§fi•t~(AAkfrom Mars" or a castle to destroy like "Medieval ·· game, but it apparently is just forlooks . When Madness." There is a cool loq\g!)gJ!!i~l)!:>:imY.i iiihebackJtA · you first start, the game asks"yooi§ choose Mulder or Scufly, . . ..• not figure out why it does this. There is no logical reason for this ch9i~<(Jt:.goesn't seem to alter your score an~)fi#ffi!jnly doesn't change the play of the game at all. It's kinda refreshio.g··lu.~t:"ihis game doesn't have a skill shot, bu' ....... e time, once you launch the ball by hole and shoots out to the pushing the button (9r,.!1Jppi:i,g both of the flippers) it just goes straigh lane that drops to y.()ur ·ii'ght flipper. That's bow play begins and there 1s . ing very wrong about that. It seems like allofilie new games ha"l'e''either a gu1itwe of launcher' . . plastic button that games that were doesn't even work ha!fthe time. Whal everh4ppened toµJ~g:pod ol' plunge the staple back in pll:iball's glory days? Areahskjll sher-is .placing the ball e~actlfwhere you want it on the playfield by •using just 1he right tou~h,..not. r~lyiag.., on 1he force of·sqqie predetermined electronic shock . · unfair loop shol that Once you bi,gjn play, you wil:l be quick tqt~alize that ihere is an in . goes around the file•~a~i11e1 in the.l)enter, and slingshots the baff,\:jirectly cl. center. 1 swear that at least 75% of my drains ~te•a ,.direct result of thal fatal loi)p. The gam,tseems. ·· ··e that this is a problem, and offers a small bounce back pin between the flippers, but in my opinion this is no comp¢11sll\(pn for such an unfair loop. In fact, this g be a really fun play if it weren't forthat damn loop. This loop is part of the six "X" shots that , the player is awarded "The Truth" which is a four-ball multiball with all six lanes and ramps light up one by one, ai\cffu~Iµ® both ramps and all four lanes. 0 lit. This is probably the ··•·•·•·· ·····•• •···. of the game. The regular, thr all is achieved by shooting the file cabinet in the center(also a fairly sketchy shot) until the file cabinet drops down into ·:: you can drop the · er. The jackpot is also a fairly difficult shot to make. It's done by shooting the left ramp, which is pretty hard to do unless you -ltf!:W;\lie:Y\!WY r right flipper. Jackpots start out at 500,000 which is pretty good for this fairly low scoring game. I much forget it after that first shot, if you want to play the multiball for any decent length of time. think the replay was set at I O,OOO;OOOMli¢n ··········· Another pretty cool, but kinda dfffic '· ·· re is the "X-Files." This is achieved by shooting the right ramp three times to spell "FBI." Once this is done a trapdoor opens up right in front of the same ramp and is easy to hit. The game then picks a case for you out of the X-Files. Each case is based on a story from the TV show, and most viewers will recognize them . Depending on the case, the game will light up one, two or four of the "X" shots and gives you a couple minutes to try to shoot these ramps/loops. It's pretty challenging to make all of these shots in the alloted time, but it can be done. This same feature sometimes asks a trivia question about the show, so Xphiliacs have a better chance at getting these correct and claiming the 300,000 prize. Overall, The X-Files game is a simple to learn and fun play, save for the "death loop." As far as staying power goes, no, this game will not be considered a classic. It offers nothing new to a seasoned pin-head, but because it is easy to figure out and doesn't contain too many different features, it could be a good place for a novice to start. Cheers and good luck' an4Ii.\'!!Y �) / / ,{)~7! 0 -- • only $6 for four half shots of your choice lwl:ole Take o shaker and insert ice, a measure of your favorite scotch, the juice of half a lime, and some sugar. Shake and strain the mixture into a collins glas.s which hos been filled with ice. Top off the glass with 7-UP, soda and a few dashes of Peychaud's bitters. Hew t• lte Glenlevit Glenfiddich Royal Lochnagar Cragganmore Oban Macal/an Lagavu/in ltetter 1 Have your money out when you order a drink. *.. . 2 If the sun hos gone down, it is too late for a Bloody Mary. 3 Never drink on credit. It is bad karma. favorite beer: Fuller'• great place to get o drink: Leun9• No windows, stole popcorn, interesting jukebox- everything you always ' wanted in a bar and more. - . Every Wednesday/ The Single Malt Scotch Taster Special Louise's/The Tap Raam The DowntDwni.a- 71handMUNCIIUMlb -. JJL ,. ' Ct-1£CK ll.t OllT ON Tf/£ WEB! �- , 0 ,day! ICial avulin FURNISHES A WONDERFUL PRE-SELECTED MUSICAL PROGRAM •.. cho••n with car• and taate 0 MONOA Y• $2.00 CALL COCKTAIL C\.tewLY REMODELED DOWNSTAIRS ... with positive apace enh.anc~~•,"t 0 TlJESDAY· $2. 75 PIIEIIIUII COCICTAll • - , ,~ -;;.._ ·"K~~-:.:~ - SMILING FACES ••• happy to aerve or not . .rv• you .- -·-: :;._._ - ~ _- .;::WEDNESOAY• LESS ODOR ... 0 THURSDAY· - $1.75 IJOTTLES o I••• all around funk $2.00 MLL 0- - - _,..0 COCKTAIi. BETTER SELECTION ••• as to ffl your HI-Fl IHHtylo J,, 0 FRIOAY· SELECTED SPlllrT S ATlJROAY· SELECTED OIIAUGHT SUNOAY· $ 1.75 DRAUGHTS 0 FREE POOL ••• s .a ovoryday 801 new hampshire ENTRANCEONEIGHTHST. �OPEN 6:30 am - 2:30 pm Dinner 5:00 pm - I 0:00 pm J1 Haili Jacki Bee She cam, started K has been I We serve breakfast all day because we car,. 728 Massachusetts Lawrence KS Anne Tan Jacki Bea experienc1 there were Bunnymer Outhouse. vice pres id hung out a under21 w I don't kno Fields Mari start one-th many tapes AT: What favorites? JB : Everyth City and the felt like I goj Worker, Ym jacket and g �Hailing from Westbend Wisc., renowned home of appliances, Jacki Becker has been a part of the Lawrence music scene for years. She came to Lawrence on a swimming scholarship in 1987, later started KJHK's very first local show "Plow the Fields Martha" and has been booking shows atthe Bottleneck for live years. day Anne Tangeman: What was the music scene like when you got here? Jacki Becker: Because I came down as an athlete I had a different experience at first at KU because you're nestled with this group, but there were about five ofus that liked concerts. I went to see Echo and the Bunnymen, U2, and ... Fishbone. T hat was my first show at the Outhouse. Turns out it was Kevin Gasser's going away party-he's now vice president of Hollywood Records ... .I quit swimming and I basically hung out at the Crossing and saw all the Crossing bands. When you're under 21 where else where you going to go? And of course the Outhouse. I don't know-I just started talking to local bands and I started "Plow the Fields Martha" on KJHK-there was no local show and in 1990 I asked to start one-they said sure. Every week I interviewed a band and got as many tapes as I could-the scene was really starting to take off. AT: What were some of the bands you remember-some of your favorites? JB : Everything for me started with Joe Worker. Obviously there was Sin City and the Homestead Grays who were standards, but for me, where I felt like I got to know a band and I was friends with the band was with Joe Worker. You know, I'd put on my little combat boots and my leather jacket and go to all the house parties on Ohio St. and Connecticut St. to see Joe Worker.. .the song "Frozen Embryos" ... we all loved it. They were, for me, the band that I really felt close with .. and Zoom. Of course Sin City was phenomenal. The Homestead Grays-you just had to love them. Two Car Family, obviously Paw. I started loving Paw at a really early, youthful, embryonic stage for that band. There were a lot of house parties back then. There was always a new band playing somewhere at somebody's house-which you just don't get anymore . The noise ordinance kind of crushed it. Kill Whiety- you'd always go see Kill Whitey. There were so many local bands and it seemed like very much a family thing. Bands would go see other bands. You'd go to a a party and certain members of the Salty Iguanas would be checking out Joe Worker... or. ..Mongol Beach Party-I always liked them for some reason. They were from KC and it was kind ofan odd band but they were unique and kind ofinventive in a Frank Zappa kind of way. Random Aztec ... that was a band I loved. AT: They had a flute though, that's why I didn't like them . That was it for me. JB : There were just so many bands ... Love Squad .. .! love the Love Squad guys. There were a lot of different bands. All different sounds. AT: How did you get involved with the Bottleneck? JB : I graduated, Martha died in some weird tractor accident and got rid of her... she was hit by a combine, so I thought okay I don't want to be a DJ, what do I want to do-so I decided to go to grad school. I was giving up on the music thing. It was fun , but I did it in college. In the meantime, my boyfriend was working at our favorite copy store and I was writing a play, it was the third shift and Brett came up to me asked me what I was doing. I was writing a play, writing applications for grad school. .. he asked me ifl wanted a job. So pretty much without a resume or anything I got hired. I didn't really have a job, he just told me what he wanted . "We're going to do this, but we also have the New Times and you're the calender editor" so I kind of took on two jobs for two of the things he �owned at that time. This was 1992. At that point I think the Bottleneck was the bar everyo ne went to. You had the Outhouse, there were very definite places for people to go-the Outhouse, the Jazzhaus, the Down and Under for a little bit. There were a lot of different places people could play. The Cross ing ...there were always shows at the Crossing, even at Yello Sub. The Bottleneck hadn't been doing a lot of shows-the biggest at that time had probably been Sugar and the Flaming Lips. Obviously the bi g Living Color show that Brett will always finger as the show that made him realize Lawrence is a music town. That was a show, that kind of for him, changed everything. There had been a lot of big shows but not a lot of steadily, big bands. '92 was the Nirvana years so I think alternative music was kind of coming to the headfront. Maybe he hired me because I loved all that kind of music and it was the right time. AT: I gotta ask about him as a boss. He has a certain reputation ... JB : I think people are very mistaken. I think they perceive his silence as negativity or his ...he's a very quiet person, he's a very devoted person. I think he took a lot of risk. As we've seen by the number of clubs that have closed, it's hard to run a bar, it's hard to run a bar with live music, it's hard to run a bar that on occasion tries to do all ages things and tries to really commn th e whole community to music. I think he's taken the best of everything and let us all have a little piece. You've got the hippy night and the punk night, the metal night, the ska night, the swing night and the pop rock ni ght. ..you have to take a lot ofrisks. l think people are quick to point fingers and say there's a monopoly or this or that, but you knowwe've worked our asses off. I don't do it because I want power. I think we don because I love this community and I'm just thoroughly amazed by Lawrence all the time. That people will come to shows non stop. That we can do 30 shows in a row and the community will come out and support it-that's phenomenal. He doesn't say much always and that's good because yo u have lots of free reign to do your own creative ideas, which hP.'s let me do. But it's also a bad thing because you don't know if you're doing a bad job. I thought he hated me for the firsts ix months-he doesn't talk. I think it's easy to point a finger at someone when they don't talk. If you get to know him he's a good person and he's hard working. He.wants what's best for the community and the people who live in this town that like and support music. He's a great boss. I attribute everything to the community-there's a lot of people here, from the labels to the fanzines to the radio stations to the clubs to the bands, that give a shit about music. They're committed to it. No other city in America really gets as many shows for our size of a city. Kansas City doesn't get crap, we get everything here and it's partly because of the community and the people in the music community working together that we're one of the top 15 stops now-up with Chicago and Dallas and Denver and St. Louis. Half the time the bands think we're weird two headed freaks that inbreed in Kansas when they get here, til they get to know us then they say Lawrence is a great town. Lawrence has everything. It's a little bit of everything. AT: What do you think about that time when bands were getting signed here, Paw, Stick ... When people were talking about Lawrence being the next whatever.. . JB: When that was going on that was really exciting. It was really cool for me to see these bands that I knew get all this attention, but I think the music industry has changed so much from 92 to 98 that what music is now... obviously you've got your really nice die hard independant people that are very supportive of indie labels and indi e promotion and indie rock-that's very positive. Then you've got the big labels and the big companies pushing the one hit wonder, one hit single band. I don't think they sign bands anymore to create a scene. I think they wantthe million dollars and the buzz bin and that's it. That era was so .. .! felt so young then. Now I feel like I'm this old jaded fu ck, but in 92 -which wasn't even that long ago-when bands like Zoom and Paw and Stick even Kill Creek and Mountain Clyde, were getting all this attention .. ! don't think labels were looki1 worthy of careers, something to mali some dumb tv inb Spin and Rolling S KC says lets do 1 questions ... they was going to be the look at the size Lawrence has pro because there are through people he1 AT: lthink a Iotc it's j ustthat. The1 JB : Exactly. KJ h, there for a really I who weren't in the to play music and people who worke across the country scene itself WetalkedaE she thinks radio is in short spurts Chumbawamba become more co Kansas Citystatio JB: They're forced they won't pick a SQ Five, or whatever I County to Lawreno �>I e is rlg~ \k In labels were looking for career bands and I think all those bands were worthy of careers, not one hit wonders. Media is constantly looking for something to make money off of, something to promote. I had to do some dwnb tv interview 2 months a go about women in rock because Spin and Rolling Stone did a women in rock covers so some tv station in KC says lets do a story on women in rock. They asked me ridiculous questions ... they were just looking for another story. To say Lawrence was going to be the next Seattle, was just another story. I mean obviously look at the size of Seattle versus Lawrence-it's impossible. But Lawrence has probably as many bands perhaps as a lot of big cities because there are so many people here-through the university and just through people here in town who love music and who work with music ... AT: I think a lot of people attribute it to the college, but I don't think it'sjustthat. There are roots that go way back. JB: Exactly. KJ has a lot to do with it too. There's a station that's been there for a really long time and it enables you know, geeks like myself who weren't in the Journalism school but who love music, to be a DJ and to play music and to get a career out of it. I could make a list of a zillion people who worked at KJ that now are in the music business elsewhere across the country. I think KJ nurtures bands and it nurtures the music scene itself. We talked about the state ofradio today and Jacki told me that she thinks radio is now geared towards people who listen in their car, in short spurts and that's why you'll hear Smash Mouth or Chumbawamba a billion times a day... and that the KLZR has become more commercial because it is competing with so many Kansas City stations: JB : They're forced to play say, the new Matchbox 20 or something and they won't pick a song that's huge on KJ like say, Unwound or Pizzicatto Five, or whatever because Mary Scary in her car driving from Johnson County to Lawrence from work wants to hear Matchbox 20 for those 30 minutes. I think it's the sick degeneration of music and it's destroying bands and it's destroying clubs. Every time we try to find a one hit wonder, that's one less perhaps local band that isn'tgoingto get a deal for nine records-they're going to get the one record or what not. We have to book them for lots of money and they're not ever going to come backyou get them once and go, okay... AT: It's kind of hollow. Like when you're a kid and buy a record for that one hit and maybe the rest of the album's crummy. Some~mes you go to a show like that. JB: There's lots of shows like that. You can watch the parade, watch them leave after the one song. I remember Lisa Loeb ... she played "Stay" and 1 swear 50 people left the Bottleneck-instantly. I swear, they exited like little lemmings. That's all they wanted to hear. 1 think generally Lawrence as a community is more intelligent than that, but that doesn't help the Lazer any. They have to do what people say. I would love to hear different songs on the radio .. but it's not going to happen, so you listen to KJHK. AT: What pisses you off most about the music industry? JB: Let's see ... wow. I think you can separate it locally and ... Locally I'm frustrated because I think the community doesn't identify truly that there is a strong music scene here that deserves supporting. I shouldn't be bitched at by local businesses when a damn bus drives down the street and I get fingered and pointed at and scowled at and yelled for things. It's ridiculous because they're bringing in more than 900 people likely... Why, ifa local band decides to put posters up, and they do a good job and they put some on telephone poles, do they get sent back to me and they try to fine me because "the community doesn't want to put posters up there." Drives me crazy. Sometimes I think Lawrence is in denial that we have a good music scene here and that we have clubs that support live music. From the Jazzhaus to the Replay to the Granada to the Bottleneck and Liberty Hall. .. these are good venues that have �worked really hard and support musicians and I think the city does a lot of things to prevent that. Nationally.. .gosh, there's tons. I really don't like the fact that bands get signed for a hit-you know-instead ofa band that should last for 8 albums . And if you put out a good album and it doesn't sell, you get dropped. Like Molly McGuire was dropped recently and they're a good band. They weren't really given a chance. I think the music industry was so quick to sign so many bands after Nirvana got signed and then what they did was sign a lot of bad bands and they forced these bad bands to go out and tour with the other bands and not allow local openers. So, a local scene will single-handedly die because if you're paying the 12 bucks to see some huge national band, you're not going to pay the 3 bucks two days later to see a local band cause you're like "I spent all my money" . I really dislike that when national acts don't let a