People are predictable and boring.
I don't like superficial things, I don't think that makes me lame.
I'm not.
I will age as the earth goes around the sun, but I'll still be immature at the end of the day.
Where are all the interesting people? Everyone is boring and nobody has anything relevant to say.
I always have time to fit in something spontaneous =)
I am a legend in the making. I will do greater things, greater than anything anyone can dream of.
This is me.
An inspiration to life. Someone who has less than nothing accomplished more than someone with everything.
Born to be hated but I'm dying to be loved. Sometimes people ask me what that means but people like me and you know exactly what that means.
Life's like a puzzle that I've been trying to put together for a long time now. All at the same time, my puzzle has more missing pieces than most other people's but as I am frantically searching for those pieces on my own, I am overwhelmed and inspired to finish it. I'm still sheepishly waiting for that moment where I can finally say my life is on the upswing...
If only you could see what we see through these eyes.
I've been through a lot in my life, more than most people actually. More than just about anyone whose reading this.
Nobody knows the whole story.
I'm not religious.
Balls up. Running away doesn't fix anything.
I am a conglomeration of all the people and things I've met in life.
Everyone should realize when they've burned their bridges.
I believe in a superior being.
Everyone deserves respect until they have done something to lose it.
I'm very impatient.
And I'm trying to fix it.
Nothing you do is wrong if you believe in the cause.
Everything in life happens for a reason and it will always, Always work out to be the best of it somehow.
I play pop up games just to win.
I don't believe in giving up.
I am terrified of what I don't know.
You're only as good as you think you are.
Believe in yourself because if you don't, who will?
The one most important thing I learned about life: It goes on
I left my family when I was 15.
Yet, I still have more family and friends than most people.
Everyone makes mistakes.
A mistake isn't a mistake if you learn something from it.
Sometimes it takes more than one try.
If I could, I still wouldn't take any mistakes I've made back. Without it, I wouldn't be the same person.
Much more that won't fit.
Saturday, October 23, 2010
Thursday, October 21, 2010
Bands to know (power violence)
The Bottom Line Extreme Music rocks, all you hardcore kids & metal heads who don't know need to recognize!
Power violence never gets any play on epinions. Maybe it's too underground & too wild for every one's liking, but everyone is in a hurry to do a review on Beach Boy sounding ripoffs like the Queers & corporate crap like the new Offspring record...but I don't ever see any reviews for Orchid or @sshole Parade. So, because of this, I figured I'd list a few bands that makes hardcore punk bands sound like 80s pop.
THE LOCUST: Probably the hottest band in the scene now, from San Diego featuring members from bands such as Swing Kids & Le Shok. A long Locust song lasts over a minute. The average length of their verses rang from about 5-10 seconds. Their first & only full-length contains 20 songs that clock in at 18 minutes. Also, the keyboards are an excellent finishing touch to their sound.
ORCHID: Another hot item, who just released a new 10", Dance Tonight, Revolution Tomorrow which isn't just about blast beats & screaming so fast that words become slurs, but they involve so much more. For instance, "...& the Cat Turned To Smoke" from the new album, begins somewhat mellow & rocks in the most spine tingling way, w/a violin playing in the end to combine for one of the most eerie sounding parts to a song ever.
CHARLES BRONSON: They're no longer around, but they live on as legends. One of the first bands to rock out 30 second songs full of blast beats, screaming, & offensive lyrics that can't be understood unless you read along (& you still can't understand half of them), whether it be aimed at fascist people to Christianity. "I'm down for the count/Cause weakness is for Jesus"
@SSHOLE PARADE: Power violence w/a pot-smoking twist. These stoners rock like stoners. They throw in as many beats as humanly possible for about 10-15 seconds, slow it down some so they can get in some bong hits, speed it back up, & WHAM! Song's over...
SPAZZ: The legendary Spazz from the East Bay unfortunately called it quits last December, but they're probably the most influential band of their kind (other than probably Man Is The Bastard). 3 guys thrashing out, all putting in their variety of vocals (whether it be a Kung Fu Dan constipated like growl or Hirax Max's screaming reminiscent of many black metal singers, like maybe Cradle of Filth or Mayhem). Whether it's bashing emo or raving about wrestling, you have to be able to enjoy these guys (unless you don't like this style of music).
JENNY PICCOLO: Featuring a bassist of the legendary emo-core Mohinder, this band is by far the craziest of all the crazy bands that make up the extreme music scene. No one beats as fast, no one rocks as hard, no one else can fit 4 songs on one side of a 5" vinyl (the Locust could only fit 2 on the other side of that one). Not recommended to people w/epilepsy.
REVERSAL OF MAN: Emo violence band from Tampa who broke up summer of 2001. They rocked for years like no other band, combining the styles of emo-core bands like Rites of Spring & Mohinder & mixing it w/power violence. Probably best well-known for "Get the Kid With the Sideburns", which tells a story of the fucked up happenings at an Earth Crisis show (who is well known for their militant straight edge messages) & also rips off an EC riff & fitting in the lyrics "street by street, block by block/you hypocritical fucks!". Earth Crisis hired people to go to their shows & beat them up if they played that until they day they disbanded.