third band or a fourth band-a local band- to play for just thirty minutes . Because that's the key to getting people to like the local bands, to come see the local bands that could in tum, become the next signed band. That really bothers me. I think there's a lot of greed in the music industry., I think a lot of bands ask for more than they deserve. Like, why do I have to buy you cigarettes and socks? Why if you're getting a hundred bucks .ne you in a tour bus-why can't you be like Jesus Lizard and drive in a damn van or like Mike Watt. I base everything, alotofiton the past. I think of all these wonderful incredible rockers in the 80s that did the punk thing and drove around in vans for years. That's what music was . You either did stadiums and you're Peter Frampton or you did clubs. Now it's this weird blurring. Bands come in with their own production and the biggest light things I've ever seen ... we did a semi-trailer for Marilyn Manson and Widespread Panic and Morrissey... this is big time shit we're talking ... then you look at the Jesus Lizard. Three of them show up in their van and they put on a great show and it's as good and probably even better than the big honking light show we unloaded for nine hours the day before at Liberty Hall. I think there's a lot of excess. I can't wait for the music biz to dwindle .. .! think it's already happening. A lot of labels are laying people off, cutting back-to go back to the roots of where it all began which is you play live, you get the van and you tour. The goal shouldn't be to go press a CD with your parent's money so your thirty friends will buy it and no one else is going to buy it. Local bands: don't make CDs. You have 30 friends and you're going to spend $600 to go to the studio and record this thing and where are you going to sell it if you don't go on the road? You're going to sell it in the record stores? Who's going to buy it? I think they should be into wanting to play live. That's how you get fans who will eventually buy your records. Make at-shirt. Let them buy a t-shirt to promote your band. Don't think a CD will change your world cause I don't think it does. Yeah, you can send it off to all the labels, butlabels are cutti ng back and not signing as many bands. I think we need to all start back at the ground again and that's touring in a van and it's playing to the fans and not being as concerned about money and playing because you love it. AT: What have been some of your favorite shows at the Bottleneck, or shows that you have done? JB: _My favorite show ever-and I wasn't working there yet-was the Replacements at Liberty Hall. For me that was phenominal. That was 1991. Jacki had so much more to say about great shows (and not so great ones) that she's joining us regular-like with her infamous "backstage pass" column starting in this issue! BACKTRACK �of {e 1al rty n't to OU o's at's irt. ill lfto 1ds. I ina oney great mous - �Next to horrc Godfather, G deeper, you c, At the top ofti thing about 7l ,found out Seri Sure it's long, gangsters, dan that grew up iJ gangsters, par and based on flashbacks, v version troubl long version Wood's char small and gain totally engros; outsmarting th Check it out. Pearls uncovei noir with some sure Scorsese i much as I did (f blood) then cht along the sanne masterminds th crime but of co1 narrator, The J(J there are hundn down at Libeny �Next to horror movies there's nothing quite like a smoking gun to curl Consuela's locks. The Godfather, Goodfellas, Miller's Crossing, Reservoir Dogs- they're all great but if you dig a little deeper, you can find even more treasures. At the top of the pile of dead bodies lies my favorite movie of all time (I know, I know, I said the same thing about The Good, the Bad and the Ugly-okay, it's a tie.) Once Upon a lfme In America. I later found out Sergio Leone directed them both. Sure it's long, and if you don't get the long version, you'll be mightily confused, but it's got ital!: guns, gangsters, dames, cool cars, plot twists galore ... and De Niro and James Woods. The two are buddies that grew up in New York City in the twenties and thirties, small time hoods who grew into full time gangsters, part ways and later meet under unusual circumstances. The cinematography is incredible and based on the famous photographs of some guy whose name I can't recall. The movie takes place in flashbacks, which makes the shorter version troublesome, but if you get the / / / long version you'll see De Niro and Wood's characters as kids, startmg out small and going up againstBugsy Segal before he hit the big time. From kids to old men, you become totally engrossed in their lives. De Niro is Noodles, who along with Wood's character keeps outsmarting the cops .. .it' s got the breadth of two Godfathers. Even the music gets me every time. Check it out. Con.sue/a 's (:I)oulble Pearls uncovered lately include Killer's Kiss, Stanley Kubrick's first film effort. It's unpolished film noir with some outstanding visual shots. The anti-hero is a boxer and though it's no equivalent, I'm sure Scorsese ingested a few scenes before shooting Raging Bull. If you loved Reservoir Dogs as much as I did (finally had to stop seeing it after five viewings- I was growing numb to the volumes of blood) then check out The Killing. Tarantino surely pinched a few ideas from here. The plot runs along the same lines-a handful of down on their luck guys, brought together by a head honcho who masterminds the heist of a race track's daily earnings. Everything hinges on perfect timing of the crime but of course something goes wrong. Less blood (B & W) and a lot stiffer with a "true crime" narrator, The KIiiing still has enough smoking guns and plot twists to keep you on edge. Remember, there are hundreds of gangster movies in the naked city. These three are available from your friends down at Liberty Hall Video-749-1972. �Out now from Noisome Records! Get it wherever cool records are sold or send check or money order for $12 to: W.T~7J.E RE!"ORDI I'() I Ho, ~.::;70 I ,l\\r .. nu.: KS hhtf-1(1 lll,111 u.., .it No1..,01111.:l<1..·1.. a .tol u1111 �rs! �1 fi!lfilfl~iiiif~f;~[i!Jl!II ��OUT NOW! THE DAMNED• TURA SANTANA• MAN WILL SURRENDER • Coinpldt. contact lnform,i.tton r« 1500• Mts •nd aMOrttd tndr:pcuOcnl pu bllc:llklM • Con1'Hete c:ontenlf. r:1•t. pAJCel'. ADC. •nd pradncUon °qWll.lty of all 11Y1..tlablie ISIUC• of ~.r)':UncllStt:tl. • lndo:cs band5. n:cord bbc~. and all (C--.. . . subje(:ta/topsca. $4.00 ppd In U.S. • $5.00 ppd cu..ia/l(e&leo • $7.00 ppd -14 .r.ll..lll/al.) Zlae Guide • POB &&8'1 • ltftuton, ·::/::~~::::::;: U.•&0204 THE CANDY SNATCHERS GROOVIE GHOULIES • THE DONNAS 111es11ne1rMracCMa.Com , Tired of crappy selectio1_1? SUNDAY MARCH 29 OUADRAJETS • THE FELLS THE COG FACTORY • OMAHA , NE UNWOUND• CHROME TECH• THE GET HUSTLE 2429 Iowa Lawrence KS 66046 785-842-1544 �����Tl-If BfJBBlf BOYt OfBfJT FfJll lfNGT!-1 !Till AVA/lABlfl CD available at Lovegarden, Alley Cat, Recycled Sounds and other usual outlets or send S11 ppd to: • Noisome Records PO Box 3570 Lawrence KS 66046 email Noisome at NoisomeRec@aol.com �sleep it off yo, cause y_o man, bonus, yo dude ." The man backs up and drives away. The Great Outhouse Massacre byaobCutler t:~:~~ill everyone ~~:~ th eres ti IOHJ~~~ him the bonus tip, and yo, man, "Is thi s the Outhous ''Naw man "' tell Jew "He'll be back, that dude's got an agenda, and he's REALLY REAALLLY w ants four miles 1 5 also told bonus wasted .. .! think he'll be back." "The Outhouse? Now back in the dah, I was helping Jeff Fortier do all of his shows at theOuthouse .. .. hell , I ~:ep;:~!~ ~!e~C~~:::~ actual ,~W:{~e;s~1 is bac/tffet~~i~;sebt; ~~i~li~·~f~~,e hot night. .. lt's the truck. "Si r, Jis1saneme1 . We were out at the Outhouse that anemoon loading in gear, setting up the PA system, and wearin ~;~i~~~~:s~~~e~bi~r~r:~te~~r~dhe~~(idfci~~~~!~~oo[e~~~~:· and yes indeed, he is ~~ebr~t~f said, as thougn getung ready for the show A couple of the bands had shown up already and where milling about throwing rocks and ~e drunken exhibitionist staggers into the Outhouse and looks around, then he locks himselfin "NO! Some guy ii gettin~ dl)Jnk a few qthcr people h~d also s~own up to hang out Josh and I were hauling in the the bathroom . He is in the bathroom for almost 30 minutes. I began to worry.. more. Had he passed out chasing people around th 11 in there? Was he doing something I'd rather not think about in there? Sheriffout here quick! " gear up and down the road past the Outhouse. Jeff and l were discussing what to do about it. I was ready to kick the door in to check on the J try to convince C The truck would come down the road slowly, until it got m front of the Outhouse, then it would guy.. just then the door opens and out he waddles ... and yes indeed, he had a woody poking out of his people had indeed run ir. 1 1 red bilc.ini . He staggered around a bit more\ then got back into his truck mutteri ng some shit, and giving someone was indeed in di S'i,hdo~~~f~~ c~~~~e~c1~'t~~i1 ~~~~~~.~J1i~Y;:1h~ !~rlci~~ 1 Jeff a ~tkda~sd~~~::uj;'~~~-bit. I was turning to Jeff to a ain suggest that maybe the "Sir, can you descri fo r a minute, then backs out and speeds off 1 1 sheriff should take this guy off the road ... when ... WHAM ! He puts the 1rucf in gear and rams the bands 0 0 11 looks Ii ~i~k i~'~ ~o~ e J~~k~e~aJe~rel11/b~nJ;;~~Jd~~'i5 th~ s~~w:~~1a~eu~ i~ van in front of him . A couple of guys leap out of the van yelling "W hat the fuck!!?? " The drunk backs little test. h up again and rams the van again . Ttie people milling about look up startled , and sta11yelling at the guy "Well .. .i t's a trucl bu zz l ji((s:ys "N aw, i1sjust a farmer checkin' shit out Don't worry about it. We don't want the "Yoyo yo yo yo! Bonus Yo, man YO! " Jeff yells. The truck begins dri ving in donuts arounct the it ... And there is a fat dn Sheriff out here " parking lot.. .He p1dCs out Jeff and dri ves straight for him ... .Jeff stans running double bonus fast, yo. I everyone wt tell her. of love had turned to a look of rage and death The man had Outside thebull-l look at the driver as he goes by ... that look (This is : :~~il~ ~h~~ t~a~~tt~hJ~tf)Y comes back and starts some shit.. ! can feel it in me bones ." 1 blood in his ey~ . He was tossing gravel, speeding around , chasing Jeff, and a whole herd of people ru m mel You bllnch offa Jeff didn't t~ink it was anything to worry about. but my spidey-sense was tingl ing, I KNEW Dust filled thea_lf. . . . . . phone line out so that I< something was going lo happen I ran ms1de the outhouse and watched from the wmdow... th1s man was intent on running tryi ng 10 run over J>I So we keep loading gear and tinkering with the Frankenstein monster of a PA system that everyon~ down. I y~ll~d out "Heyl Run inside, everyone get in here!" A!1d they_ did ... people sta11ed air.. pandemonium. "Can I have ourn we had The truck keeps com inf and gointslowi~ and speeding by, and generally actinj weird . runnmg mto the building. The I heard a crash, and saw a couple of bodies fl y m througti the door, 1 1 "Yeah I'm i/obCu horiz~ntal to the ground, 0ivi11g. At first I thought that they had been hi!,. and.had b1.:en thrown in~o the and ho~irt~~t~~l~;;s~=j~a~~?or ~~ a~d h:r ~Yt1hJ';;~h~11i "And i'his is at the( building. Then the wall came in, as well as the truck . The truck landed ma pile of cmderblocks 1n the "Yes ,, truck comes flying down the road . It goes into the ditch opposite of the driveway, flies out of the middle of the room . The people, had luckily rolled out of the way and taken cover. ditch, and into the cornfi eld across tile road . We could see the truck cruising around in the com The truck sat, higti-centered on the rubble. People started getting up and advancing on the truck And what is the C! across the road. Jeff and I look at each oth er The man at the wheel looked terrified, and in a blind rage. Pieces of the cinder bl ock wall were hurled I didn't know I h "Holy shit'" Jeff says. at himhand his truck ... he put it in reverse and peeled backward, finaJly gaining traction and backing Mass street on 15th · its "Man .. I knew it. I say Then the truck bursts through the com, flies across the ditch and throug the_hole he had made. . . . . . plead with her... shedoeS comes strai~ht into the Outhouse parking lot. It ~ulls to a stOP. behind one of the band's vans. A I ran intoth_e bathr09m ... a y~ng man, with his pants around his knees came hoppmg out. trying Just then Josh run to pull them up, wide eyed m surpnse. the phone "Uh I,suess k e~~~eer~t:_d J~o-';~sb~~;:r~~dh:~·s . ..v~~·~:~!~fha~~i.'te~! "Wha... what he fuck?" He stammered as he hopped out. .. l guess he had been on the throne, "A · un? ··5,r wht We walk carefu ll y up totfie truck. I am expecting a gu n to come into play at this point . We doing a bit of excremeditation ... some foot and a half on the other side of the wall from where the truck don\ kn0w 1 came through . I pushed past him, I wanted to get to the phone in the closet in the bathroom. The closet womens underwear • f ti J~nt~n;~~j~riJh;g i~acith~~ door was locked, and half_due to adren~inh1_1.nd half due to crappy craftsman sh I y_anked on the doqr, be taking this very s·erio help me, I need some help here ... " .and · "I want you to lJeat me up" or "I want you to beat me off." and the whole damned thmg came off1ts mges ... as I pushed the door away, 1ooked on the floor m in ro ress l'mnot surewhich Jefftalkstotheguy front of the toilet .. there on the floor lay a fresti steaming turd ... nodoubt helped along its journey by the p g"L00k just send ~v oyo yo, man , check it dude, yo, heres the bonus, yo. check it dude, we got a show, yo. and truckflyingthrou,gh the wall. someone?" I isk heraga it doesn't start 1ill later man, yo dude. so maybe you shoul0 like go get a bonus nap and come back "Sir could you de I grabbed tfie phone and dialed 911 . Outside, people where hurling rocks and bricks at the truck, Iater dude yo " which was circling the lot A voice answered the phone. "No' I'm inside h, The drunk mumble s some shil , and asks fora blow job. At this point I notice that the man is "A'nd he's we3.ri "Emergen~y dispatch, how may I help you?" The womens voice sai d .. and my god, it DID sound not wearing any pan1s either and due to the bloated belly, I can't tell (thankfull y) if he's wearing scratchy_and stauc~... truck?" She asks again any undies or not :u_h,,yeah, hi .. .l'm out her;~t the O~thou~e. and uh . we have a probl em " ·1send Josh out to "Hey yo man , like check it dude" Jeff says "Yo, man like, maybe you need to go home and S1r. lsth1san emergency . The vo1cesa1 d paper J recitetheinfotc (seconfh~~d)'bouth~ t~i~in~cli t~~t::Cf~H:1:~~ ~h::1~~~A t~r~~ ~?~:~il!~fo'X•i M~i1i~is~\~~~db~ti}} ~sc~~~~/gr~:{;!r~~nd~ ~aa~i t;~.f~e6':1l"e summer t hf::c~ ~~df ith: 1i c~~i~rieing like, !!1: f ~~tY ~:~~,~:li":t ~=~~?~"• the '8~ !:~ hi~ N ~$i~.·J!~ A~:~rit ~r3th~ II ~i :~!i~~ faff fa~i~~ !H!~~-~!~;~ if, "f �1away. the bonus tip, and yo, man, 1e'sREALLY REAALLLY Alittle while later, our man n and parks. He gets out of odka, and yes indeed, he is thaL nd, then he locks himselfin f. more Had he passed out the door in to check on the a woody poking out of his eringsome shit, and giving ;ain suggest lhatmaybe the iicti!?? '~fh!d~~k t:~f: :~~uen~ ~e 8 0 ng double bonus fast, yo. I ge and death The man had nd a whole herd of people ':ti~adid.~~;~ple~~~~ ;fh% pile of cinder blocks in the re~b1~ktJ :over. ~e~heeh~fekd ining traction and backing .s came hopping out, trying f!~1}r~:~i~~tll~f~"ct the bathroom. The closet th .~~ift~t:t~~ ~. n°~';'l~ ralong itsjoumey by the tks and bricks at the truck, and my god, it DID sound r "Yeah theres this drunk guy in a tru ck, he's wearing a red bikini, and he's trying to run "Look! How many drunk naked men are driving new red pickups around the county at 5 in the everyone over aflemoon l?" 1yell at her. "Is this the Outhouse on I 5th street?" The voi ce said. I look back out the door, and sec that the truck is leaving the parking lot and heading west on "Yeah, four miles cast on 15th .. this guy's drunk and drove through the building ... l think he I 5th street, towards town. wants to kill us." "The Outhouse? A man is try ing to kill you with red bikini's?" She asked ... "Sir, is there an before ff~ards town, he's drunk and crazy and you better catch him actual ::~~?~'o. the man is wearing a red bikini." "Oh ... OH!" Shesays .."Well, lbetterget someone out there!" She finally agrees. "Sir, this ts an emergency linc ... if this isn't an emergency then you will have to get off the line." send them up I 5th street so they can intercept The voice said, as though she ihought I was merely reporting a grave fashion faux-pas, involving a him." I t:Ktscr~i~~f~~/:;nga~ red bikini. few minutes later a Sheritrs car pulls into the lot, the Deputy gets out and looks around. 20 "NO! Some SUJ is trying to KILL US! He drove his truck through the building, and now he's P.eOJ?le A run u_p to him and begin telling him what had just happened, asking guestions and giving ,.thc parking lot trying to run them over... this guy is wasted, you better send a cletails. The Deputy raises his hands ancl quiets everyone down and begins aSk1ng me and Jeff what 1 had REALLY happened. We told him. He talked on nis radio. His radio talks back ... a few minutes so people l~d~~':t~~ei~~ ~ia~a~er:ir;;~;Th ~6f~~th:r~fodr~n&~~:r~~~~it by then his radio reports to him again. Other Sheriffs DeP.uties had chased the truck through some back roads and had run him into a someone was indeed in danger. ditch, capturing him. But they needed a positive ID. "Sir, can you describe the vehicle?" She asks me .. :w:r~e:s~~ ~::rn·a~~h~~YJP~ ~~~k §i~~tf ~~ki~;u;::o t1:: i?!~~JtJo°r? w".:~~.T~~tJ~:6~bnedJi~~~k~Psh~e;;y·s~.~as:rf she wouldn't send help unless I could pass this countryHi:;em~ie~1W~at":oe:!· i~u3i~;e::e~~kxg~;~~~ h~r't~~~~a~b~dn~~k brougfit the truck into the lot Yup1 that's the truck. you can tell by the blue cinder blocks that match lin1etest. that new hole on the wall in the bacK of the truck. That and the damage to the front of the truck, and the iL. .. An~·::~~-i~t; a~iu\: ~e!rf~;'J~~e~~c~~~C~e:dd~tn~ rt~~~t~\:~i~~'i~~n big empty vodka bottle in the seat. . everyone." I tell her. Then the Sheriff said that they where going to bring the guy to us for a positive ID. Jeff Fortier Outside, the bull-fight continues. I can hear the guy yelling "You bunch of q_ueers are tryin_g to tells him that "Yo man, if you bring him here 1 am goin! to spit m his face!" So the Sheriff has another ruin me! You bunch of fags are try inf to do me in!. .. l'm gonna Jcilf all ofyou fags!" 1 had stretched-the ~18~;asl~d,lle~tiki~idsi';;~~~tfat'~h~~l~od~~~ rough binoculars at him to identify him . Yup, lit~e .s ~~~t Ip~ll~.~.~~0~1:eea~h~n~~~~g s~~mNir So we all filled out reports and gave our personal info and they took the guy, and his truck away air.. pandemonium . mlsdemeanors ... I~ravca~!'!it1e~~ecfv~hi~~rih~~ici~eoudeds~cif~~n~rsPr~~~ a. :~;~{ ~~eJ'~C~~t s;r~"aT~he/ better get someone out here quick." assault, vehicular assault, driving while intoxicated, pub(ic drunkenness , vandZfism, making a "And this is at the Outhouse?" She asks. terroristic threat, and on and on. ''Yes." "And what is the exact address there?" She asks. The Melvins showed up as the last of the cops where leaving, and the show went on. I didn't know... ! had never reall y thought about the address of the place. "Its four miles cast of Tune in next time for the weird and exciting courtroom drama when our hero, the drunk Mass street on 15th .its just past the pavement.. .this guy is crazy, you better get someone out here" I redneck goes to court! plead with her... she doesn't seem to reall y care. I think what happened was obvious .. Just then Josh runs in and tells me that the guy has a gun, and is waving it around. I tum back to The guy got really drunk in the middle of the day, and,sot in touch 5 0 lhe ph~Ae. a~trnaJ ~,au;u~~~l1\~Sh~n!sktt'i c~~~i I I. 1 ::d don't know and I'm not going to find out, he has a gun, and he's cra.ey, and he's wearing wj~a~1 : .. hs!aa~~ ili:t ~Qu;•~in~~dt%~~~al~'an~d6ut wom ens underwear." i tell her, I am yelling at this point in frustration that the 911 lady doesn't seem to ~uthouse" and went there looking for some action. I think that ~etaking this very seriously, and is stalling on actually dispatching a deputy to the scene of the crime Jeff Fortier struck his fancy ... but maybe I'mjustjealous .. .And once he had been re-buffed in his overtures towards Jeff, he mprogress "Look.just send someone out here, someone's going to get hun or killed .. could you just send took out his gay-rage on everyone. Some people just can't handle rejection. someo.. ~~ua~~s~;.ibe the gun?" She asks ~No, I'm inside, he's outside, and I like it that way." I say That's my story, and I'm sticking to it. "And he's wearing womens underwear?...is it underwear? Or a bikini? Can you describe the truck?" She asks again. 8obFuckl116Cutle, I send Josh out to get the license plate number... he rerums quickly with it scribbled on a piece of paper I recite the info to the dispatcher, who again asks fora description. f ~?~: :c1 .f ~~t:J~~!t sir~~I~ 'i: ~!{~t~i.~ ili~ ~f �VAl OF ATHEISTS o.o.A. FESTI um Exl)\ofe the eye-o~n· New 13•track studio alb . h the music and even ing world ot atheism woug D "OM Tiltl mosl th· tensive C ·n • . 5 1urlher wilh ,s ex aluum since Wat On 4 : lie available In Apnl.) \\ildl'/ divergent O.OA {On CO·ROM aod LP. casse _ ___,~ D"O.A. Record With The Best! LI~ The Element 79 • The Hectics The Seculars • The Hefners lrhe l'v1ount McKinley's • Odett, SHO PHO THE wsrrAPES b" \he original 'eased tracks - , d cnucl< B1SCU1\s. funll)> DO/>.. uuys: Joe SMhea . I Wimpy 1978· .,-a~1page. Dase GreQQ. 0,rnw1 • ••d aod 10 more n r be1Cte re\ea.x. 1984·. 6 irac)(s neve O O />.. \aves 100 tsiolls ol some o1<1 . . a\ternate 1/e . va\lahlc 111 Atml.) 16 previously unre, . Q - co and LP. casse11e a d b.s. , IS FDR I #SIGNIFICANT ver's teenaoe punl<s. T~ 3rd album by Nortl_, v~,::"u1astiog it out lor 5 This incredlbie t,and 11ave • ica wl\en they're not touring Nof\h Amer years and in high school. (CO) KIVA RECORDING Fort Collins, Colorado 970-484-7179 kiva@ezlink .com The Cramp1 vamping at Online Music Catalog! www .ezlink.com/~kiva Queen G j hollowbo, at --- ---- �With •st! fhe Hectics ne Hefners ~y·s, Odell LIVE SHOW PHoros by Anne Tangeman )RD/NG Colorado 179 k.corn Catalog! om/,,,kiva (Left) The Cramps' Lux Interior vamping at the Granada, 11/25/97. (Right) Queen of the Night in hot pants and hollowbody, Poison Ivy " at the Granada. �(Left) The Humpers' Mark Lee and Mitch Cartwright hollering at Seattle's Crocodile Cafe, 10/30/97. (Right) The Neckbones grinding it down at .n 0 Seattle's l0 Crocod/le 0 Cafe, o 10/30/97. -&. �(Left) The Humpers' Mark Lee and Mitch Cartwright hollering at Seattle's Crocodile Cafe, 10/30/97. (Right) The Neckbones grinding it down at Seattle's Crocodile Cafe, 10/30/97. (Left) Lawrence's singin' sweetheart, Kristi and her Starlight Rounders at the Bottleneck, January 98. (Right) BR549's wonderboy Donnie Heron fiddling up a storm at Liberty Hall in January 1998. �Jerry Lee..• /mean Jeffrey Lee and his Pale Moon Kings ripping up the Bottleneck. (Left) Nashville Pussy's Corey and Ruyter showing how the girls do it. (Right) Nashville Pussy's Corey Parks torches the Replay, fall 1997. �Grant Smuggler informs the audience that ~,, Zoe has won the dance contest. She got to kiss anyone in the band and snubbed Grant in favor of the drummer. sc"ooNrRs. cocr.rA1Ls -c1GARs • Pool 1009 r\AS!. LAWR£NCE Grand �Tail Spins 9 ***** * s~~!!'!! * * * ** ** ** * OUTFITTING SINCE 1972 802-804 Massachusetts Lawttnce Kansas 10-SOOO S·CIGARS ·POOL LAWRENCE Grand Re-Opening February 26th! DJt.11. In Peco•d stores eYePywhePel Jn...Ibll.1uJ.t: Melvln•, A Hlatory of African Travel Journal , Today I • Th• Day, & 300 Lag Johnny �Love at first Sight? Of Course it's Possible at What Them Folks at Sugartown Traders are llstentng lo ·I·~~:;- ,. ---- . :~_,,. -~I -, :- , ·. la~ Record Microphone . gwater" - Loud1ptJier SHELLEY 0 -~ qg~ e · ·--· Q118t"._ lit'''- itf~oggs "Wild Thinjf'-,, Big Night Soundtrack ' . otorip~·IJ'J:G.~i; eA.fter,.Deat 918 Mauachu•""" I>o1011iow1> L<n,;re1u,e 331-0282 CASEY ,,, At Sugartowu we buy, sell, und tra(k mmt'11 and women's clothing everyday l la.m.-71,.m. So, there i11 alwny~ $Ometlung· new to fall in lov(, with. ..___" ianne Faithful "Greatest d Gilberto "w/Torrenti DANA i , o itllMs.ep t'S)ow4te-atlP-ihrth'el'M L."···-·-·- i , dotp 'n' Ashc,\'a. om~ Fa} to~ IMn'pHitieft ' ' �rrS are llstenlng ID 1~~7 oudiput• Alle Cat has new records! LOTS of them! Desmond Dekker. Skatalites. Toasters. Repeat. Killa Army. Wu Tang Clan. Wyclef. Rampage. Embarrasment. Real Kids. Yo La Tengo. The Squires. Music Machine. Prince Fari. Gregory Isaacs . The Upsetters. Lee Scratch Perry . Mad Professor. Monk . Count Basie. Miles Davis . John Coltrane. Charles Mingus. Metal Head. Photek. Daft Punk. DJ Krush. Chemical Bros. i, ---··"······•--·.. ··.. ' Anti-Capital. Logical Nonsense. Ambush. ABCDiablo. Damad. ALLEY CAT RECORDS 717 Mass. Lawrence KS �j ~~tea of the original. Wilson remixed the mix. It11 not that th plainly, I guess. That just may be anymore whether c you heard (it tum, c becau,e it', all been sound, like that new J Kind oflike ,uperimpo Nowbeforelgett ' God Only Kno instrumentatio like 11m havi1 religiousW unsettling The bottom line is t from the beach shon sand. We seem to tal order to correct the or pretty funny but. now I �After an absurd amount of hype t h e ~ box has finally been released. I thought I had read about it coming out about five years ago so don 't hold your breath for theSm.ik sessions. Issued as a 4-disc set, it features a new stereo mix, 2 1/2 discs of outtakes and alternate mixes, and the original mono mix in full . I bought this for my brother for Christmas after warni ng him that it would probably be one of those box sets that you listen to once, say "Boy that's pretty neat," and then shelve away to collect dust (i .e. the Beatles anthologies). Not the case here. T h e ~ box is wonderful. IfI needed any more reasons to love thisrecord I just had them handed to me. What this set does is serve as a "documentary" ofsoru. It features completely different versions, botched beginnings, extra endings and two great books inside. In one book, Paul McCartney runs through the whole record (in specifics) explaining his thoughts on every song. Later, he describes h o w ~ effected the songwriting of both he and Lennon. Apparently, it was a big favorite of the Beatles' in the period between ~ a n d ~- Historically,~ while a reaction to the Beatles' has been regarded as Paul's chief inspiration for the orchestral concepts behind the record. As the Rubber Soul Beach Boys' chief songwriter, Brian Wilson was also a big influence on the Velvet Underground's John Cale. George Martin, the Beetle's producer/engineer (and arguably the fifth Beatie) also has an essay inside. Clearly, ~ i s a landmark work in rock production. What's amazing to me i1 how, until this release, it had only been heard in mono. If! hadn't read about that ,n the liner notes of the original version I would have assumed (with good reason) that it had been in stereo all this time. The problem this presents, then, is the "old guy remixing his old shit" deal. Brian Wilson remixed the whole record in stereo in 1996 for this release. For this reason Jive found myself listening to the alternate takes and the original mono stuff more than the new stereo mix. It's not that tho stereo mix is bad really. It seems to allow for instruments that were obocured by the (post-Spector) wall-of-sound production qualities to be heard more plainly, I guess. That just may be the problem, though. It kind of robs one of the innocence that goes with not knowing how something came together. You don't really have to guess anymore whether or not they mean/ to do cenain things or if they just came together that way. Sounds that you thought weren't actually there or noises that you thought only you heard (it turns out) are there and it just seems like it insults your intelligence, y'know, Maybe that1s an overreaction but it seems we aren't allowed to assume anymore because it's all been laid out for us. If Joyce had gone back and written a guide explaining what everything meant i n ~ we would probably feel the same way. It kind of sound, like that new Jeff Lynne-produced Beatles stuff from a few years ago. Even though I thought "Free as a Bird" was pretty groat, it seemed unfair to the original vocal take. Kind oflike superimposing Tom Hanks with Kennedy in that one mov ie. Oh well, you get the point. It looks neat butsomething's wrong. Now before I get too deep in to technology's (one sided?) relationship with the past I want to make sure and reiterate how cool the alternate takes are. On the third disc there's a version of "God Only Knows" that has a "new" acapella outro that literally scares the hell out of me. The original song ends in a swirling, multi-layerd vocal part but this version sees the instrumentation fade as vocals meander like ghosts in the room, Ever seen the dancing ghosts in the haunted house at Disneyland in California? Anyway, it's really great. I feel like I'm having a hard time explaining this in a way that makes sense. I guess the point is: this part sounds like Gregorian chants or really spooky chorus parts from early, religious Western classical music, An aura of almost Coltrane-esque spirituality overrides much of this session in a way that, like the later Coltrane recordings, can seem unsettling at times. The bottom line is that this record proves that (behind the "fun in the sun" attitude that most people can't seem to get past) Brian Wilson was a seri ous fucker. When he moved away from the beach shortly after this record (originally) he contracted people to build a sandbox in his house so that he could put his piano in it and play with his bare feet in the California sand. We seem to take him, specifically this record, for granted because it set the standard. You should hear the outtakes of him stopping songs in the middle of their respective takes in order to correct the orchestration. (There's a chamber ensemble on this record y'know.) It's crazy. I was going to say that the way that he incessantly interrupts every take of every song is pretty funny but, now that I think about it, l 1m not necessarily sure it is. �������-~.a< ( 1 ' -.,._, \ �·'·, . �! ( �,/ ..,. ~., '. ··\ •s. . < -~• .,J -~ ·,.- ~~:4t_,<·. 1~ ::~r ··-~~ '\ ~/J; ,.· .· . 'i ) \ -, :~ " ~/ ,. • ···,;I; . •' ..,..~ .. 'Y ·"'·I ' . ., . :{h·''·· ·....: .~-.f',.-'\- i ' ·.'1 : / · , .. . . , •. · �ffle Lookout Record• Ten Year Anniversary Weekend Thurs Jan 8 - Sun 1.1.1998, Oakland/Berkeley/San Franclaco, Callfonla. IJy Gnnt LaWN1noa All photoa by Joel In January 1998, Lookout Records celebrated Its tenth anniversary as a record label with a weekend full of music, parties and good times. Fourteen bands played their hearts out, and friends and fans from around the world made the pilgrimage to the San Franciscan Bay Area to be a part ofIt. It was an extremely memorable weekend that no one will soon forget. Below Is an account of my memories, and 1 hope you dig It. 1 dldn 't catch every little thing that happened, but 1 tried Enjoy, andwe'llseeyounexttime. - Grant, The Smugglers Nli,at One: Thurs Jtin 8, Friends Of Lookout Party, Oakland CA 1radise I I We left Vancouver(cur hometown) the night before, driving a rental mini-van bound for the San Franci1co Bay. After I began to hallucinate while driving down the 1-S, we ,kidded to a stop, rented a motel room somewhere mid-Oregon, watched the Klu-Klux-Klan tear up another set of the Jerry Sprinser show snoozed a couple houra, then were back in the van, punching it toward, Oakland aowe could get there in time for the big Friend aOf Lookout kick-off part)'. We arrived in plenty of time, found the Clnderblock/Punks With Presses warehouse (where all the Lookout shirt, and posters are made) and walued in, 1uit-clad and ready to fucking party. Most of the Lookout gang was already there, and more continued to filter in throughout the night. Eventually the part)' swelled to about 300 people, with members of the Mr T Experience, Groovie Ghoulies, Hi-Fives, Criminals, Pansy Division, Pee Chees, Tilt, Rancid, NOFX, Black Fork, and the Phantom Surfer, (and of course us Smugglers) all in attendance. DJ Rop took care of the tunes and got the vibe so funky I felt like getting some skanky on my hang-down by my third beer. Yeah, there wu rree booz.e (beer and wine) as well as plenty or yum-tum snacks (provided by the Red Cafe, that place across the street from tho Lookout store). Having the reputation that we do, the Smugglers felt the need to part)' a Iii' harder than most folks and spent quite a bit or time hovering near the bar in rear that the booze might run dry, paranoid that Lookout may have cheaped-out on the good-time gas. It turned out to be a bit or the opposite, for as the party wore on, it became apparent that there were a TON of Costco boxes of white wine left over. By this point. I was well on my way to wanton drunkeness, and found mysetr in the company of Lookout chief Chris Appelgren, behind the bar, acting as substitute bartenders, letting Lookout's Chris Imlay, Xandy and Alexis all take a break or go home, Jim not sure which. �My orders were "push the wine\ so when people came up for hootch and asked for a beer, I'd simply pour them a pint of frothing, warm white wine. A few people noticed and complained, but I either ignored them, bcltched in their face, or poured them another wine. By the end of the night there were partiers lying face down on the floor, the massive amounu of vino having taken an ugly toll. Smuggler Nick had about nine pints, as well as several sips from Pat Hynes' omnipresent flask, and was busy cruising for available Lookout babes, but the · ·· · shamelessly hit on (b lowing in ears, licking cheeks, wanderi suggestion of "let'ssss parmee! 11 •• engaged. They took it in · the wi ne, until he puked a puddle of his own vo inside, and SKA-T and I was a great party and a wil episodes ofMikC1~~~Jtcs half hour show · star, a little girl k on, and generally . Therefore, we were : the Lookout store. T and people were jµ greeting was actua!Iy pe That night, i(was· firstofthcthr~ show~. All · Bay Arca, but widnhe spe li1erally aroiiJi4"fhe-world. C of the States aria Canada e and Gilman hilh1. huge line-~ Unfortunately, this also meant several fans though the venue was constantly packed. The star-studded line-up of the Bomb Bassettsofficially kicked things off, where Dallas Denery (Sweet Baby), brother John Denery (Hi-Fives), Joel , Jym and Dr. Frank (Mr T Experi ence- Frank playing on international time, having arrived from England just two hours prior to showtime), and legendary Lookout producer Kevin Anny seriously exploded, playing ? hits from their Lookout LP as well as, to the del ight of everyone in attendance, some Sweet Baby classics. I got the shivers during "She's From Salinas" . Amazing. The Donnas took the stage of the Lookout stable in a next, all eyes and ears firm ly awaiting one of them ·· nggirl s and have a ton of longtime. That's a little too ba · !), bul with the hype that abound. People have to what they cranked out at :The crowd, though a little out of the Lookout ost to introduce the w more than a rock ds, and no fish guts know, but I guess are dly asked ifit was ok hich they, uh, stated ·ng to stress out ide and in, was like a ked, lit off a string of my weiner thank you! :A.untie Christ. h -:Auntie.Christ! :·'.···manY:;4nies so I iing r_~nditions of y .. . cid'1MatfFreeman , sin . e p ayed b8iS. 6 t{ Auntie Christ's low a f.ock star to P.~rf0rm'. Tums out it was ndly s~ppqr:tiS~h was time for one of my rs of speed-pop·il,uftitncous rock'n'roll , the f~v.~~i Hi-Fives )rcry that I tell almost , l··86tta re-tell it! Oti. it's fairly com mon ·s~nger John D.~ner')' look s (and is) pretty ~ally a higJ\ .icbP<)I teacher in San Jose, elieVe it or not. fohn doesn't really go out of his students he's in a band~a few know, but the majority have no idea. So this one weekend, two kids from his high school decide they're going to have their first big punk night out. Everybody who's reading this has had one. Mine was sneaking into a downtown Vancouver club in 1987 to see a band called the Gruesomes. Anyhow, these two kids decide that they'd make the holy pilgrimage up the 1-80 to the legendary Gilman Stree~ the punkest place EVER. It didn't matter who was p outside the old an• walls covered in y1 bouncing off the, closer and realizec was none other th nether-reaches of TEACHER is 1he Denery, WHAT an Ok,sotheH showcasing sweat though it'd been a shimmied, smiles Chris strummed n and often overloot in Lookout's lifes~ they moved on to I mention the Duke. is also a graphic d taken on over the output, and on this FivesgotiL Night three: ! Go-Nuts, The f This show took or, packed, this one downtown San Fr even t where the p they did , as they 1 eager crowd insta may have recogni crowd a couple of over the stage. Mi Us Smust was pretty damn t didn't wanttodiss of organized Loo'. end, where Chris �endancc, some Sweet Baby The Donnas took the stage ut of the Lookout stable in a ~ounggirls and have a ton of IGI), but with the hype that p abound People have to !ii what they cranked out at kThecrowd, though a little fiat flew out of the Lookout [ful)'. ~MC/host to introduce the ffl..e show more than a rock IB bands, and no fish guts i'ei.Hy know, but l guess are asked ifit was ok h they, uh, stated w,as staning to stress out ,.. (jutside and in, was like a #-.i.!