MELT BANANA: My friend Jeff hates these guys. The weirdest of the extreme bands straight outta Japan. The singer is a girl (very hot too, though that makes no difference when it comes to the music) who flows better & faster than any rapper I've ever heard...& even though her English isn't great, it's better used than in Ebonics. The guitarist is probably the greatest guitarist of all time using sounds I never thought could come out of a guitar. Crazy, crazy band...probably the best live show I've ever seen too!
HELLNATION: Power violence from KY, & the drummer sings! The beats are almost all the same, but try beating that fast & singing ALL of yr bands' songs!
MAN IS THE BASTARD: The innovators of power violence. This band has been defunct for quite some time, but they're legends of the scene. They're not like most of the bands: they don't use blast beats that much, you can understand their lyrics, half of their songs are longer than 2 minutes (some around 10!), & they have much more of a sludgy feel. Nonetheless, the slow down-speed up method is involved, plenty of odd time changes to go around, & they have a message in every song, usually about how screwed up mankind is.
FANTAMOS: Much more well known than other bands of the genre since they feature Mike Patton (Faith No More, Mr Bungle), King Buzzo (Melvins), & Dave Lombardo (Slayer) (also the bassist of Mr Bungle, but I forget his name). They've only released 1 album, which basically is the format of the comic book in the cd booklet layout & Patton doesn't sing a single word, just some "a-chi-chi-chi-chi"s & "ooOOOOOOoooOOoOo"s! Very interesting, very innovative.
SU19B: Sludgy power violence from Japan. They are kinda like Eye Hate God if they decided to do blast beats for 5 seconds at a time in the middle of their sludge core aggression. Not the most intense extreme band in the world, but nonetheless they'll still rock yr socks off...just very slowly.
RACEBANNON: Extreme music at it's weirdest. They could play a slow lil indie rock sounding song w/some weird beats for about a minute or 2, then they just go insane. Also, the singer is a loon! If you ever see these guys live, you'd know what I'm talking about cause he paces the floor talking about everything, kinda sounding like someone trying to act like a gangsta, but that's just how he is & while he's talking the music will start up & he'll just go crazy! Very odd, very nice!
Well, that's all the bands I feel like listing, but if yr looking for more in the world of extreme music/power violence than what I listed, look for some of these bands of the past & present:
Spread the Disease, Romantic Gorilla, MK Ultra (warning, there's like 4 bands w/this name so don't be fooled!), Kakistocracy, Fu[k On The Beach, Zegota, Catharsis, Aus Rotten, Capitalist Casualties, The Swarm, Walls of Jericho, Vaz, Assuck, Anti-Product, Drop dead, Los Crudos, Force fed Glass, Heroin, Crimson Curse, Left For Dead, PG. 99, & many more
Power violence never gets any play on epinions. Maybe it's too underground & too wild for every one's liking, but everyone is in a hurry to do a review on Beach Boy sounding ripoffs like the Queers & corporate crap like the new Offspring record...but I don't ever see any reviews for Orchid or @sshole Parade. So, because of this, I figured I'd list a few bands that makes hardcore punk bands sound like 80s pop.
THE LOCUST: Probably the hottest band in the scene now, from San Diego featuring members from bands such as Swing Kids & Le Shok. A long Locust song lasts over a minute. The average length of their verses rang from about 5-10 seconds. Their first & only full-length contains 20 songs that clock in at 18 minutes. Also, the keyboards are an excellent finishing touch to their sound.
ORCHID: Another hot item, who just released a new 10", Dance Tonight, Revolution Tomorrow which isn't just about blast beats & screaming so fast that words become slurs, but they involve so much more. For instance, "...& the Cat Turned To Smoke" from the new album, begins somewhat mellow & rocks in the most spine tingling way, w/a violin playing in the end to combine for one of the most eerie sounding parts to a song ever.
CHARLES BRONSON: They're no longer around, but they live on as legends. One of the first bands to rock out 30 second songs full of blast beats, screaming, & offensive lyrics that can't be understood unless you read along (& you still can't understand half of them), whether it be aimed at fascist people to Christianity. "I'm down for the count/Cause weakness is for Jesus"
@SSHOLE PARADE: Power violence w/a pot-smoking twist. These stoners rock like stoners. They throw in as many beats as humanly possible for about 10-15 seconds, slow it down some so they can get in some bong hits, speed it back up, & WHAM! Song's over...
SPAZZ: The legendary Spazz from the East Bay unfortunately called it quits last December, but they're probably the most influential band of their kind (other than probably Man Is The Bastard). 3 guys thrashing out, all putting in their variety of vocals (whether it be a Kung Fu Dan constipated like growl or Hirax Max's screaming reminiscent of many black metal singers, like maybe Cradle of Filth or Mayhem). Whether it's bashing emo or raving about wrestling, you have to be able to enjoy these guys (unless you don't like this style of music).
JENNY PICCOLO: Featuring a bassist of the legendary emo-core Mohinder, this band is by far the craziest of all the crazy bands that make up the extreme music scene. No one beats as fast, no one rocks as hard, no one else can fit 4 songs on one side of a 5" vinyl (the Locust could only fit 2 on the other side of that one). Not recommended to people w/epilepsy.