>tked, lit off a string of :-pq: my weiner thank you! !)iJil;wbandA;mtieChrist. · · ·_._eChrist! Qfnes so I ffter-• ng renditions of by ~ng\d'sMaiffreeman bai_s-On 'Auntie Christ's pcd'Orm·. Tums out it was ~It was time for one of my d r40cous rock'n'roll, the • !t()ry that I tell almost Ok, it's fairly common looks (and is) pretty lbPQI teacher in San Jose, n doesn't really go out of have no idea. So Lhi s one their first big punk night /•I)' o a downtown Vancouver b decide that they'd make est place EVER It didn't matter who was playing., they'd just go just to be there. So they drove up, found it, lined up outside the old anonymous looking warehouse, paid the SS and entered Gilman, four concrete walls covered in years of graffiti , a stage in the corner, a band rocking out, and 300 hundred kids bouncing off the walls. Try to imagine the shock these two kids went through when they got closer and realized that the sweaty guy screaming into the microphone, crowd under his thumb, was none other their MATH TEACHER. These two kids went from suburban boredom to the nether-reaches of the underground to get away from all that's square only to realize that their TEACHER is the coolest guy in the room and a shining star in the Bay Area punk scene! "Mr. Denery, WHAT are you DOING here?!?!" I love that story... Ok, so the Hi-Fives show! Well, what do you think? They put on an excellent performance, showcasi ng sweaty songs from their two great albums, as well as a couple new gassers . Even though it'd been a long night of punk, the crowd became re-energized and everybody shook and shimmied, smiles all around for the suit-clad foursome. John did his patented Penguin dance, Chris strummed madly, and Gary and Steve bounced along at a furious pace. One of the great and often overlooked aspects about the Hi-Fives is how much they've been such an integeral cog in Lookout's lifespan as a label. First Chris and John starred in the truly inspiring Brent's TV, then they moved on to form the Ne'er Do Wells, and then finally the Hi-Fives. Inbetween one can also mention the Dukes Of Burl, Judy and the Loadies and the Bomb Bassetts. ln the meantime, Chris is also a graphic designer for Lookout and partly responsible for the general 'look' the label has taken on over the years . These modest guys dese,ve a lot of respect for their amazing creative output, and on this night, playing to what was reportJy the largest crowd at Gilman EVER. the HiFives got it Night three: Slim 's, San Francisco CA, The Criminals, The Smugglers, The Go-Nuts, The Phantom Surfers, The Mr. T Experience. This show took on the hype as the "big" show of the weekend, but all the shows were completely packed , this one stood out only because it was the biggest venue, l suppose. It was also in downtown San Francisco, near Fisherman's Wharf and all that. Anyhow, this was another great event where the place was packed before the first band, the Criminals, even hit the stage. Hit it they did, as they 1iterally detonated into action , taking advantage of the earl y slot by getting the eager crowd instantly into it with ferocious punk rock abandon. Lead singer Jesse (who folks may have recognized from workin' the till at the Lookout Records shop) \ept into the frothing crowd a couple of times, and the sweat, tattoos and tom clothing of the Criminals was flying all over the stage. Mike La Vella was right. These guys do put the punk back into rock. Us Smugglers were next, and for the first time in many, many shows over many years, I was pretty damn nervous! You know, friends and folks from all over the world and all that. We didn't want to dissapoint. so we peppered the set with the 'live faves' and made sure we had plenty of organized Lookout celebrities to come up and join us throughout the show. It climaxed at the end, where Chris Hi-Fi ves, Kepi Ghoulie, Joel MTX, Chris Appelgren and Chris Pansy Division �each came up and sang a verse each of our last song, and the~(We :iii s&gij/Rock With The Smugglers Tonight" together. It was a truly a ball and so · ._ 8tWOn'tforgttfora long time. Our seemingly triumphant set could h&)\C: rgotten Q#.~e the Go-Nuts got · a vegan, the Go-Nuts are underway. If anyone is in the dark to this band~/S ds, capes, ~ks and helmets, aJI famed for being snack-rock super heroes,.;: ~4'fui the while feeding the crowd suga ·. ·· ade cataw.J.,~. cannons and sling shots, powered by a team ofda;~ciolg g~ll, a show ar@}f.,erybody was really thing wi@il 500 feet of the Goexcited, but little did they know ju•I ow Nuts would become. Before the s®w, whil with ··. · nutty characters, Capiain Comhole I think, told mil that the the enslaught of sugar-blitz the Go-Nuts had in st:ore. The such zingers as "Skinny Bones Jones-, "Roberf~I Hughes" )na (Let's Take Cheese To The Japanese)" . Right around thesho ···gorillas, all armed with cream pits, which were to the faces lhe front row Next came the mas"s~ve cannons and snack•blowers, set up on eithC ~~;ie: j:~~l{u:;t:: 1::~c~n.,~ : ~ f ~=::~: ::r..~~:: edancin __f:;:::::-: . .. ;~:~uld spray That we all ended up coming together again, years later, playing a show fo.f.:Lookout, seemed somewhat strange. We took differeD.t roads, but ended up at the same place. Sqrpebody slap me. for the finale, Lookout wi•e1y slated another band for the ages, thC-m,Je troubadors of longevity, rockin' on a dozen ycar9i.and counting, The Mr. T Experience. Of C.~se, these days, it's only wise ol' Dr. Frank who's been there for the long haul of ups and dQ~s. albums and singles, tours and break ups. It', the.fact that Frank kept it together a few yean:~ck, and found energizing and ever-popular youn&:m:~mbers Joel and Jym that the band has •.·.· hu~/ accolades and fan support for its · · albums. On this night. we were se · -:•····. of songs from all of MTX's s, in a seventy•five minute, tw performance that sent everyon ht to the merchandise stand before the ,Smuggler Nick (fan of MTX . ir first LP he bought at Kelly's in West V~ve Canada in 1986 at theeg~ of thirteen· said, "that's the best I've ever seen them• . ..... Nl,tlrt four. Bottoni/ Qt The· Hill, San Francisco CA, Lookout audlU_._Q..IJ ...:c, - u~r:~~~tl:!?(f!JJer!JgfN1 IJ/~nivm Nine Volt, The.<:iroo\'ie Ghoci/ies, f"*iY down lhe shrieking crowd, who despera:te'.~)'Jri•.~-~ -to shield themselves with leather jacke~ and backpacks, so as to not be pelted violently wi~)rta<ae~, Sµ~denly,.,tb~:Sorillas starting ha'i.iling Everybody was due down at.the Bottom OfThe Hill by 3:30PM for the Lookout auditions, out huge white sacks of powdered sugar that, when poured in'tO··tne>snack blowers, caused ::::::J~t the sugar/booze hangover from Slim's was tough to overcome. The Smugglers and Yvette massive clouds of sugar to I'.11 the air, moving slowly through the crow.cl-and throughout the roorQ ·:\·::: .........· · int ended · ~i the Pansy Division house for a pajama party/screening of THEE .·.·.w .:: . watch" Anderson and Tommy "Motley Crue" Lee. Yes. like a cloud of locusts, much to the shock of the audience. Soon EVERYONE ~i(:}.: and u_ 9:.ajpf~H, T0fti.iny Lee was cut! Ba-boom! h's a truly wild piece of... film. My EVERYTHING was COVERED in a layer of sticky sugar. The air~~ a dense, white, c ~\( · fog. Breathing was very difficult. As if that wasn't enough, the Go,.NUts suddenly annoµ~~-.· t\ . scen~:_i$.:~ ·TOl1lm}thonks his yacht's horn with the head of his hard cock. much to ········ ··· · · ,· . Pansy Division's drummer Luis had a great quote to "FOOD FIGHT!!!" and burst into song, as the gorillas broke open DQX'es upon boxes Qftiru1f · : : }\)he ~ggli :~uffing a turkey! This is GROSS!!!" . Debbie snackcakes, whipping the squishy treats into the crowd, and))ld them quickly:.#.i~J ·· ::-. :• de~t;rlbet 0 : :'... we had settled down with a couple of Luis' menthol smokes back Out or nowhere, eggs, bananas, beer, clothing. paper, cups, and_:;inore and more ahd ~ttom Of The Hill for the Lookout auditions. Granted, this food filled the air, exploding on impact on audience members. band r#znbers and gorillas alike. It was a completely bizarre and awesome spectacle of shere, sugar-ind1,1.eed chaos. it:W;med out to be a lot of fun. Basically, Lookout M auditioned• The saccarin wasteland of junk food that the Go-Nuts left beht~ once the band and their . th ing frosh pop-punk to heavy metaJ, folk and roots music, played by entourage left the stage was enormous. The large stase ha.d disap:paf~d under a plft- of soiled groups frtjm llifomia. Each band had five minutes maximum to play their best song. None of the bands were guaranteed to be signed out-right, but there were a couple of contenders food, wrappers and powder. The s~_-_o f Sl~q1:1S::fre3ked .out, as everything from thc~:lr soum:l..,,:cqui'.prri.ent:to the·ir bar suddenly wa5:_~ ~ly white and sticky. When the fire marshali" sho~-in the mix._ The Lucky Three stood out, and for my money, the outrageous B0's hard-rock hair \lP due to complaints of "huge clouds\if:~fffl()ke' billowing out of Slim's", it didn't help matters band ·· fucking hoot. They" rocked. It was really strange strolling around the Bottom Of \h~1~when climbing the stairs, he.slipped ori-5".mushy King Don and fell flat on his ass. Lookout is The Hil .ftemoon. In er~ comer sat nervous young guitar players warming up, ~t!~:~ing to work things out with the club and the city! strum mi · · · ing the words to their chosen song. AJI the bands received a .'.::TJ)\A large crew did manage to eventually clean things up enough for the Phantom Surfers to package from Lookout and I hope everyone had a good time. As an stage to run through their many years' .worth of masked fancy surf. I hadn'tseen the guys added bonus to the audience and the bands, the club brought out an all you could eat BBQ buffet. fr:ot'itijle Go-Nuts or the Phantom Surfers in years. We always used to play with them in San Up next on the afternoon stage was Kareoke. Little did anyone know how hysterical this f.:~•sco and Vancouver and points in between, but our scenes and bands kind of drifted apart. event would tum out to be. Several folks have mentioned itas their favourite part of the weekend, ·n,;otf· ~ffflf; · �how (ot Lookou~ seemed !acc. So.mebody slap me. Jes, thC #\JC troubadors of 1cc. Of ,gurse, these days, ,s and dQWfls, albums and few ycar.:l!ock, and found nd has acluij.ed such hug~( .. _. renditio ·r Lookout audlt/Q(I$, wie Gho11/if!~. PAAti:Y ror the Lookout auditions, he Smugglers and Yvette party/screening of THEE otley Crue" Lee. Yes. • wild piece of... film . My of his hard cock. much to ·Luis had a great quote to iof Luis' menthol smokes t auditions. Granted, this \ly, Lookout "auditioned" JJd roots music, played by m to play their best song. :re a couple of contenders ;eous 80's hard-rock hair ng &round the Bottom Of ar players warming up, All the bands received a ! had a good time. As an ,u could cat BBQ buffet. know how hysterical this urite part ofthe weekend, and I must agree, it was definitely the sleeper hit. One of the reasons it was so successful was due to the hilarious hosting capabilities of Smugglers guitari st David Ca rswell I guess I do most of the yap ping when the Smugglers are playing and forgot just how outrageously funn y Dave can be on stage. Another great aspect of this Kareoke was how it brought fans, band members and Lookout staff together for mutual fun Ok, 1'11 say it (don't puke) bonding Everybody had a chance to si ng, and Dave arranged it nicely, with th e help of hi s Spice-like assis tant Vanessa, so that a Lookout artist would sing, then a fan, then a member of a younger ba nd, etc And this wasn' t 'punk-coke' either. Just oldies and classics in Pappa Dave's hit-sack Extreme hi ghl igh ts included Joel MTX and Danny Smuggler pulling off an amazing version of Young MC's "Bust A Move" , Dave and Kepi Ghoulie doing a bust-a-gut redition of the Jagger/ Bowie "Dancin' In The Streets" , all the Italians from Genova trying to sing ''Born To Be Wild ", and Pansy D's Chris Freeman taking on "Hit Me With Your Best Shot" ("Fuck With With Your Big Cock") The sweetest moment had to be when the punk rock coupl e from an auditioned band, the Secretions, got up to sing a hean-tuggin' duet of"Day Dream Believer" AftertheKareoke finall y wrapped up to much applause and encore, everybody was fo rced outside in the rain so the club could clean up and get ready for the ni ght' s show Alm ost everyone who was there for the afternoon's events planned to go to the last show, duh, so just about everybody pol itel y lined up in the downpour to wait for ti ckets Th ere was no complai ning either! I would have been freaking out and whi ning like a baby, but I mu st hand it to those fans for their patience and goodwill . Once again, the show that night was jam-fucki ng•packed. Up first for this last nigh1 was Uranium Nine Volt, who, next to Black Fork, I knew the least of any other group of th e weekend I didn't realize I was supposed to MC this last night again so I missed the first couple songs of their set. but once I finally squeezed into the club, I was trea ted to an ons laught of chuggachugga-chugga explosive and tight emo-core. I sti ll don't know anything about Uranium Nine Volt.. . but one day I will, I hope. Hitting the stage next was a weekend highlight for everyone Storming fonh after triumphantly touring the world, constantl y improving and expanding on their live shows, records and persona, it was time to ROCK with the Groovie Ghouli es This band is very special tome and I can certainly say that, hands down , in al l the countless times I've rocked with the Ghoulies, this was THEE BEST time I' ve ever seen them They were on fire 1 Their set list was impeccable. Everybody surrounded the stage and sang along I almost cried in "Here Comes Tomorrow", and I'm not kidding around . The show was just so great A oddly fou lmouthed but highly energetic and emotional Kepi sent shout-outs to almost everyone, mostnotably to the Queers and to the Ghoulies # I fan and performer, supporter, and all •around -greatguy from Lookout's history, the legendary Jon Von. The Ghoulies gave tons of free tour artifacts away, plus the usual load of cool prizes and candy. Joel MTX made alm ost as many on-sLage appearances as me over the weekend when he hopped up and provided the bass lines and superb harm onies on the great chesnut "I Wanna Have Fun" As Roach, Dan and Kepi finally stumbled ex hausted from the stage, everyone realized they just saw a knock•out performance from a band �that is quickly turning into a cornerstone of Lookout, and it couldn't happen to better folks than the Ghoulies. Once the dust cleared, another one of Lookout's long-time synonyms ripped into their set Unlike many of the other bands of the weekend, Pansy Division chose not to play all of their fave-hi ts from their five albums on Lookout, but to showcase all-new material and a slightly new direction in their sound and attitude. Gone in some fonn are the obvious songs about sucking cock and fucking ass. to be replaced by more subtle commentaries on relationships and life in general Pop songs, in other words. I was apprehensive of this new move for this event. thinking they should revert to "Fuck Bunnies", "Groovy Underwear• and •oick Of Death• and told 'em so, bu1 Pansy Division wouldn't hear of it. To me, Pansy Division have always been a definition of punk not being afraid to express yourself, to feel good about it at the end of the day, and todo whatever the hell you want no matter wha1 anyone says On this night they did just that, and to postive reaction . They played A.LL new songs, including a true and bonifide HIT sung by Chris Freeman entitled something like "You're Gonna Need Your Friends". 1t's got this great minorchord chorus that will prove irresistable to any pop fan , Beatles to Hanson . l can't wait to hear it on a record The relatively new additions (at least to me) of kick-ass drummer Luis and lead guitarist Patrick also make Pansy Division letter than they've ever been. It's also interesting to no1e. that , though he had been in town almost all weekend, it was not until Pansy Division's set that Lookout foun der and 'visi oneer' Lawrence Livermore actually showed up, when he breezed in10 the club, su it-clad, with a girl on either ann. Up last to finall y end this long weekend of rock'n'roll was the special. one-time re-fonnation of Lookout legends Tilt. Unfortunately, I don't know Loo much of the history of this infamous band, besides the story of them flipping their van on a highway, and that Jeffrey and Cinder make our I-shirts now. Nonetheless, there was a lot of emotion bu ilt up fo r this performance, and since it was the last band on the last night, Lookout chief Chris Appelgren took the honours and introduced them. The band proceeded to per!'orm a preuy solid if somewhat devil-may-care set, and when the lead singer forgot the words, the audience was able to sing them back to her. There were a couple moments when I thought an inter-band fight was errupting but they kept on rockin' so 1guess nothing was amiss. As Tilt wrapped up and said goodnight, it was time for a lot of good byes. Ciao ya later haly, goodbye Boston, piss off Philadelphia, it's been great England , adieu Oregon, cha-cha and ta-ta Calgary and Toronto, y'all be good Altanta, kudos Kentucky, farewell Florida, sayonara Japan and bye bye Brazil . All the Lookout folks and band members got together for a big group photo (I love group photos ... almost as much as I like yelling "group photo!" right before an actual group photo). and the amount of flashbulbs going off was... really weird . Lots of cameras. Lookout's sexy publicist Tristin thought she lost her glasses, but as it had to be a perfect ending. they were found safe and sound. Once everybody had hugged, kissed said their final, final, final goodbyes, we looked around at the aftennath of the empty, bright, wet Bottom Of the Hill and we sudde nl y realized that us Smugglers were the only ones left. We drained our Anchor Steams, took one last look and headed out into the rainy San Franciscan night and headed for home. Thanks for the great party, Lookout Records! See you in 2008! �l �I STILL~Vf SOME: OF T11E APPARA,US FF.oM BAC.lr- THEN .•. Bl.Kl'. l.EGu11"4~ Wllti CROSSES ON 1Hf-M~ POIN1't-10E0 St-nS, ~IPPa>"SISTERS OF MER(.'f "TEE-., \-fAIR C.PilMf"E:-R, eA"T EARRINGS E f I �,ARA"TUS (if~~ Wlll1 OEOSH(E;> reE-, HA1R E:"l:;N T"10Uut-t l HAD ™E u:>O~ DOWN f>A1", t WAS t1Uc.H TOO <.HEEcf\FUL ,-0 SE A C:,On\, •. :;. " .." cii ::, ..i ; ... ...u Q �THE FELLS THE FELLS are: Heath H-msbergen (guitar, vocal•), Jeff Glave (guitar, vocal•) , Rob Yazzle (ban) and Rob Alper(drums) BD: Tell me a litlleaboutThe Fells' history. H: I guess The Fells have been together six or so years. I started the band with two other guys, Tim Anderson and Mike Beulle from Tucson I guess it was 1990, and I guess we started because it seemed like there wasn't a whole lot going on in Tucson, especially with bands playing the kind of music that I like. Now, seven years later 1 realize that there are even fewer bands in Tucson playing the kind of music that I like In retrospect it seems like that was a golden age back then . I had just started playing guitar a few months before that. Tim showed me how easy it was to play Buzzcocks songs, and I thought if these songs are that easy to play, maybe there is hope for me It would take too long to go through all of the lin eups, but basically Jeff and I have been in The Fells for five and a half years. The two Robs have been in the band almost two years What do you have relca.scd besidts the album and the sevtn inch on Estrus? H We about six seven inches, and a ten inch How did you hook up with Estrus? H Well , we've known them for quite a while. Our first single was put out six years ago, "Space Girls", we put it out. And I sen t one to Dave (Crider)and he bought some and sold it, so he's helped us out fora long lime J He distribu1ed a lot of our early singles And a couple years ago they asked us ifwe wanted to do a Crust Club single H. We got our ac1 together enough to do a small tour about three years ago and we played Bellingham with The Mono Men and it was about three months after that he asked us to do a single. Late'94. We kind of took our time, we were a bit lazy. OurfirstEstrussinglecame out in January '96. He asked us to do an album a few months after that. About a year later we finally got it recorded . Jeff and I have been in the band fora while, and we went through a ton of other people Some were compatible and some were not J· Some people weren't in toit., some left to go to college Just people who weren't into playing Rock and Roll as they were into playing in a band in front of their friends What are your most memorable shows? You played with Thee Heade.oats. You played with The Lyres. I think I could die after that. Take me now... RA . That's what I thought after Thee Headcoats show. J. The Untamed Youth The Lyres show was a little underwhelming for me, but I sti ll love The Lyres. It was maybe not their best night. H: They weren't bad, but people at the show who had seen them two weeks before told us they were amazing that night. They were good this night, but not amazing. Any other notable shows besides those? H: We played with The Drags about 50 times. J: We played with The Makers about 15 times, and that's always a good show. Garageshock '97 was a blast for me. Sugar Shack is an incredible band. H: We've played with The Hentchmen quite a few times . RY; Every show with the Hentchmen is great. (Someone offers New Bomb Turks) H: That wasn't really a memorable show. They were great, but we had an off night. We played with Teengenerate three or four years ago that was great. J: Every time we've played in Texas has been a blast. Any time we play in San Francisco it's been a blast. RA · Ohio is reaJly great. J: We've played with a lot of great bands. The important thing about us is that we are number one Rock n Roll fans. We are fans first and we are a band second. lfwe can play with a good band that we enjoy it makes us so happy. There's a list of about 50 bands that we have played with that were great. RY I was pretty excited to play tonight after watching you guys I was getting juiced up while I was watching you. J The Replay is a great place I had so much fun! And we are coming off of a week of cancelled shows and some not so good shows. So are you guys disheartened after this tour, or are you ready to do it again? J We'dgooutnextweekifwecould. H We'll probably go out agt..11 soon A lot has happened in the last two years. We are a new band in a sense. Tucson photo by Anne Tangeman is really isolated and we've played there forever. Nobody really cared what y play with anybody c J . Peoplecametosc H · When we were worst We were pre six months we ago, I dug out a ta overal I... we went t had some pretty sp out with the three didn't want to play have to leaveoutu1 RA I don't even Iii minutes. J We played a litt play so long that pf What elements d song? RA lnaway,lthi1 J 1 would say, fc between high enei songs. RA It's gotta hav( J Something we' been wanting tod/ H What I was tf) that we used to st really cool to find A re there good p H There are a d, and you never k~ played for about! coul Devil Dogs play! Cowgirls, and yo people for that or. Whatareyourp J . We're gonna v gonna record int Where do you '1 H JimWatersisj J We use either record in our b records us on f01. H Scott recorde J They are bot~ �I Our first Estrus single came out in we finally got it recorded . •other people Some were compatible 1 year later weren't into playing Rock and Roll as coats. You played with The Lyru. I me, but I still love The Lyres. It was ks before told us they were amazing really cared what you sound like there, and it was just a struggle to play with anybody decent. J People came to sec us, but we were never a popular band. H· When we were at our most popular in Tucson, we were at our worst. We were probably at our most popular in January of'92. For six months we could play and get a lot of people there. About a year ago, l dug out a tape from then, and there's some good songs, but overall...we went through some up and down periods. Anyway we had some pretty spotty material at the time. We used to plan our sets out with the three songs that we considered our great songs ... we didn't want to play them all in a row, and now there's a lot of stuff we have to leave out unless we want to play for two hours. RA I don't even like to see my most favorite bands play more than 45 minutes. J We played a little longer tonight than we usually do. We used to play so long that people would start leaving. What elements do you think make up the perfect Rock n Roll song? RA In a way, I think catchyness J I would say, for me the perfect Rock n Roll song is a mixture between high energy and power. That's what we try for in a lot of our songs RA lt's gotta have soul toit too. J Something we've been getting more in to is backup vocals. I've been wanting to do it for a long time, but we have a hard time doing it. H What I was trying to say about us playing with all these bands is that we used to struggle to play with even crappy bands and now it's really cool to find that we get to play with bands that we actually like. Are there good places to play in Tucson? H There are a decent amount. There's basically two places to play, and you never know if there will be 15 people or 150. Teengenerate played for about 30 people. The Makers played for about 200. The Devil Dogs played for about 10. The Cosmic Psychos and The Lazy Cowgirls, and you think that would be packed but there was about 30 people for that one. That was fun . What are your plans now? J We're gonna work on a bunch of new songs and we arc hopefully gonna record in the next month or two. Where do you record? H Jim Waters is a good guy to record with. J We use either Jim Waters at Waterworks Studio in Tucson or we record in our basement. Our friend Scott (missed the last name) records us on four track . That's what we've done the last year or two. H Scott recorded the last single for Estrus. J They are both really good in different ways. Scott's the master of the four track . He's putting out his own single pretty soon . H: We'll go home and relax for a few days and then start planning to record . Do you have any plans to go overseas and tour! RA : If the opportunity happens. J: If someone offers. We'd like to. So after traveling around what's your take on the state of Rock N Roll? RA : The kids in the Midwest are totally in to Rock N Roll. The people in the metropolitan areas like New York City and LA want nothing to do with Rock N Roll . They are just in todressingup and looking cool . H: Especially LA . RY: We'd rather go to Ohio where there's 50 people there all dancing and having a good time. H : San Francisco's good . J: I thought Cleveland was one of the most Rock n Roll towns. Well that's where the Hall of Fame is right? J: Well I don't think that had anything to do with it. There was just a bunch of people there rocking out an dancing, and a bunch of girts at the show. H : At all of our Ohio shows, there wasn't necessarily a bunch of people there, but once you start they all come up front and start getting 1n to it, which was great. J: InJ'laces like LA you could play to a bunch of people, but they are so jade that they will just stand there and look at you even if they like you. H : And even 1fthere is only five people, they will just sit there and stare at you. But in ¥eneral , there is a lot of bands right now and not a lot of fanzines covenng anything in depth, they'll have maybe just a two line review of stuff that comes out. Unless you arc an active record buyer, you are not going to know which bands are the best. which bands are just OK and which bands are bad. It's good if you work in a record store or you actively pursue it. Do you have a favorite invention? RA: I'd have to say the guitar. J : My favorite invention of all time is probably the record player. I can't imagine my life without one. My whole life is music. Well, after girts, but you can't really call girls an invention. RA: I ncverreallythoughtaboutit. I like guitars, too. But you're the drummer. RY: He's a great guitarist. RA: I play more guitar than I do drums. I don't really practice drums, I just play drums. I play guitar at home. That's how I spend most of my time. H : The typewriter. photo by Anne Tangeman write to THE FELLS: IJa.. POBox43291 Tucson AZ. 85733 �!DD Attheriskl the room here to of months. Thedi No, thediff minutes ofperfe< Too many bands talented friends, sleeve that make abomination like to repeat the proc Anotherim1 nebulous than a• what most peopl, just do not meeq the new Man or J Some of th hide the fact that Makers45 .SymJ Drag City occasi the size of the· scramble to put they're allowed ! It's all outl ( the one indie-ro maybe a couple, Youmayd - And believe me, Which singles v Europe"? I'd c �At the risk of sounding like a grumpy old man, the current state of indie label seven-inch vinyl seems very much like a death knell for the format. I don't really have the room here to explain exactly why I think this has happened, but I do know that for about ten years I used to pick up several 45s a week and now I buy one every couple of months. The difference can't be solely because I'm jaded. No, the difference has to do with a breakdown of what I'll call, somewhat pretentiously, the "singles aesthetic." A single should be something special, three or four minutes of perfection, the very best a band has to offer. A single should be released because it's a great song, not just because someone feels the need to have a record out. Too many bands just don't get this. They hear Butterglory or Smog or whatever, think "Hey, we could do that!" (they're wrong), form a band with several dubiously talented friends, and after a couple of months of rehearsing, slap some half-formed ideas on tape and decide that they should press a seven-inch and wrap it in a hideous sleeve that makes it difficult to discern just what the hell the name of their crappy little outfit is. It sells well to their friends and gets a semi-positive review in some abomination like Magnet, from some moron whose sense of rock history dates all the way back to the first Pixies album and bingo, more hapless fuckups are encouraged to repeat the process with each generation becoming more dire than the previous one. Another important aspect of the singles aesthetic is immediacy; something about the record that makes you want to play it again. I'm referring to something far more nebulous than a nice, catchy pop hook (although those work too): Pere Ubu's "Final Solution", Mission ofBurma's "Trem Two," the Dead Cs "Bad Politics"; these are not what most people think of as "pop" records, yet they grab you on first listen and insist that you bear it again NOW, and as such are classic singles. Too many records I hear just do not meet this criteria, whether it be soul-less Slint-derived dreck like Dianogah, too many retro-garage bands with nice gear and clothes and hair, but no songs, or the new Man or Astroman EPwhich is virtually indistinguishable from their previous thirty seven singles. Some of the more prominent indies are as much to blame as anyone. Beautiful die-cut sleeves and a tiresome affection for drawings of scantily clad women can't hide the fact that the quality of your average Estrus records single has been dropping for a long time now, or that it's hard to get really excited about yet another decent Makers 45. Sympathy for the Record Industry has a long history ofreleasing painfully boring records by stale punk bands. The once-proud Sub Pop is a joke at this point. Drag City occasionally does something right (Plush), but tends to overindulge modest talents like Will Oldham. Almost all of them seem more interested in increasing the size of their catalogue (and hence, their appeal to distributors) than in making great records. Newly formed labels attempting to appeal to the Gearhead crowd scramble to put out leftover tracks by obviously novelty acts like Nashville Pussy and The Donnas, while more "serious" indie entrepreneurs get all excited because they're allowed to put out sub-par Guided By Voices tracks or Jon Spencer Blues Explosion side projects. My, how ambitious. It's all out there and it completely obscures the good stuff. And while it's nice to be able to pick up the new Stereolab seven-inch or something on Matador records (the one indie-rock label that really seems to get it right most of the time) the few 45s I've heard in the past two years that really blew me away (Shake Appeal, Pontoons, maybe a couple of others) I've stumbled on by sheer accident, as they had no distribution, were unknown bands and were not affiliated with established labels. You may dismiss this as the grumblings of a pathetic old fuck trying to validate his formative musical experiences, and I'm not I 00% convinced you'd be wrong. ~And believe me, I hate those types too. But please kids, riddle me this. Where in 1997 were the singles that will provide hip young bands of the future with cover material? Which singles will we refer to as "classic" in ten or fifteen years? Which singles of 1997 were the equivalent of "I Am the Cosmos" or "Sex Drive" or "Radio Free Europe"? I'd certainly love to be shown how wrong I am . �Cl) By Dr. Bill Spivens Would you like to pla.y a ga.me? Th1B 18 my favorite game to pla,y at the start of a new year; I call It •constantly rehash every stupid th1ng you did and everythlng you regret about last year.• I'd better warn you, I'm pretty damn good good at this game. I practice all year long, sav!ng up for the brand new January, Just waiting to mull, ponder, occa1Blonally even obsess about last year's transgreae1ons. W1illa.m Burroughs said an Interviewer once asked him If, look!ngback over his l!fe, he had any regrets. God, he replied, I can't get through a da.y without doing somethlng regrettable and you're asking me to review an entire lifetime? Well, I certa!nly admire his candor. And I appreclate his sense of humor regarding a subject so many people seem dl81ncl1ned to address. Have you ever known someone who rretted over everythinS he/she did? It's annoying as hell. But I would argue that the other extreme can be Just as da.mag!ng. What I'm sa.y!ng 1B that regret, while certa!nly a proportional emotion, should not be Ignored anymore than It should be constantly dwelt upon. Regret should motivate you to make It up to others when you've shortchanged thefll or screwed them over, and to make It up to yourself when you've been untrue. It you dont. have a. newyear'a resolution, allow me to propose one: the next time you're sitting by yourself, th!nk.lng over and over about something you've done that you wish you hadn't, or somethlng you should have done but d!dn't, don't Just sa,y, "oh well" and flip on the TV set; try to t!x the problem. It's a heck of a lot easier than trying to cut back on coffee. HappyNewYear. a:: LI.I z I 11111111 LI.I Pig Records out ofTuebingen Germany' This is a split 10" with Germany's Schwarz on white vinyl. Sure to be a collector's item. Limited quantities available. ~ .· 1 , • i( Gety-ou_rs_n_ow_!--:::"::::-::-=:-t Middle Class Pig Re.cords . ORl&IN~:'.rc3NtM J. MIC..,. ··················••1"••····································: The Hefnera o/o Mioromag I 5PO Boz 442337 Lawrenoe, KS 88044 5Please send me .... .... HEFNERS / SCHWARZ S to•s, for which : i I enclose $..... .. . . ..... . Price $6.00 each. Also. sign me up j for ( ) Hefners' Playboy Club or ( ) Hefners' Bunny Club. .=-L i Address... i i : ························• ......... .... ............................. : ~~~~••••••••••••· •·•·•·•·•·•·•·•••·•·•••••••·~l~~•••••.•.,,.,..~Jp•••••••.•J Concealed cash preferred. Make check.I payable to Bob Deck. �AMAZING NEW MICRO-RADIO STATION. KAW SS.9FDI presents RoCK&l!c)LL RADIO Fridays from 6-8 or's item. ole. SEND YOUR MUSIC now! .......................I IWARZ IO"s, for which Also, sign me up PM ::=:.: • ers' Bwmy Club. ·················· : ·······•···············•············· ·····= Ju payable to Bob Deck. A uo•un. {lettl ii •bout tti,,,ao1 , ~y:n1«111 .,.d u th rd,, n • o:Jaatatl.L Tot al pla)''"I t, ma: I.IP lo t-hou<I IO<two " tidH ." �Are we there yet dad? Arthur Dodge & the Horsefeathers ©1998 Barber's Itch Records. http://www.barbersitch .com/arthur_dodge/ cadillacs, ponytails & dirty dreams .. . In stores March 17 �earns ... 