REVERSAL OF MAN: Emo violence band from Tampa who broke up summer of 2001. They rocked for years like no other band, combining the styles of emo-core bands like Rites of Spring & Mohinder & mixing it w/power violence. Probably best well-known for "Get the Kid With the Sideburns", which tells a story of the fucked up happenings at an Earth Crisis show (who is well known for their militant straight edge messages) & also rips off an EC riff & fitting in the lyrics "street by street, block by block/you hypocritical fucks!". Earth Crisis hired people to go to their shows & beat them up if they played that until they day they disbanded.
MELT BANANA: My friend Jeff hates these guys. The weirdest of the extreme bands straight outta Japan. The singer is a girl (very hot too, though that makes no difference when it comes to the music) who flows better & faster than any rapper I've ever heard...& even though her English isn't great, it's better used than in Ebonics. The guitarist is probably the greatest guitarist of all time using sounds I never thought could come out of a guitar. Crazy, crazy band...probably the best live show I've ever seen too!
HELLNATION: Power violence from KY, & the drummer sings! The beats are almost all the same, but try beating that fast & singing ALL of yr bands' songs!
MAN IS THE BASTARD: The innovators of power violence. This band has been defunct for quite some time, but they're legends of the scene. They're not like most of the bands: they don't use blast beats that much, you can understand their lyrics, half of their songs are longer than 2 minutes (some around 10!), & they have much more of a sludgy feel. Nonetheless, the slow down-speed up method is involved, plenty of odd time changes to go around, & they have a message in every song, usually about how screwed up mankind is.
FANTAMOS: Much more well known than other bands of the genre since they feature Mike Patton (Faith No More, Mr Bungle), King Buzzo (Melvins), & Dave Lombardo (Slayer) (also the bassist of Mr Bungle, but I forget his name). They've only released 1 album, which basically is the format of the comic book in the cd booklet layout & Patton doesn't sing a single word, just some "a-chi-chi-chi-chi"s & "ooOOOOOOoooOOoOo"s! Very interesting, very innovative.
SU19B: Sludgy power violence from Japan. They are kinda like Eye Hate God if they decided to do blast beats for 5 seconds at a time in the middle of their sludge core aggression. Not the most intense extreme band in the world, but nonetheless they'll still rock yr socks off...just very slowly.
RACEBANNON: Extreme music at it's weirdest. They could play a slow lil indie rock sounding song w/some weird beats for about a minute or 2, then they just go insane. Also, the singer is a loon! If you ever see these guys live, you'd know what I'm talking about cause he paces the floor talking about everything, kinda sounding like someone trying to act like a gangsta, but that's just how he is & while he's talking the music will start up & he'll just go crazy! Very odd, very nice!
Well, that's all the bands I feel like listing, but if yr looking for more in the world of extreme music/power violence than what I listed, look for some of these bands of the past & present:
Spread the Disease, Romantic Gorilla, MK Ultra (warning, there's like 4 bands w/this name so don't be fooled!), Kakistocracy, Fu[k On The Beach, Zegota, Catharsis, Aus Rotten, Capitalist Casualties, The Swarm, Walls of Jericho, Vaz, Assuck, Anti-Product, Drop dead, Los Crudos, Force fed Glass, Heroin, Crimson Curse, Left For Dead, PG. 99, & many more
Power violence music if you have a pair
POWERVIOLENCE BECAUSE SOME OF US AREN'T PUSSIES. By the late ’80s, hardcore punk’s “loud, hard, fast” rigidity had alienated many of the scene’s originals. Bands like Black Flag and D.R.I. went metal-sludge; Ian MacKaye shifted to a melodic attack with Fugazi. But not everyone ditched the original sonic ideals, as exemplified by powerviolence, a punk offshoot that sprung up in California around that time. Characterized by alternating sludge ’n’ blur tempos, roaring vocals, and sub-30-second songs, powerviolence took the “hardcore” from hardcore punk and amplified it to occasionally cartoonish extremes.
The name “powerviolence” was coined in 1989 during a heated musical debate between Eric Wood and Matt Domino, then members of the band Neanderthal. Domino blurted out “fuckin’ powerviolence,” and the name later morphed into the location-centric boast “West Coast powerviolence.”
“The peak of West Coast powerviolence hit around the mid-’90s,” explains Chris Dodge, both founder of the scene’s homebase label, Slap a Ham Records, and singer and bassist in Spazz. “At the time, punk clubs in the Bay Area were catering to bands like Green Day and really crappy ska-core... Extreme, thrashy hardcore music just wasn’t ‘cool.’ So I felt like I needed to intervene.”
Through Slap a Ham, Dodge helped introduce hardcore fans to an entirely new aesthetic–one that challenged the definitions of punk. Releases like Man Is the Bastard’s D.I.Y.C.D. subverted typical instrumentation, using a combination of bass-guitar attack with jazz/prog tendencies and experimental noise. M.I.T.B. included Neanderthal alum Wood on vocals and DIY electronics master Henry Barnes, who would later form the folk-noise project Amps for Christ. “[M.I.T.B.] was the most unique band of their day,” says Dodge. “Their philosophies (not the least of which is in their name) embody the sensibilities of the scene more than anyone.”
Other crucial releases on Slap a Ham included No Comment’s 1992 7-inch “Downsided,” a definitive document of powerviolence’s beyond-tantrum aggression. “Crossed Out, Neanderthal, M.I.T.B. … All the best stuff came out on Slap a Ham,” says Jensen Ward, drummer for Seattle neo-powerviolence band Iron Lung. “I don’t know where I would be without Chris Dodge.”
Neo-powerviolence bands like Iron Lung, who carry the torch for genre’s ideals, are proof of powerviolence’s lasting impression. Borrowing from the noise experimentation of the mid-’90s, bands flying the genre’s banner have even fewer rules than before. “We get hardcore kids, metalheads, artists, noise fans, and even moms who know nothing about punk,” says Ward. “We’ve always gotten a mixed crowd… anyone that feeds off real, intense energy.”
The name “powerviolence” was coined in 1989 during a heated musical debate between Eric Wood and Matt Domino, then members of the band Neanderthal. Domino blurted out “fuckin’ powerviolence,” and the name later morphed into the location-centric boast “West Coast powerviolence.”
“The peak of West Coast powerviolence hit around the mid-’90s,” explains Chris Dodge, both founder of the scene’s homebase label, Slap a Ham Records, and singer and bassist in Spazz. “At the time, punk clubs in the Bay Area were catering to bands like Green Day and really crappy ska-core... Extreme, thrashy hardcore music just wasn’t ‘cool.’ So I felt like I needed to intervene.”
Through Slap a Ham, Dodge helped introduce hardcore fans to an entirely new aesthetic–one that challenged the definitions of punk. Releases like Man Is the Bastard’s D.I.Y.C.D. subverted typical instrumentation, using a combination of bass-guitar attack with jazz/prog tendencies and experimental noise. M.I.T.B. included Neanderthal alum Wood on vocals and DIY electronics master Henry Barnes, who would later form the folk-noise project Amps for Christ. “[M.I.T.B.] was the most unique band of their day,” says Dodge. “Their philosophies (not the least of which is in their name) embody the sensibilities of the scene more than anyone.”
Other crucial releases on Slap a Ham included No Comment’s 1992 7-inch “Downsided,” a definitive document of powerviolence’s beyond-tantrum aggression. “Crossed Out, Neanderthal, M.I.T.B. … All the best stuff came out on Slap a Ham,” says Jensen Ward, drummer for Seattle neo-powerviolence band Iron Lung. “I don’t know where I would be without Chris Dodge.”
Neo-powerviolence bands like Iron Lung, who carry the torch for genre’s ideals, are proof of powerviolence’s lasting impression. Borrowing from the noise experimentation of the mid-’90s, bands flying the genre’s banner have even fewer rules than before. “We get hardcore kids, metalheads, artists, noise fans, and even moms who know nothing about punk,” says Ward. “We’ve always gotten a mixed crowd… anyone that feeds off real, intense energy.”
Tuesday, October 19, 2010
The War for Work
The Great Recession changed everything. The workplace was being pushed and shoved in new directions long before 2008, but that economic cataclysm brought all those forces to a head. And now, we have a very different reality from that which existed just a few short years ago. Today, we are embroiled in a War for Work.
Although the menace of terrorism is still real and proximate, we are now facing a new challenge that poses an even greater threat to our way of life. It’s not far away in Iraq or Afghanistan; it’s in Boston and Cleveland and Phoenix and Los Angeles too. This situation endangers our ability both to create a comfortable standard of living for ourselves and to pass along an even better tomorrow to our kids. To put it bluntly (and without any exaggeration), the War for Work is an all out attack on the American Dream. And, it’s happening right here at home.
Unlike our struggle with radical Islamists, however, this assault is not being perpetrated by an obvious and evil enemy. In fact, the aggressors are benign. Their actions are legal and not all that dissimilar from our own. With some obvious exceptions, we are under attack by people who have adopted our creed. By working hard, by doing skilled work, by making a real contribution, by applying new and better ideas, they are stealing our future. They are replacing the American Dream with the Chinese Dream and the German Dream and the Brazilian Dream.
If you have any doubt about the seriousness of this threat – if you think I’m exaggerating – look around you. One out of five Americans is unemployed. Millions more come to work each day not knowing if they’ll have a job by the end of the day. People don’t even talk about job security anymore; no one wants to indulge in fantasy when their reality is so frightful.
How Do We Defend Ourselves?
Here’s the hard truth. You can’t win the War for Work – you won’t find a new or better job – by writing a stronger resume or by acquiring more friends on Facebook. I know that’s what you’d like to hear, but it’s not true. Those strategies were effective in a time of peace. In a time of war, they aren’t enough.
What can we do? How can we protect ourselves from this threat to our way of life? If there’s no defense in the actions we’ve been taking – if answering more job ads or making more connections on LinkedIn won’t keep us employed – what else is there?
The place to begin, I believe, is at the beginning. If we want to strengthen our defenses and steel ourselves for victory in the War for Work, we have to change our values. We have to discard the self-delusion that employment is somehow guaranteed in the United States of America or that the job we have today will always be there for us tomorrow. We must jettison the self-indulgence of doing just enough to get by at work and expecting annual pay increases that will sustain and improve our standard of living.