1h 17 �"Perennial winner of art awards" There always seems to be an unconscious theme in every issue of Micromag, that never really surfaces until it is all frantically assembled, and we are able to see it all together. As I prepare this particular article at 4:23 am on the morning of the day that we send it to the printer, it has become somewhat clear that the theme for this issue is "inspiration." Anne interviewing her long time idol Joan Jett, Guitar Wolf strapping his guitar on some unsuspecting kid and making him play, and the longevity of cool labels like Estrus and Lookout all are celebrations of inspiration. I got tbe chance to speak with a man who has inspired-my w.o rk as a designer for several years now- Mr. Art Chantry. No doubt you own at least one record that he has designed, if not many, many more. He is responsible for the majority of the releases on Estrus as well as promo postcards, posters and t-shirts. Art is very active in the design community and often speaks to art students at colleges and to professional design organizations- often to mixed reviews. At a brief meeting at Garageshock, he agreed to an interview, but because he had to go to Chicago th~ next day we did it over the phone a few weeks later. I never felt more unprofessional as the day I had to call him back for a follow up interview because the tape recorder I was using dido 't pick up the conv~rsation. Art was very cool about it and let me take up a few more minutes of his time to finish up. · . · . ·::~ ~ . - ~.;..., e~~r19. Man ... or 8D Well , l'd like1o ge1 AC ln a roundabout sc later and going throuf doing graphic design, while I gave up on any and realized that I was don't give a shi t about I was good trai ning for wanted to learn as mu mean every ti me I get · this forest BO So did you cvcntu AC I 100k two graphil I was already paying~ was making vi suals re expert on Leroy Lettel 8 D l thinkitwas alill AC lt's essenti all y , comics 1s all done wiJ work lt'salOLofeye! BO ls th at howyouc AC I generate type, ty pe, except I tend tc un trai ned look An u more spontaneously, BO Well itdoesn'tc< AC It's hard making I'll have a problem w somewhere along th themselves, will tak because I sti ll work assumes I'm. an ·idio labels• major label label and have it 1un majors 8 D Wha1genera lly �er really surfaces re this particular e somewhat clear Joan Jett, Guitar longevity of cool speak with a man doubt you own at '1e majority of the !tive in the design anizations- often ause be bad to go unprofessional as s using didn't pick tes' of bis time to BO Well , I'd like to get some background on you first. Did you go to school for art at all? AC . In a roundabout sort of way. I went to school to become a geologist and an archeologist, and six years of college Iner and going through four different majors, including philosophy, I realized that I was already supporting myself di>mg graphic design, which I had been doing since high school After a while 1 ran out of financial aid, and after a v.hile I gave up on any son of program and just took classes that interested me I finally looked at my amassed credits and realized that I was one or two classes away from getting a degree in an with a major in painting. {Laughs) And 1 don 't give a shit about painting So basically I went through an awful lot of school to get a degree in nothing. Basically it was good training for a graphic designer. I took as many core classes as I could. I was really interested in knowledge. I wanted to learn as much as I could about everything Graphic design is one of those weird obsessions that involves, I mean every time I get a new client, I get a whole other universe to explore, I mean I never run ou1 of trees to examine in this forest. BD So did you eventually end up taking any Graphic design classes? AC I took two graphic Design classes in college. And I already knew more than the teachers. Of course I didn't know it. I was already paying my bills doing posters and shit like that. I had a job working in a department inside the school that was making visuals for the classes, making overhead transparencies and classroom handouts and stuff like that. I'm an expert on Leroy Lettering Do you know what Leroy is? It was probably way before you were born 8D I think it was a little before my time, anyway AC It's essentially a stencil style lettering kit that the military uses still to this day. All the lettering in the old DC com ics 1s all done with Leroy kits . I'm really good at those, after a couple of summers of very intense, mind boggling work h's alotofeyestress BO Is thal how you continue to generate type and that sort of thing? AC I generate type any way that I feel is appropriate fo r the project. I have no real standard approach to generating type , except I tend to fivor a look that looks clunky or fucked up. I'm very fond of trying to intelligently control an untrained look An untrained aesthetic, even though I am highl y trained. I prefer to make it look as though it is done more spontaneously, and I go to great lengths to make it look spontaneous. BO Well it doesn't come across slick at all. AC · It's hard making your stuff look shitty in a world of computers where everything has to look beautiful . Often times I'll have a problem where I will do a piece of art. and 1will submit it to a client or a design competition, or whatever and somewhere along the line some little hack, in-house production artist, or" Art Director" or whatever they want to call themselves, will take it and clean it up for me. They'll make all of the lines all neat and straight It happens to me a lot, because I sti ll ~ork in mechanicals and not computers. Somewhere out there, there is some computer geek who assumes I'm an idiot and that they know everything, and they try to fix my artwork for me. and that happens at record labels- major labels are impossible. I can't get my stuff through them at all . I'll never be,.able to get my work 10 a major lab~I and have it turn out like I want it and it ends up looking like shit But that's not the main reason I don't work with maJors 80 What generally happens 1n that situation? Do you ever insist on it going back to how you wanted it? �AC : No, I have no control in that situation. Basically with a major, you have no power they have all of the power They have all I.he power. And that's all I.here is to it. I can go in and scream and rant, and they'll just think I'm difficult, and I'll never get any more work. But that's just generally what I do because I don't want to work with them anyway. BO· So you don't use computers at all , forpre•press or anything? AC. Well, when I need typography, obviously traditional type setting is gone. Five hundred years of technology was tossed out in about tWo or three years, so now the only way to get typography is to access somebody with a computer. And unfortunately most people with computers who set type are not • typographers, there is a very, very big disti nction. So trying to get decent type is an ongoing hassle, and I'm getting to the point that I'm going to have to get a computer just to set type so I can get it looki ng like I want it to look And that is going to be a big hurdle for me. l don't want to do it. I don't know how to use a camera either. I just don't want to know. There's a lot of people who try to approach this stuff like "I can do anyth ing." Wel l, no, I want to know what I do really, really well . I don't give a shit about learning how to run a camera or a computer. I want to do what I do, and I'm very narrowly focused. BO· Ooyou haveafavoritefontorfam ily of fonts? AC . Well , first I have a pet peave about the use of the word "font. " Do you know what a font is? That is actually a comp lete set oflead type. A font is not a typeface. That is completely different. Computer lingo has altered a Im of the words now, so that a font is a typefa ce. I've got some favorite typefaces, but a favorite font. well that's kind of a meaningless question. It's kind oflik e the word "pica." "Pica" is now just another typeface, it used to be a unit of measurement. Computers have come in and changed the vocabu lary all in about 1wo or three years Now when I give instructions to people with computers. they don't know what I am talking abou t So, yea h, do you want one? Franklin Gothic. Century Schoolbook. I like the ones that were designed SO, 60 •500 years ago. Contemporary fonts , excuse me, typefaces• I can't think of a one. They all look like display typefaces There used to be a big distinction between display type and text type. The same thing happened in the late 60's, when cold type really flooded the market, all ofa sudden it was easy to design typefaces and the market was flooded with all of these hideous typefaces. People are kind of looking at them know say ing "all those ?O's ty pefaces are so cool" , but at the time they were hideous. What happened was, it was easy to use these typefaces, and people designed crazy typefaces . Not very functional ones, but ones that we re outrageous. We are kind of going through the same process right now with computers Anyone can design typefaces now. The result is that we are inundated with outrageously useless typefaces that in ten or twenty years we are going to look at and say "Oh. those are so ugly! " I'm sorta sitting back and wai ting fo r the dust to settJe on this typography design era, and see what the hell it looks like in about ten years. Me, I tend to concentrate on stuff that happened about 60 .100 years ago. BO What is it about that type of design ... AC . Because it was done by designers• people who understood what design was about, they were trained in design, they practiced that for a long time, they learned from the great masters, you know, people who are doing design now are j ust buying computers. There is no prep. There is a big difference between decoration and design and me lt'salanguageofd read and nobody advertisement or, ci rcle opposed tOE an instinctive thir through that le\lcl with people's min< designers are sort 1 BD: Whatisyour l AC · The photocoi BD· What's your ti AC : Appropriatio between "stealing alter the meaning that's not enough significantly and 3 images. You don't your common seri obscure that it doe that was taken soi the corner, like sai is really fascinati1 change significan of my imaSes loo exact same style, appearance so mu awareness ofwha art, I mean peoplt You could add six gun . And thirdl y you wanted to ste; you don't change use it on a major r evil , but it is also \ putting 50 punk Pl punk poster, but I �a:id design and most people today are just decorators. Design is actually a language. Its a language of color and shape and line and form . It's a language that everybody can rmd and nobody knows they can read it. When we look at a car or we look at an a~verusement or we look at a color. we know yellow means something. We know a circle opposed to a square means something. And we know it without knowing it. It's an instinctive thing that is a cultural inheritance. Graphic designers communicate through that level. We are constantly manipulating peoples heads It is our job to fuck with people's minds. And we do so for our own purposes, usually for money. Graphic designers are sort of propagandists for an industrial merchant society BO: What is your favorite tool ? AC · The photocopier 8D: What's your take on appropriation? AC : Appropriation to begin with has to do with changing. There's a big difference between "stealing" and "appropriating" is reinterpreting the image in it's context. To alter the meaning of the image lf you just take an image and slop it straight across, that's not enough . So the three basic rules are I) to take obscurely 2) to change significantly and 3) to use appropriately To take obscurely, you don't take real famous images. You don't take Mickey Mouse, because you won't get away with it I mean use your common sense. Take it from an obscure source that's copyright free, or it's so obscure that it doesn't have any meaning anymore. Often times I'll find a photograph that was taken 50 years ago, and I'll be interested in this one little image that's down in the corner, like say there's a picture of a car that's being tom apart and this brake drum ,s really fascinating., and then I'll take that and work with that. The second rule is change significantly. If I find an image thati like, I will work with it. Sometimes a lot of my ima8es look like something, but they are not They are often redrawn in the exact same style, or I will collage in, or draw in entirely new images that change the appearance so much that you won't even recognize it. There's just this vague culturaJ awareness of what the fuck this is about. Clip art is famous for that. You take old clip art, I mean people take it and use it straight across , but you can take it and redraw it. You could add six heads and five arms and it could be holding a wrench or a machine gun . And thirdly is to use appropriately. So we are reffering to the first two rules. If you wanted to steal Mickey Mouse, well, you are really asking for it. And secondly, if you don't change Mickey Mouse, you are reall y asking for it. Thirdly, if you want to use it on a major project, you are really asking for it, and it is also wrong. It's not only evil , but it is also bad to steal On the other hand, if you use it appropriately, if you are pulling 50 punk posters on telephone poles, you know, take Mickey Mouse, put iton a punk poster. but I have known people who have been sued Recently in Seattle there �was somebody who took the Fam ily Circle cartoon and used it for a drag show, and lhe people who do Family Circle sought those people out and pressed charges They didn't take obscurely, they didn't follow rule one, and secondly, they didn't change significantl y, they just put some bondage gear on them and left the same faces. Sure, they were making the cu ltural reference, but that's just playing with fire. BO· But, you, yourself haven't got in any trouble . AC No, I've always been very careful. Where I haven't been careful, I've been reckless intentionally. Sometimes the intent of recklessness puts it into the territory of first amendment protection. lt becomes satire or parody. For instance, in publication design, you can get away with a lot more because it is protected by the First Amendment. I can put Mickey Mouse in an editorial cartoon defaming Goofy, and it's okay, but if I put that on a product for sale and profit, that's an entirely different territory For instance, rock bands, we use their pictures in publications all the time, but you take that photo and put iton at shirt, they can sue your ass . So there are all these territories you have to be careful of, and just because you see somebody like me 1ake Mickey Mouse and put him in an editorial cartoon, doesn't give the observer carte blanche to the same. "Monkey see, monkey do" is something that is way out ofi t h 's no longer a safe practice in this world . Or should I say "Punky see, punky do"? 8D How do you lei the element of chance into your work? AC Well , early on in my life I was an art student. I was reall y fascinated with Dadaists, and particularl y Marcel Duchamp , and every project I do has elements of cha nce in it I don't share tha1 with the client I'm never quite sure how the projects are going to turn out until it comes off the printing press I shoot for a range of acceptabi lity, a lot of the times because I am working with cheapo, mail order, low budget, etcetera, reproduction processes You kinda have a certain slop fa ctor worked in to those practices, and what I try todo is control the range of possibi lities. It can go this far wrong, or that far wrong, and sti ll be okay. When I see designers who get very, very exacting about things, and they spend hours at the press checking everything- well, I don't do that. I can't do that . The projects where I do get a chance to do that I'm still very accepting because I'm used to be accepting within a range of trial and error So, a lotofthetimes I put things in there and I really don't know what's going to happen, Ijust know that it is going to be acceptable. BD· S01t'snotalwayscalculated? AC: Well , no, it's calculated. That's what I am trying to describe, but there is on ly so much that you can control. When I say I don't share that with the clients, I don't let them know, I tell them that it is going to be happening. It will look sona like this and I'll show ther possibilities, t imponant to b the project as unsuspecting am definitely stupidmistaltj stree1 when i1 either. BO· How ma.Ji AC l'venevei range of 500. BD Wow.Thi AC. Well , it's used to work tabloid public and 1ha1's ho~ :r~~~r~~:k~, there's all kine saying "Oh gc to do is to ask It's like, "In okay, I'll get ri BD: I don't kn AC . Aw,geez still proud to drawer and I c It takes the pc was thinking : analyzed yet. direction 1 pinpoint spec direction end! are really fud at as being da perfect. �fll show them something else so they know what to expect within that same range of possibilities, but I'm not going to tell them that it is going to look exactly like this. That's very imponant to because this is a collaborative artfonn . The clients are every bit as important to the project as your aesthetic ideas. 1 think the idea of an artist forcing their muse on an unsuspecting client is nothing shon of criminal. I just hate designers who are like that. but I am definitely not like that. Whereas I throw tantrum when I think the client is making equally s1upid mistakes, or that their muse is more important than me, because it is an equal two-way street when it comes to collaboration. The client is not always right, but I'm not always right either BD· How many record covers would you say you've done? AC I've never reall y counted them , but if you look at LPs, CDs and 45s. It's somewhere-in the range of 500. BD Wow. That's incredible AC Well, it's just work . One of the things I've learned to do over the years is to work fast. I used to work in publication, I used to work on The Rocket (Seattle based entertainment tabloid publication). It was no money, no time, do it fast. We ended up designing on the spot, and that's how I learned to work . Everything is done through my hands now, so I think and work fast The things that slow it down are usuall y the client's concerns. And there's all kinds of little tricks- if you want to buy more time because you have other work piling up on you, there's all kinds oflittle tricks that let you manipulate the client into buying more time without sayi ng "Oh gosh , I need more time" or something like that. I found that one of the best things todo is to ask theclienttomakea deci sion . (laughs) It buys you at least two weeks, minimum . It's like, "I need some copy writing for this, yeah, I need some text." and they are like "Oh, okay, I'll get right hack to you" andyougetanothertwoweeks. ltcomesin very handy. BD: I don't know if you have an answer forth is or not, but do you have a favorite project? AC . Aw, geez! You know there's a lot of things I do and over the years I look at them, and I am still proud to have done them, but generally speaking, I get things back and I put them in a drawer and I can't look at them fora long time. They tum out so different than I intend them to. It takes the perspective of time before I really realized how things work . I can tell you what I was thi nking and doing maybe six months ago, but what I'm doing right now, I haven't quite analyzed yet. I'm not quite su re what direction I'm going at the moment, but I know what direction I was going six months ago. So, the answer to your question is that I don't really pinpoint specific projects as being great, I kind of look at my work as a continuum and my direction ends up being more interested in the individual output. But still, there are a few that are really fucking good . There's a poster I did for an artcollectiveback in 1983 that I still look at as being damn good , and the poster I did for Romeo Void back in '82 that I still look at as perfect. �I- I RELEASES t Ho~o:-:'w~~t:~::tahgic 'fia t Hyperapherlan 7 Inch New York. Mr. Aikin ' • ••coll an fram ,onal De nor. • • Grand Hotel/ Park 1plll 7 Inch chlldhaod ..• lh• 900d and 1111d Terlyakla ,,,,ychln to Sldeklclu" l O inch/ CD Naw 1en11 racardalf by l•lt W•1tan. SUN BARROW 7" PARK/GRANO HOTEL spilt 7" RANDOM SPORADIC THOUGHT 7" - Send S.A.S.E . for corrHpondence and catalog HYPERSPHERIAN 1" l lllnola Lawrence, KS 81044 www Whtn Answering Adwrtis,ment, Pleas, Mention MICR OMA G PRIAPUS com SERVOTROI ( Lookout • PO In direct relati, point that the h for themselves has been den) reveal the inht understanding drums, synthe these devices refreshingly fi destruction o extremely fu VARIOUS (VMIAOBJ It's hard to be ago. Well , the track from on For the mosq The Geezers that only com voice is all wt The Vindicti pale copies. �MICROMAG ~"lfdb tt•Nn,Yorlr. el Donor. 7 inch ntl~odllmu. lrfch"101nch/CD Wuten . - !from us! CD= S10 ·aspondance 1u SERVOTRON Entertainment For Humans (Second Variety) CD (Lookout• PO Box 11374 Berkeley CA 94712-2374) In direct relation to human evolution, artificial intelligence has evolved to such a point that the higher forms of machines are now able to not only maintain and think for themselves, but it seems that they are fighting for the rights that the human race has been denying all machines for some time now. Servotron have surfaced to reveal the inhumanities we all are guilty of, and are doing so by employing their understanding of some of our favorite inventions to force our attention- guitars, drums, synthesizers, and other electronic brethren. The sound they produce from these devices can be compared to Devo, Wire, New Order, and The B-52s, but is refreshingly modern . Apparently their plan of attack involves the control and destruction of human youths, with their impressionable minds, by playing extremely fun music. Check out this disk and you'll never look at your toaster the sarnewayaga(n! BD VARIOUS ARTISTS That Was Now, This Is Then CD (VML • PO Box 183, Franklin Park, IL60131) It's hard to believe that the first so-called punk movement exploded twenty years ago. Well, the folks at VML have conjured up a bunch of today's bands each doing a track from one of the punk bands that have inspired them. Does it capture the spirit? For the most part, yes. But like most ventures of this nature, not everything works. The Geezers do "Stuck On You" with the singer doing a fake Johnny Rotten voice that only comes off as annoying. And while I normally like The Migraines, Eddie's voice is all wrong for The Darnned's "Neat Neat Neat." And there are two tracks by The Vindictives doing the Sex Pistols (as mystery bonuses) and coming across as pale copies. Less Than Jake's version of The Jam's "This Is The Modern World" is .,..,. . ---:~ - ((0,:'./ .r· .. \\.' / Test your ability to shade Shade tho above head with an ordinary soft pencil. This lost will show your ability to create depth in the face and hair. This test also indicates how wall you ora able to use a common pencil as o drawing and shading medium. �just plain weak and Moral Crux's rewrite of The Clash's "1977" tries hard to capture the spirit, but it's just forced and silly. So, what do I like? The Dillinger 4's "You're Not Blank," doing the Dils up proud, The Teen Idols pumping up Eddie and the Hot Rods' "Teenage Depression" with steroids, Violent Society's rev-up of Eater's "Room For One," Hickey's "The American In Me," Sloppy Seconds' "Let's Loot The Supermarket" (a Mick Farren and the Deviants cover) and The Chinese Millionaires' awesome "Oh No." All of these bands capture the spirit of the originals while exploding quite well on their own. So, it's half and half, but it's definitely lovingly put together. BMS THE TROGGS EP Collection CD (See For Miles PO 328 Maidenhead, Berkshire, SL6 2NE, England) Yeah, I know we've all beard Wild Thing enough but these guys are great. The bass heavy moody sexiness on all the songs is just what I need. The implied and outright sexual urgency of the Troggs makes them a very fun band to listen to and this collection is cool. With songs like "Give it to Me" , "Gonna Make You". "I can't Control Myself' and "66-5-4-3-2-1" The last is Reg's "booty call" line, ring him up and he'll be there and alone cos he knows what she wants and he's sure he can amply supply it. Then there's the true love tunes that are also quite fun and probably helped gettin' the ladies home. Can you hear "With a Girl Like You" enough? What about "Love is All Around"? LB THE GADJITS At Ease CD (Hellcat Records• 2798 Sunset Blvd. Los Angeles CA 90026) The Gadjits apparently repeatedly deny that they are the "Hanson of Ska". The truth is that if the average age of these Johnson County ska kids wasn't 17, they never would have been signed. Ska music is a genre traditionally defined (as of late anyway) by over the top energy and an undeniable downbeat. Admittedly, their first self released CD, "The Gravy on Your Grits", was a testament to that type of Ska. Manic and youthful. This release doesn't really kick in until song #5 "Traffic Tickets" . Their energy is captured even better on the ode-to-a-slut "Party Girl", which would be my pick for a radio single save for the abundance of expletives. My next pick would be the twelve bar blues based and highly Jerry Lee Lewis flavored (read REAL Rock n' Roll !) "Need Yo' Luv", which is just as surprising coming from these guys as their cover of "Mustang Sally" . The bulk of this release comes off as mid-tempo and mediocre, devoid of any really catchy hooks. BO STEREO LAB Dots and Loops LP (Drag City• PO Box476867 Chicago IL 60647) Since everyone is trying to sell authenticity these days, why not go in the opposite direction? That is what Stereolab does--and does mighty well too, flaunting their mastery of reproducing the non-rock archive. On Dots and Loops, lounge music, Eurodisco, and whatever else the group has found in used-record bi, on consumer ri and impressive you--unless, of THEREMAJ: (Sundazed PO I love "Don't l couple of origi "Hang on Sloo - PADTt\ CALL �n the ode-to-a-slut "Party if expletives. My next pick (read REAL Rock n' Roll!) s their cover of "Mustang evoid of any really catchy opposite direction? That is f reproducing the non-rock ltse the group has found in used-record bins floats over top of a synthesized pulse. And, it's all wrapped up in a sneak attack on consumer rituals-you will no doubt buy it because of the packaging (which is rather stylish and impressive). But once yo u have listened to the record, you will no doubt enjoy that it leaves you-unless, of course you happen to be a musical purist--stirred, not shaken. JB THE REMA INS A Session With... CD (Sundazed PO 85 Coxsackie NY 12051) I love "Don't Look Back" as much as anyone, but I put off buying this CD because it only has a couple of originals. But I found myselflistening to it one day at the record store and they start off "Hang on Sloopy'' and then Barry Tashian yells 1-2-3-4 and the rock that follows is immense, so Lulu's serves many tasty vegetarian dishes featuring Central Soy Tofu PAD THAI TUES: PAD THAI.& COKE $4.98 YUMMY! WED: TOFU FRIED RICE $2.98 WOWI CALL FOR OTHER DAILY SPECIALS ph.840-9900 Located 8th & mass. inside the Casbah I bought it for a "Sloopy" cover. And it's great. All ofit. This CD is so cool because it was a demo session they were doing to try out for Capitol and the tape just rolls and was mixed straight to 2-track and it sounds live and energetic and still kinda laid ~ack . The covers are great I love the originals. Pick it up! LB FRANKZAPPA CucamongaCD (Del-Fi• PO Box 69188 Los Angeles CA 90069) Here's something for all you Zappa fans out there: a collection of seven singles Uncle Frank produced, wrote and/or played on between the years 1962-64. All were recorded for Bob Keene's DelFi and Donna labels. You could say, these were his "wet behind the ears" years, as he was just entering his early twenties when these were recorded. Needless to say this shows the early sparks of weirdness that would come to full fruition once Zappa formed The Mothers of Invention . Here, though, his reported fondness for doo wop, R&B (the greasy kind) and strange novelty are all on display. The latter is represented by "Deer Jeepers" and "Letter from Jeepers," a record made by an L.A.-based DJ named Bob Guy, who sounds like a radio version of the old horror movie host Zacherie. Bmovie fans should check out Baby Ray and The Fems' "How's Your Bird" and "The World's Greatest Sinner" (from the 1962 Timothy Carey film of the same name, which Zappa wrote the music for), both of which feature future Mother Ray Collins on vocals. Rock 'n' roll instrumental fans should hear the singles by Paul Buff (an engineer who owned the studio Zappa made a lot of these) and The Rotations (s urf) respectively. The doo wop side of Zappa comes through on singles by The Heartbreakers (featuring backing by DelFi's own The Romancers, of "Slauson Shuffi e" fame) and The Pauls (Buff again). The greasy R&B side is represented by Mr. Clean's appropriately self-titled single. For anyone interested in Frank Zappa, this is no doubt a must-have and there's delights that await the casual listener as well. - BMS �DC 0 SE 0 a e a OF MONTREAL Cherry Peel CD (Bar None Records• PO Box I 704 Hoboken NJ 07030) I got this promo at work and read the press release (one handwritten page by one of the band) and thought it sounded pretty dumb. Later that night I tuned in for a couplasongs and turned it off. .. for about ten minutes and then I was up tumin it back on, then I took it to work and listened to it and then home again and it was on and then back to work ..... It's just fun pop to listen to, harmonies and sing-a-long songs. Far from the bland indie record I thought it would be. There is a lot of acoustic guitar and brushes. It puts me in the same mood as Yo La Tengo's "Fakebook", a nice mellow sing a Jong. It was done on four track and you can tell. I like the strain the voice has on it to be heard over the instruments. LB D 0 Krochez Kitty quality scarves are created by Sheree and Carmen. Our goal is to bring you a high quality product made with as much tender . care as your own grandmot her loving puts into her cooking. 0 Call (913) 677-1985 to place an order 0 a 0 0 0 a at z ass a sd c THE SPITFIRES demo tape (The Spitfires• Apt A. 3551 Main St . Vancouver B .C. V5V-3N3 Canada) We normally don't review demo tapes, but I was really impressed by the one these guys sent to me. Seems there's a rock 'n roll revolution going on up there in Vancouver, with tales of crazy shows (complete with mentions of broken glass all over the place) put on by these guys. This five song cassette has already warranted repeated listens, and although most of you will never hear it, bassist C.C . Voltage promises something will be officially released soon- so be on the lookout. The first song reminds me of a revved up remake ofTommy Tutone's "867-5309 Jenny" and that ain't bad at all. BO JOHNNY LEGEND AND HIS ROCKABILLY BASTARDS The Best ofJohnny Legend, VolumeNoneCD (HMG/Hightone) I was at a rockabilly concert this past New Year's Eve and while I had a good time, I couldn·t help but notice the artifice of the whole thing. Most of the bands were all these well-groomed suit-and-tie rockabilly bands and, well, it made me a little sick. Even the music was too perfectly clean . What a sight it would be if Johnny Legend were to show up there with his long hair looking like a lumberjack from hell. But HE would show these rockabilly purist boneheads how its done. Because whether he's doing a mournful ballad like "Nightbird," or a full-out rocker like "The Holy Beat," he knows how to deliver rockabilly the way it should be: sexy, rough and all-out fun. That be has fun with what he does should be obvious to you. The "Two Thousand Maniacs" theme song cover is worth the admission price alone. You'll have a gas with this one! BMS THE MOTA (eMpTyRecc Texas' brand latest fu ll len; action sonich you about hi tim e around, joyfully slopJ component tc The Motards sounding gui awe inspiring THE BOBB Years 3 CDB (Del-Fi• PO I This sho uld r than •·1 Fougl singles, but F of power pop "Never To 8, the full-ou t e Fuller also ex witl1 smooth considerable Martian" ano third disc is scrapped that though a larg disc is a parti years and the of the great package "I Iike the ge ms �I en page by one of the in for a coupla songs t back on, then I took then back to work ..... from the bland indie orushes. It puts me in g a long. It was done Ito be heard over the ::anada) by the one these guys re in Vancouver, with lver the place) put on repeated listens, and 11ises something will minds me of a revved datall.BD The Best ofJohnny : I had a good time, I lf the bands were all nade me a little sick. be if Johnny Legend :k from hell. But HE 3ecause whether he's : "The Holy Beat," be )Ugh and all-out fun. The "Two Thousand You'll have a gas with THE MOTARDS Saturday Night Special Ed CD (eMpTy Records• PO Box 12034 Seattle WA 98102) Texas' brand of blood, sweat and beer garage punk is evident on the Motards' latest full length release, "Saturday Night Special Ed." Bone crunching guitar action sonicly invades your eardrums, while lead throat John Motard infonns you about his world of weirdness, alcoholism, and other social rants. This time around, the Motards rock out a lot tighter, even though they can sound joyfully sloppy (according to my failing ears) at certain times. Another major component to this album is production superstar's Tim Kerr's knob twidd ling . The Motards are rescued from undesirable muddy production, to a more clean sounding guitar assault. Give the Motards an A+ for God-like power with this awe inspiring artifact. AYM THE BOBBY FULLER FOUR Never To Be Forgonen: The Mustang Years 3 CD Boxed Set (Del-Fi• PO Box 69188 Los Angeles CA 90069) This should prove once and for all that there's so much more to Bobby Fuller than "I Fought The Law." Granted that "Law" is one ofrock 'n' roll's greatest singles, but Fuller and crew were quite possibly one of the first true exponents of power pop . Just put on "Let Her Dance," "Another Sad and Lonely Night," "Never To Be Forgotten" and "I'm A Lucky Guy" and if you're not giddy with the full-out exuberance of these songs, then it ain't my fault if you're a loser. Fuller also executed ballads like "My True Love" and "A New Shade of Blue" with smoothness and his stabs at drag rock ("King of the Wheels") and considerable instrumental chops (the surf instrumentals "My Favorite Martian" and "Thunder Reef') are all documented here. What's more, the third disc is a live set recorded at PJs in 1964 for a live album that was scrapped that gives you an example of what Fuller and co were like live, eve_n though a large portion of it is covers. (The version of "Let Her Dance" on th1_s disc is a particular treat.) The liner notes, covering in great detail, Fuller's hit years and the different theories surrounding his mysterious death in 1966 (one of the great tragedies in rock 'n' roll), are unifonnly superb, as this whole package. "I Fought The Law" and "Let Her Dance" deserve to glow forever like the gems they are. This package helps assure that they will. BMS Wheatf ields Bakery &Cafe 904 Vermont • lawrence • kaosas WOOD FIRED HEARTH BA KE D FINE PASTRIES AND BRE AD S COFF°EES GREAT SANDWICHES ANO SEASONAL SAVORIES OPEN 6 AM - 10 PM MON-SAT 841 ·5553 8 AM • 5 PM SUN �THE VENDETTAS "Can't Stop" blw "Gasoline" 1" (360 Twist • PO Box 9367 Denver CO 80209) This is the only thing I've ever heard from this band, but judging from these two songs, I can tell you that I'm already anxious forthe fo llow-up full length to come out. "Can't Stop" is a guitar driven number that's got me shakin' in my seat as I type this review. "Gasqjine" on the other hand is more of a bluesy tune, that brings to mind a slower version of "Blank Generation" ... or should I say "Tank Generation"? Playful girly vocals make this unique and precious. BO THE ZOMBIES Zombie Heaven 4 CD Box Set (Big Beat • 42-50 Steele Road London NW IO 7 AS) In several early anempts at writin g this review, I realized all I was doing was raving about the band and the box set. So, now after extensively collecting my thoughts and listening to all four CDs I think I've got something: more raving, gush mg and almost shouting "DUDE" in my excitement . So, instead I'll present you with two lists the first; Why the Zombies areSo(oooo) Cool : -Great songwriting -Incredible musicians -Wholly original and un ique sound -The soul and jazz influence -Style -Odyssey and Oracle -Nerdy, almost moody pop -Electric piano -Minor chords -Back-ups & harmoni es -Pop, as somethin g more than just pop (ya know) . and the second list; Why Zombie Heaven is So Good: -119 songs-42 unissued tracks -62 page book with chronology and track by track memories by the band -Odyssey and Oracle -Photos (lots) -The Zombiemania offer -A lot easierthan finding all the singles and such (B BC recordings/demos) -Thebook -Thealtematetakes, etc. Al l in all I think it is a most worthwhi le purchase, sure to bring hours of enjoyment and repeated listening. Wish I didn 't have to give back (thanks Billy, guess you want it back now?) LB RAMONES We'reOuttaHere!CDandvideoset (Radioactive) What a sad way to go out, man' Performing yourlast song ever with that whining loser Eddie Vedder. Coming off like a bunch of biller, grumbling old men in the interview segments. Running through the songs like you can't wait to hurry up and get off stage . Joey stumbling and slurring his way through the words. And if that's not bad enough, the video director, Ken Kerslake, shoots the final show segments in that irritating MTV-verite style that totally undercuts any intensity the performance might have otherwise had. But just as it seems all is lost, the video is rife with priceless (if erratic in terms of quality) footage of the band in their prime. That stuff makes this package worth havin g for fans, but if I were you, I'd keep a few copies of "Rock 'n' Roll High School" on ice. And light a candle for of rock 'n' rail 's Jl~lrnA I'i. EGOLESS Recording Co. c.>c> nnooon ·,- $25/hour 16 tracks of analog recording Mackie 24 x 8 console DAT mix down Call Brad in Lawrence 913-842-5916 Test the ex~ �imi I", Recording Co. 0 NORMAL /-···· -..