If we want to preserve and protect our ability to work – if we want to win the War for Work and save the American Dream – we’re going to have to adopt the values of victory. And who better to learn those values from than the Greatest Generation? They sacrificed in the near term to ensure our longer term security. They didn’t expect success to be handed to them; they were ready and willing to work hard for it. They were self-reliant, self-motivated and fearless.
And that’s what we need to be, as well. We have to set our sights on becoming the Greater than the Greatest Generation. They were imperfect, to be sure, but they were also exemplars of the work ethic and quiet sense of duty that made this country such a special place. So, it’s entirely appropriate that we should both emulate and do our best to improve on their outlook, their beliefs, and their commitments.
Ironically, that’s exactly what they would want. They were the Americans who showed the courage, the tenacity and the generosity of spirit to give their kids a better future. They would be proud to have us do the same. And do so even better.
Although the menace of terrorism is still real and proximate, we are now facing a new challenge that poses an even greater threat to our way of life. It’s not far away in Iraq or Afghanistan; it’s in Boston and Cleveland and Phoenix and Los Angeles too. This situation endangers our ability both to create a comfortable standard of living for ourselves and to pass along an even better tomorrow to our kids. To put it bluntly (and without any exaggeration), the War for Work is an all out attack on the American Dream. And, it’s happening right here at home.
Unlike our struggle with radical Islamists, however, this assault is not being perpetrated by an obvious and evil enemy. In fact, the aggressors are benign. Their actions are legal and not all that dissimilar from our own. With some obvious exceptions, we are under attack by people who have adopted our creed. By working hard, by doing skilled work, by making a real contribution, by applying new and better ideas, they are stealing our future. They are replacing the American Dream with the Chinese Dream and the German Dream and the Brazilian Dream.
If you have any doubt about the seriousness of this threat – if you think I’m exaggerating – look around you. One out of five Americans is unemployed. Millions more come to work each day not knowing if they’ll have a job by the end of the day. People don’t even talk about job security anymore; no one wants to indulge in fantasy when their reality is so frightful.
How Do We Defend Ourselves?
Here’s the hard truth. You can’t win the War for Work – you won’t find a new or better job – by writing a stronger resume or by acquiring more friends on Facebook. I know that’s what you’d like to hear, but it’s not true. Those strategies were effective in a time of peace. In a time of war, they aren’t enough.
What can we do? How can we protect ourselves from this threat to our way of life? If there’s no defense in the actions we’ve been taking – if answering more job ads or making more connections on LinkedIn won’t keep us employed – what else is there?
The place to begin, I believe, is at the beginning. If we want to strengthen our defenses and steel ourselves for victory in the War for Work, we have to change our values. We have to discard the self-delusion that employment is somehow guaranteed in the United States of America or that the job we have today will always be there for us tomorrow. We must jettison the self-indulgence of doing just enough to get by at work and expecting annual pay increases that will sustain and improve our standard of living.
If we want to preserve and protect our ability to work – if we want to win the War for Work and save the American Dream – we’re going to have to adopt the values of victory. And who better to learn those values from than the Greatest Generation? They sacrificed in the near term to ensure our longer term security. They didn’t expect success to be handed to them; they were ready and willing to work hard for it. They were self-reliant, self-motivated and fearless.
And that’s what we need to be, as well. We have to set our sights on becoming the Greater than the Greatest Generation. They were imperfect, to be sure, but they were also exemplars of the work ethic and quiet sense of duty that made this country such a special place. So, it’s entirely appropriate that we should both emulate and do our best to improve on their outlook, their beliefs, and their commitments.
Ironically, that’s exactly what they would want. They were the Americans who showed the courage, the tenacity and the generosity of spirit to give their kids a better future. They would be proud to have us do the same. And do so even better.
Sunday, October 17, 2010
short ,loud ,fast
this is going to be a fucking epic hardcore show, or some of you would call it power violence. However, fuck that is still will rip your fucking head of. In other words this a show that i will have to slave to get there, but fuck it it will be worth all of the fucking pain bitches.
SHORT,FAST & LOUD and SIX WEEKS ANNOUNCE 10th anniversary show!
"We are approaching the 10th anniversary of Short Fast & Loud next year so we decided to throw a little two day party at Gilman St. Not really a fest, but a good time is guaranteed for all you speed violence freaks! This will coincide with special issue #24, which will come with a 10” comp of bands that have supported the cause over the last ten years, young and old. Here’s the show info:
Friday, January 21, 2011 @ Gilman St., Berkeley,CA.
Brutal Truth
Lack of Interest
Plutocracy
Voetsek
D.H.C. (Oakland)+1 more
Saturday, January 22
Flagitious Idiosyncrasy in the Dilapidation (Japan)
Capitalist Casualties
Bastard Noise
Despise You
P.L.F. (Texas)
Population Reduction"
SHORT,FAST & LOUD and SIX WEEKS ANNOUNCE 10th anniversary show!
"We are approaching the 10th anniversary of Short Fast & Loud next year so we decided to throw a little two day party at Gilman St. Not really a fest, but a good time is guaranteed for all you speed violence freaks! This will coincide with special issue #24, which will come with a 10” comp of bands that have supported the cause over the last ten years, young and old. Here’s the show info:
Friday, January 21, 2011 @ Gilman St., Berkeley,CA.