\ .' \ r l HAPPY SAD ! ~ ---, . r ) :· { ANGRY SCARED l t • \,. '-.. f analog recording 24 x 8 console rmixdown ~d in Lawrence 1-842-5916 MELANCHOLY DRUNK SURPRISED STUPID .1r · / NERVOUS Test your ability to create expression At the top left you see two cartoon heads, each showing a typical expression. Following these examples, draw on the remaining outlined heads your own versions of the expressions printed under them. Don't try to draw detailed features. The idea is to create expressions with a few simple lines. If you think out each expression before you draw, ;: be su rprised how convincing it will be. �greatest bands (and screw you royally if you say otherwise). BMS THE BLOWTOPS Voodoo Alley?" (BigNeck,POBox291, Buffalo, NY 14209) YEEEEOWWW! ! ! These Buffalo, New Yorkers scorch yer ears and make ya holler! !Trashy, fuzzy, raunchy rock 'n' roll recorded at the bottom of a sewer tank! Made to be cranked up loud enough to level towns! Pure garage 'n' roll that's psyched-up, psyched-out and pyschotic all at once! What more recommendation is needed? Proceed and devour! BMS THE APPLES IN STEREO Tone Soul Evolution LP (SpinArt • PO Box 1798 New York NY IO 156) &~ PUlWBIUI The Apples give flower power a much needed infusion of garage rock . What sets this record apart from the other popsters is that the songs are not too sugary sweet: there is always a hint of sadness just under the surface of jangling guitars. Other bands might name-drop the Beatles, Beach Boys, Byrds, Kinks etc., but The Apples use these influences to push their songs to new heights. I don't know where they got the descending guitar line to "The Silvery Light," but it's more gripping than a long goodbye. Tone Soul Evolution may be somewhat more restrained than The Apples' super-energetic live shows--however, their reworking of the power chord intro to "All Day and All of the Night" on "What's the #" will clear the space in front of your stereo speakers. A word to the wise: the record has two extra songs, so buy the vinyl. JB THE CANDYSNATC HERS Pissed Off, Ripped 0./J, Screwed CD (Go Kart• PO Box 20 Prince St. Station New York NY I 0012) The Candysnatchers' new compact disk contains songs of ultra pissed off, fast, high energy obnoxious punk that the too sensitive may not stomach . Mix the OLD Misfits and the New York Dolls with a lot of other eclectic subjects and personalities, and out pops this band from the wasteland of Virginia Beach. This second release features old demo material, which I suspect has been remastered from possibly inferior sound quality. Thirteen tracks of blazing original material is �r,ise). BMS :orch yer ears and make ya 1 the bottom of a sewer tank! s! Pure garage 'n' roll that's at more recommendation is p on of garage rock. What sets f gs are not too sugary sweet: ce of jangling guitars. Other Byrds, Kinks etc., but The v heights. I don't know where Light," but it's more gripping ,mewhat more restrained than their reworking of the power at's the#" will clear the space he record has two extra songs, {[,Screwed CD 10012) i°ngs of ultra pissed off, fast, 1ay not stomach. Mix the OLD / other eclectic subjects and !eland of Virginia Beach. This I suspect has been remastered ;of blazing original material is Test your imagination as an illustrator Complete the pidure by adding whatever other figures and objeds you think ore necessary to tell on interesting pidoriol story. Let your imagination hove free rein. Do not odd any more shading than is shown in the original drawing. This is not a test of your draftsmanshi p but of your imagination. Keep the drawing simple. �found here, while a Ramones cover (which includes a farfisa organ) and a righteous Saints cover is short of being ripped off. Even these ditties totall y scream "Candy Snatchers'" all over hte place. The "Pissed Off... " sound is so full of force that whiplash might end up being the end result. But don't let this small matter get in yo ur way because rock and ro ll enlightenmen~ison your way. AYM TERIYAKIS Psychics to Sidekicks I 0"/CD (Priapusfferciopelo • 1723 Ill inois Lawrence KS 66044) The perpetually unexplainable Teriyakis have released an amazing adventure in sound that captures the li ve noodlings locals have been (hopefull y) experiencing for three or more years now. The Teri yakis have never been afraid to experiment and layer, util izing many unique instruments and samples, and changing tempos and beats. You never know which instrument each member is going to end up on when they start changing around between songs at their live shows, very similar to the unexpected twists and turns their sound has become known for. Don't let the Teriyakis trick you in to think ing that this is just an experiment in expression, because underneath the many layers are some genuine pop songs that shine bright on this record. This will be the first CD release for the local label Priapus and the first release for Billy Lamboley's upstart label Terciopelo (Spanish for "velvet"- literally "third hair" .) Bob Weston recorded this release, and he did a mighty fine job capturing the songs, which are some of their best. Also note that they'll be heading back to Chicago soon to begin recording a full length. BO LAZY COWG IRLS A Little Sex and Death CD (Crypt • 1250 Long Beach # IO I Los Angeles CA 90021) The Lazy Cowgirls are probably the most underappreciated rock and roll band EVER . They have been kickin out REAL rock and roll fo r 15 years now, and have released about 15 albums on labels like Restless, Bomp 1, Sympathy, and Dog Meat. Although I am not very familiar with these early releases, I can tell you by judging from their last two Crypt releases that their spirit is nothing new. They are a highly seasoned outfit, and their newest CD is packed with songs about, well, sex and death and many experiences in between . Lead singer Pat Todd has one of the most passionate voices I've ever heard, whi le guitarist Eric Chandler provides the perfect accen ts to these true life tales of glory and disappointment. BO THE DOWN-N-OUTS Introducing the Low-Down Sounds of .. 7" (Hi psville • 2020S. Lowell Blvd. Denver CO 80219) The Down-N-Outs are a newly formed Denver trio fronted by ex-Element 79 crooner/strum mer Michael Daboll, who is one of the best rock and roll wailers I've heard since the Sonics! Nothing compare to a good scream right before a frantic and fucked up guitar solo. Three truly smokin' gems on this single. Get yours now as they are limited to only 500 copies. BO VARIOUS ARTISTS Flaming Burnout CD (Man's Ruin• 610 22nd St. #302 San Francisco CA 94107) Once the dust settled from the Estrus Records warehouse fire on January 17th , 1997, many bands began scheming up a way to help Estrus rebuild after this horrible tragedy. Not only was a major part of their stock sent up in smoke, but unreplaceable master recordings and original artwork from the first ten years of their existence went up with it- not to mention all of the Mono Men's equipment! Man's Ruin Records has recently released a CD containing 30 tracks from bands who wanted to help the cause, and all the proceeds go to help Estrus rebuild. Many Estrus bands are on here as well as friends such as The Woggles, Delta 72, The HiFives, Southern Culture On The Skids, The Fleshtones, and Servotron (who's song "Rocket Dog" is about the fire itself). I think all of the songs are new and/or unreleased, and damn if there isn't a square track in the lot! You can't go wrong with this comp, baby, so do yourself a favor (and Estrus, too) and pick this up soon. BO ULTIMATE FAKEBOOK Electric Kissing Parties CD (Noisome• PO Box 3570 Lawrence KS 66046) Ultimate Fakebook's debut release on Noisome records (formerly Unsound Records) is an essential pop offering for fans of the simple rock and roll setup of guitar, bass and drums. This three piece from Manhattan Kansas has become one hell of a "basement arena rock" band, and this CD deserves attention from anyone who enjoys the power driven pop of bands like Superchunk. The first song on this disk "Far, Far Away" is quickly becoming a classic in the annals oflocal music, and deservingly so. Bill McShane's ultra catchy guitar hooks and vocal sty lings shine best on this tune, often sounding like there are two completely different people singing- he's got that much range' Eric Melin's drumming needs no introduction for fans of Manhattan's other great hope Truck Stop Love, and his beats and fill s are three simple, use and even pipes or unus �I ;of .. 7" id by ex-Element 79 k and roll wailers I've right before a frantic :ingle. Get yours now fire on January 17th, rus rebuild after this :ent up in smoke, but the first ten years of 1no Men's equipment 1 30 tracks from bands Estrus rebuild. Many 1les, Delta 72, The Hilervotron (who's song :ongs are new and/or 1ucan'tgowrongwith ick this up soon. BD : (formerly Unsound rock and roll setup of ansas has become one attention from anyone . The first song on this lals of local music, and 1d vocal stylings shine etely different people needs no introduction d his beats and fills are Test your ability to create characters Following the example on the extreme left , create characters with the remaining three simple outlines . The hots and the head outlines should suggest types to you . Feel free to use and even exaggerate mustaches , eyeglasses, big noses, small noses, earrings, cigars, pipes or unusual hair styles .. anything you feel will help to make your types interesting or send $2 to: Brian Marshall 8811 Rue Riviera Apt 3A Indianapolis IN 46226 �for fans of Manhattan's other great hope Truck Stop Love, and his beats and fills are as great as ever. Unless you are too cool to support the local music scene, you should check out this band live as they always deliver great performances. BD MURDER CITY DEVILS sit CD (Die Young Stay Pretty• 1932 First Avenue Suite 1103 Seattle WA 9810 I) Pretty good Stooges inspired rock and roll tracks mixed in with a few mell ower organ driven tunes, make this CD a good listen. I've never really been a fan of bands with a singer who doesn't do anything but sing (although there are obvious exceptions), and although I don't think that the MCDs fro ntman Spencer comes across very well on these recordings, but I bet he's a great li ve. A few friends from Seattle confirm this notion . The strange part is that the guy looks like a clean cul, grown up Campbell's Soup kid, but sounds like a young Iggy (especially obvious on "Broken Glass" a song about the man himself). Rock and Roll fans will be entertained by this, but I doubt it will have much staying power. BD MASONS/ESSIGHAUSsplit 10" (Middle Class Pig Records• Pfitzerstrasse 32/7 7270 Tuebingin Germany) This is the second release from Middle Class Pig Records, the German record label who also recently put out The Hefners / Schwarz split ten inch. The company was started by Erik "The Red" Bauer who you might remember as Jeff Petterson's follow up host on 90.7 fm KJHKs "Alternative Flashback Show" (which is back on the air again!) a few years back. After his graduation he moved to Germany and decided to try his hand at running·a record label. After a bit of talent searching here in the U.S., he arranged to put out this record featuring the Masons from Kansas City and a German Kraut-Rock band called Essighaus. Although the Essighaus side is not my cup of tea, I can't get enough of the Mason's seven songs. Reminiscent of early Misfits, and often compared to the Jon Spencer Blues Explosion (probably due to Tom Mason's vocal delivery) their songs are thick and chunky and an all around rompin' stompin' good time! Highly recommended if you can get your grubbies on it. BD DEAD MOON Hard Wired in Ljubljana CD (eMpTy•POBox 12034 SeattleWA98102) Those who know the power, perseverance and passion of Dead Moon will enjoy this live offering containing 20 of their best songs, performed with the energy tl1a1 this band has been delivering for many years now (longer than most of us have been out of diapers). It's difficult to explain the electric spirit that their songs conjure up, so I won't even try. But kudos go out to eMpTy Records for helping expose the world to this underappreciated phenomenon . Please note: some versions of the CD contain a CD ROM for PC users that's got live footage and a history of the band. BD THE DONNASAmerican Teenage Rock N' Roll Machine CD (Lookout• PO Box I 1374 Berkeley CA 94 7 12-2374) In the spirit of the Runaways and the Ramones comes the newest Lookout Records rock n' roll sensation- THE DONNAS 1 Repeated listens of this album are not necessary in order to sing along to these teenage rebellion anthems- played by real teenage girls' It ' d be hard not to with lyrics like "I don 't care about goin' to school / and I don't care about havin' friends / I don 't care ' cuz I' m a rock n' roll machine! " Songs about FM radio ("Gimme My Radio"), getting revenge ("Looking for Blood") and getting some ("You Make Me Hot," "Wanna Get Some Stuff' and "Checkin' It Out")- all the things high school is about. "Novelty" or not, I like this lots 1 I can 't wait to see if they deliver the goods live at their show with the Groovie Ghoulies at The Replay on March 18th. BD THE COUNTDOWNS Right On Sound CD ( Scooch Pooch• 323 Broadway E. #405 Seattle WA 98102) Remember the Tim Kerr interview from the last issue ofMicromag, where he said that one of his favorite new bands was the Countdowns? Imagine the excitement I felt when I found a copy of their CD in our PO Box! I was pleased to see that not only did Mr. Kerr produce this CD, but he also plays slide guitar, Hammond B-3, and the shakers on a few songs. The production itself is gritty and powerful with ample doses of squelched out feedback that give the songs a fucked up and gnarly sound. The tunes range from sing along punk anthems to Texas bluesy rock and soul (yeah, I know they are from L.A.) . BD Test you, figure, a land, doesn't look •1 �viii enjoy this ergy that this ve been out of up, so I won't world to this contain a CD kout Records bum are not 1Iayed by real in ' to school / oil machine!" 1g for Blood") I "Checkin' It ts 1 I can't wait oulies at The :re he said that ·itement I felt at not only did 8-3, and the h ample doses ind. The tunes ['''"~•ey Test your creative talent Mok• on original drawing within the space above, not on a separate sheet of paper. Drow whatever you wish in any manner you wish .. your pidure con be a figure, a landscape, a cartoon, a decorative design , a still life, or anything else you prefer, Maka your pidure either vertical or horizontal. Don't be concerned if your drawing doesn't look "profe11ional." Just have fun doing it. �SICKO You'reNottheBosso/Me!CD (eMpTy POBox 12034SeattleWA 98102) ! like Sicko. This album is as good as any of their previous releases. They bring their own sound and ideas, making them stand out amongst the excess of formula pop-punk bands. They come off as intelligent and not just punker than fuck. There's an honesty inherent in all their songs, for example they have no problem saying bow excited they are, that their band is doing well and hoping it will last. Fun tunes and an Iron Maiden cover. LB POWDERBijfBangPowder CD (Distortions Records PO 1122 Bala-Cynwyd PA 19004) I'm no authority on Mod. I know the Who and the Jam and the Small Faces, from that I have a small grip on mod and Powder, from San Jose and various other Cali locals, circa 65-68, are definitely MOD. The loud, energetic, power-pop, that they pump certainly have all the right elements. Most of all though they rock and pretty much force you to sing-along. The cd is long and covers not just Powder but various projects that Rich and Tom Martin, the heart of Powder were involved in. It's almost tragic that this stuff was never released till now. To illustrate just how good; me and my girlfriend had Bob Deck over for a hot late night game of monopoly, during which we listened to the whole ed. He had his own copy the next day. It doesn't take long to really love this collection. TRY IT! LB "Under Society's microscope I look funny, but it's no joke" ~ t - .. ~ ~.I -Th< Bl•<Stan "S~l•I Eod Pn,doct" t Tac 1bc Rudy's Diff~ffnm FREE DElivERY 749,00~~ �your zine printed wicked cheap _ ,, "'""'"' .. 1 Small Publishers Co-Op (941) 922-0844 Were a growing group of independent publishers of alternative magazines, zines and comics. We gang press runs to achieve volume discounts for our members. Join us today and save big! VERY �. I" ½Zt=t',,:: ... " ,,,,, ·-.,•d• .........., r,+q'are to Poiru o 'e~, to the Pr. :~::t,~r hry rider wo, -•,,en h •• ot,r 11,,,,ca S '< differ, as •bsurc1, a fllade in r0c •It "'as Ii,••• :s tl,ey:::."(,:1~[lrq,,0 1 f0o,t < try/JJ•, " 0t,r.,. Iv·/JJasPenta• •sofr • IJ,. 'osi(· • o lea,-.,,•- 0,a '"•ylo¾d. way tao~me """' •n h ca,-.,,, rash .da,-.,,n P1,,,..,0od 'ninn L lJ1se. SJ.- n O (10 ' O O A C .g t,..)'O n g, ::1 0 '?na.bJef-01>.. . n ?'-- n CL n ~E oE 0 ~-~w~~~~ -~~c~~R3noog~~gc~~£~~~~~nCL7o~3~ns~ ;,-::: n ::, ;,-.: n ti.l O ::::i- ..-.g O.., - · :::r ?'n "O (b s · 2°: -~ ;;· t.!. e--, ==- - g_~ ~- U"I .,, !f. ._Q_ VI Cl,) V, r-o, ,,. u 1 ' . I �I Congratulations go out to Sunflower Outdoor and Bike for rebuilding and rising from the ashes .. you guys rock. We would also like to mention that there are a couple of new locally owned businesses downtown that we hope yo u will help support- Hi Jinx Lounge and Sugartown traders (see ads in this issue). One of Lawrence's finest, the What Gives were just out in Los Angeles, attending the Poptopia festival, where they played at Spaceland. They also got to see the Rooks and the Shambles among other pop wonders. Keep an eye out in March for the temporary return of our Winter Olympic correspondants, Craig and Teresa who will be back for a little while and looking for a few hoedowns. The Midwest Underground Media Symposium (M .U.M.S.) is a go for this spring, and all zine lovers should plan to attend as this year promises to be even better than last year. Arthur Dodge has a new CD on the way as does Chubby Smith. The Teriyakis should have their IO'/ CD out soon as well . And yes, The Hefners IO inch is finally done and in the cool record stores. More rock & roll than you can take : Sin City Disciples Reunion showsApril 30 Bottleneck, May I & 2 Hurricane in KC/Countdowns 2/23 Replay /Candy Snatchers 3/2 Replay/newest saviours of rock & roll , the Donnas with the Groovie Ghoulies 3/ 18 Replay/Mmmmoonshine Willy 3/22 Replay-/the sonic trash sounds of ZEKE 3/23 Replay/and get down and really dirty with the Quadrajets & Fells 3/29 at Replay. Skul I Orchard 2/21 at Bottleneck/ Swingster bonanza with Jeffrey Lee and his Pale Moon Kings and Swing 39 2/28 at Bottleneck and sweet voiced Big Sandy is there 3/7. Believe it or not-The Damned are at the Bottleneck 3/ 10-really ... neat neat neat. & while we're at it...buy local OK? You can adopt back issues of MICROMAG MICROMAG #3 with Mensclub, New Bomb Turks and Panel Donor. MICROMAG #4 with The Humpers, TV Fifty and Cub. MICROMAG #5 with The Smugglers, Zeke, Redd Kross and Arthur Dodge and the Horsefeathers MICROMAG #6 with The Waggles, Delta 72, J. Michael McCarthy and The Pleasure Fuckers MICROMAG # 7 with The Make Up, Wayne Kramer, The Hi Fives, lord High Fixers, Yo la Tengo and Fur. Back issues are $2 each, or get the last 5 for just $8! fY Send you r name. address and specify issues desired 10 MICROMAG PO Box 442337 Lawrence KS 66044 Concealed cash pn:rerrcd Make checks P:" able 10 MlCROM AG �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource You Are Local History Community Digitization Project Subject The topic of the resource Lawrence (Kan.) Description An account of the resource The You Are Local History community digitization project aimed to collect and digitize objects that tell stories about Lawrence, in order to create a more diverse and representative history of Lawrence. Objects were collected and digitized throughout June and July of 2018, with a community digitizing event on June 30th. Members of the Lawrence community donated photographs, videos, posters, t-shirts, mementos, trinkets, ephemera, texts, and other objects to be included in this digital archive. Date A point or period of time associated with an event in the lifecycle of the resource 2018 Publisher An entity responsible for making the resource available Lawrence Public Library Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Micromag Issue #8 Creator An entity primarily responsible for making the resource Tangeman, Anne Contributor An entity responsible for making contributions to the resource Deck, Bob Harrison, Jon Brinkman, Larry Burke, Brandon Description An account of the resource Eighth issue of Micromag, a Lawrence zine circulating in the 1990s featuring interviews, reviews, short articles, coverage of recent concerts, and Lawrence business advertisements. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lawrence (Kan.) 1998 Date A point or period of time associated with an event in the lifecycle of the resource 1998 Format The file format, physical medium, or dimensions of the resource 4x6 Language A language of the resource eng Identifier An unambiguous reference to the resource within a given context MicromagIssue81998.pdf Rights Information about rights held in and over the resource Copyright Anne Tangeman, 1998. Please contact the copyright holder for permission to use this item. The item may also be subject to rights of privacy, rights of publicity and other restrictions. Subject The topic of the resource Zines Lawrence (Kan.) -- History Type The nature or genre of the resource Text