Brutal Truth
Lack of Interest
Plutocracy
Voetsek
D.H.C. (Oakland)+1 more
Saturday, January 22
Flagitious Idiosyncrasy in the Dilapidation (Japan)
Capitalist Casualties
Bastard Noise
Despise You
P.L.F. (Texas)
Population Reduction"
Wednesday, October 13, 2010
punk wantlist
* Bad Brains 'Pay To Cum' 7" with cover (or just cover)
* Bad Religion 'Bad Religion' 7" first press
Black Flag 'Depression/ Rise Above' 7"
* Chronic Sick 'Cutest Band In Hardcore' 12"
Dicks 'The Dicks Hate The Police' 7"
Faction, The 'Corpse In Disguise' 7"
Crow 'Last Chaos' LP
Kraut 'Kill For Cash' 7"
Public Enemy 'There Is Only One Public Enemy' LP
Public Enemy 'Our Weapon Is Truth' LP
RF 7 'Acts Of Defiance' 7"
Urban Waste 'Urban Waste' 7"
'Nardcore 2' LP
'Straight Ahead II' LP
'Street Justice' CD
'The Hardcore House Tapes'
Amebix – Monolith LP (Heavy Metal)
Amebix – No Sanctuary 12″ (Spiderleg)
Anti – I Don’t Want to Die in Your War LP (New Underground)
Antidote – Thou Shalt Not Kill 7″ (Antidote Records)
Articles of Faith – Core LP (white vinyl) Bitzcore
Artistic Decline – Random Violence LP (Deco Entertainment)
Avengers – We are the One 7″ (Large hole, black vinyl) Dangerhouse
Bobby Soxx – Hate in the 80s 7
Cramps – Surfin’ Bird 7″ (Vengeance)
Cramps – Human Fly 7″ (Vengeance)
Crime – Masarait/Gangster Funk 7″ (w/promo limited sleeve) B-Square
Cringe – Spit on Your Grave 7″
Crucifix – 1st LP (black vinyl) Universal Records
DV8 – Learn to Say Goodbye 7″ (Tough)
Eat – God Punishes the Eat 7″ (gigling hitler)
Eat – Communist Radio 7″ (gigling hitler)
Eddie and the Subtitles – American Society 7″ (w/band name only sleeve)
Gang Green – Another Wasted Night LP (color vinyl) Taang!
Gears – Rockin’ at Ground Zero LP (PlayGems)
Ill Repute – Oxnard Land of No Toilets 7″ (purple vinyl) Superseven/Mystic
Jerry’s Kidz – 7″ (2nd press with band sleeve) Test Site Records
Metallica – Creeping Death 12″ (white and yellow vinyls) Music For Nations
Necros – Sex Drive 7″ (Touch and Go)
Negative Approach – EP (red and white labels) Touch and Go
NY Niggers – Headliner 7″ (NYN)
Offenders – Lost Causes 7″ (Suffering Sounds)
Pillsbury Hardcore – In a Straight Edge Limbo 7″ (orange vinyl) Fartblossom Records
Scared Straight – S/T 7″ (blue vinyl) Mystic/Superseven
Uniform Choice – Screaming for Change (green vinyl and red vinyl ) Wishingwell
V/A – Drinking is Great 7″ (black vinyl) Fatal Erection
V/A – No New York LP (1st press only on Antilles)
V/A – Red Snerts LP (Gulcher)
V/A – Someone Got Their Head Kicked In (blue vinyl)BYO
V/A – Something to Beleive In LP (red and blue vinyl) BYO
Vatican Commandos – Just a Frisbee 7″ (Pregnant Nun)
Vatican Commandos – Hit Squad for God 7″ (Pregnant Nun)
Zero Boys – Living in the 80s 7″ (Zdisc) ORIGINAL ONLY
Vomit Pigs – Take One 7″ (Bad Wrechords)
Stains – John Wayne 7″ 1st PRESS SLEEVE ONLY
Lewd – American Wino – LP (ICI Records)
Faith – Subject to Change (clear and white vinyls only) Dischord
GG Allin And The Jabbers — Studio Live EP (Blood '79) w/ PS
GG Allin — 1980's Rock ‘n’ Roll b/w Cheri Love Affair (Destiny '79) w/ PS
GG Allin — Always Was, Is And Always Shall Be LP (Orange '80)
GG Allin And The Scumfucs — Eat My Fuc LP (Blood
Child Molesters — Hillside Strangler (Ace And Deuce '77) w/ PS
Child Molesters — Wholesale Murder (Ace And Deuce '78) w/ PS
Child Molesters — Wir Leben Die Jugendlich Madschen 12" EP (Ace And Deuce '81)
Death — Keep On Knocking b/w Politicians In My Eyes (Tryangle '76)
Dils — I Hate The Rich b/w You're Not Blank (What '77) w/ "Oils" PS
Dils — 198 Seconds (Dangerhouse '78) w/ PS
Feederz — Jesus EP (Anxiety '81) w/ "Rat" PS
Feederz — Ever Feel Like Killing Your Boss? LP (Flaming Banker '83)
Ice 9 — Out Out Out EP (Cool) w/ PS
Ism — Attack b/w Queen Jap (S.I.N. '80) w/ PS
Ism — I Think I Love You b/w A7 (S.I.N. '83) w/ PS
Jack Tragic — I Kill Hippies (Lowlife '83) w/ PS
Lewd — Kill Yourself EP (Scratched '78) w/ PS
Negative Approach — Can't Tell No One EP (Touch & Go '81) w/ PS
Negative Approach — Can't Tell No One EP (Touch & Go '81) rejected test pressing
Negative Trend — Mercenaries EP (Heavy Manners '78) w/ PS
* Bad Religion 'Bad Religion' 7" first press
Black Flag 'Depression/ Rise Above' 7"
* Chronic Sick 'Cutest Band In Hardcore' 12"
Dicks 'The Dicks Hate The Police' 7"
Faction, The 'Corpse In Disguise' 7"
Crow 'Last Chaos' LP
Kraut 'Kill For Cash' 7"
Public Enemy 'There Is Only One Public Enemy' LP
Public Enemy 'Our Weapon Is Truth' LP
RF 7 'Acts Of Defiance' 7"
Urban Waste 'Urban Waste' 7"
'Nardcore 2' LP
'Straight Ahead II' LP
'Street Justice' CD
'The Hardcore House Tapes'
Amebix – Monolith LP (Heavy Metal)
Amebix – No Sanctuary 12″ (Spiderleg)
Anti – I Don’t Want to Die in Your War LP (New Underground)
Antidote – Thou Shalt Not Kill 7″ (Antidote Records)
Articles of Faith – Core LP (white vinyl) Bitzcore
Artistic Decline – Random Violence LP (Deco Entertainment)
Avengers – We are the One 7″ (Large hole, black vinyl) Dangerhouse
Bobby Soxx – Hate in the 80s 7
Cramps – Surfin’ Bird 7″ (Vengeance)
Cramps – Human Fly 7″ (Vengeance)
Crime – Masarait/Gangster Funk 7″ (w/promo limited sleeve) B-Square
Cringe – Spit on Your Grave 7″
Crucifix – 1st LP (black vinyl) Universal Records
DV8 – Learn to Say Goodbye 7″ (Tough)
Eat – God Punishes the Eat 7″ (gigling hitler)
Eat – Communist Radio 7″ (gigling hitler)
Eddie and the Subtitles – American Society 7″ (w/band name only sleeve)
Gang Green – Another Wasted Night LP (color vinyl) Taang!
Gears – Rockin’ at Ground Zero LP (PlayGems)
Ill Repute – Oxnard Land of No Toilets 7″ (purple vinyl) Superseven/Mystic
Jerry’s Kidz – 7″ (2nd press with band sleeve) Test Site Records
Metallica – Creeping Death 12″ (white and yellow vinyls) Music For Nations
Necros – Sex Drive 7″ (Touch and Go)
Negative Approach – EP (red and white labels) Touch and Go
NY Niggers – Headliner 7″ (NYN)
Offenders – Lost Causes 7″ (Suffering Sounds)
Pillsbury Hardcore – In a Straight Edge Limbo 7″ (orange vinyl) Fartblossom Records
Scared Straight – S/T 7″ (blue vinyl) Mystic/Superseven
Uniform Choice – Screaming for Change (green vinyl and red vinyl ) Wishingwell
V/A – Drinking is Great 7″ (black vinyl) Fatal Erection
V/A – No New York LP (1st press only on Antilles)
V/A – Red Snerts LP (Gulcher)
V/A – Someone Got Their Head Kicked In (blue vinyl)BYO
V/A – Something to Beleive In LP (red and blue vinyl) BYO
Vatican Commandos – Just a Frisbee 7″ (Pregnant Nun)
Vatican Commandos – Hit Squad for God 7″ (Pregnant Nun)
Zero Boys – Living in the 80s 7″ (Zdisc) ORIGINAL ONLY
Vomit Pigs – Take One 7″ (Bad Wrechords)
Stains – John Wayne 7″ 1st PRESS SLEEVE ONLY
Lewd – American Wino – LP (ICI Records)
Faith – Subject to Change (clear and white vinyls only) Dischord
GG Allin And The Jabbers — Studio Live EP (Blood '79) w/ PS
GG Allin — 1980's Rock ‘n’ Roll b/w Cheri Love Affair (Destiny '79) w/ PS
GG Allin — Always Was, Is And Always Shall Be LP (Orange '80)
GG Allin And The Scumfucs — Eat My Fuc LP (Blood
Child Molesters — Hillside Strangler (Ace And Deuce '77) w/ PS
Child Molesters — Wholesale Murder (Ace And Deuce '78) w/ PS
Child Molesters — Wir Leben Die Jugendlich Madschen 12" EP (Ace And Deuce '81)
Death — Keep On Knocking b/w Politicians In My Eyes (Tryangle '76)
Dils — I Hate The Rich b/w You're Not Blank (What '77) w/ "Oils" PS
Dils — 198 Seconds (Dangerhouse '78) w/ PS
Feederz — Jesus EP (Anxiety '81) w/ "Rat" PS
Feederz — Ever Feel Like Killing Your Boss? LP (Flaming Banker '83)
Ice 9 — Out Out Out EP (Cool) w/ PS
Ism — Attack b/w Queen Jap (S.I.N. '80) w/ PS
Ism — I Think I Love You b/w A7 (S.I.N. '83) w/ PS
Jack Tragic — I Kill Hippies (Lowlife '83) w/ PS
Lewd — Kill Yourself EP (Scratched '78) w/ PS
Negative Approach — Can't Tell No One EP (Touch & Go '81) w/ PS
Negative Approach — Can't Tell No One EP (Touch & Go '81) rejected test pressing
Negative Trend — Mercenaries EP (Heavy Manners '78) w/ PS
The New Manson Family
One of my favorite bands, Mighty Sphincter, released their first LP, The New Manson Family in 1986, and despite what the liner notes say, Alice Cooper did not produce this album. Weird that one of America's most compelling goth bands in the '80s would hail from Phoenix, Arizona, but all that heat and bad blotter acid permeates every Sphincter release, and only adds to the nauseating, whirling confusion of their sound. This band was wholly ignored and dismissed in their day, but now this style is all the rage, so maybe they can finally get receive the praise they deserved. I believe mainman Doug Clark has resurrected the Mighty Sphincter, maybe a new album? Fuck, I hope so
Headhunters
P.s I'm not a big jazz guy, I don't hate it, just not super knowledgeable on it. However, I do know that Herbie Hancock's classic 1973 album Headhunters is just so infunktious and beautifully executed I can't imagine anyone not loving it. Headhunters is like a hot day off in your favorite city with no obligations, so the possibilities are endless. Go have some ice cream, smoke some rat weed out of an apple in your favorite park, throw a frisbee to a dog, finally break the ice with that cute guy or girl you been thinking about. Life is good, but it is short, get crackin'.
Tuesday, October 5, 2010
Minimum Wage, Maximum Rage
your collar's white mu collar's blue
is that all mu labor is worth to you?
working all day in the hot
making money for the company you run
Minimum wage Maximum rage
your life of leisure paid for by me
cause you've got a fancy degree
There's one more lesson you have to learn
Respect is something you have to earn
Minimum wage Maximum rage.
is that all mu labor is worth to you?
working all day in the hot
making money for the company you run
Minimum wage Maximum rage
your life of leisure paid for by me
cause you've got a fancy degree
There's one more lesson you have to learn
Respect is something you have to earn
Minimum wage Maximum rage.
Monday, October 4, 2010
making money mondays: it all starts with a great idea
Perhaps the most pernicious myth of all is that business success (small, medium or large) or making money depends on having a great idea. It is difficult to exaggerate how many books, articles and speakers have declared the monumental importance of starting out with an amazing idea. So universal is the appeal of “the great idea” that many now believe it is impossible to succeed with ordinary, proven business models like cleaning carpets or delivering pizza. In fact, there is very little truth to this at all. What counts far more than the idea you start out with is the speed and effectiveness with which you execute. At the time of the VCR’s emergence, for instance, many experts felt that Beta-Max was superior technologically for any number of defensible reasons. None of that matters, however, because most people have owned or used a VCR, but few have any personal experience with Beta-Max at all. The takeaway here is that the idea (no matter how groundbreaking) is always subservient to firm, relentless execution. Furthermore, it matters more that you are satisfying a genuine consumer demand than whether you are implementing the idea you personally wanted to implement.
Boombox 10-4-10
NOBUNNY – It Tastes Just Like a Milkshake
CAREER SUICIDE – Recipe for Disaster
BIG BOYS – Killing Time
GISM – Death, Agonies and Screams
DICKS – Lost and Divided
D.R.I. – I Don’t Need Society
KURO – Midnight Baby
MC Ren - Fuck What Ya Heard
Juelz Santana (Feat. Yelawolf) - Mixin Up The Medicine
Good Clean Fun Ex straightedge ex
CAREER SUICIDE – Recipe for Disaster
BIG BOYS – Killing Time
GISM – Death, Agonies and Screams
DICKS – Lost and Divided
D.R.I. – I Don’t Need Society
KURO – Midnight Baby
MC Ren - Fuck What Ya Heard
Juelz Santana (Feat. Yelawolf) - Mixin Up The Medicine
Good Clean Fun Ex straightedge ex
Black Flag Life of Pain
Look what you've done to your arms
I Know you don't care who you harm
I know you've never been the girl next door
But now you're worse than before
Self destruct
Self destruct
Life's miseries pain runs deep
Does it matter if anybody cares?
Can't there be another outlet?
Nobody gets close, nobody dares
Self destruct
Self destruct
I can understand your problems
And I can even figure out the reasons why
But I can't help what I feel
And I can't accept what I see
And I just can't stand watching you
Self destruct
Self destruct
Your digging your own grave
And your taking my feelings with you
There's got to be a way to get out
I Know you don't care who you harm
I know you've never been the girl next door
But now you're worse than before
Self destruct
Self destruct
Life's miseries pain runs deep
Does it matter if anybody cares?
Can't there be another outlet?
Nobody gets close, nobody dares
Self destruct
Self destruct
I can understand your problems
And I can even figure out the reasons why
But I can't help what I feel
And I can't accept what I see
And I just can't stand watching you
Self destruct
Self destruct
Your digging your own grave
And your taking my feelings with you
There's got to be a way to get out
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