#still thinking about his joey ramone impression

[sakuraspoke]

CHAOSZINE // APRIL 2025

[livingdeadinsideyourhead]

Free Music in a Capitalist Society - Iggy Pop's Keynote Speech Transcript

Hi, I'm Iggy Pop. I've held a steady job at BBC 6 Music now for almost a year, which is a long time in my game. I always hated radio and the jerks who pushed that shit music into my tender mind, with rare exceptions. When I was a boy, I used to sit for hours suffering through the entire US radio top 40 waiting for that one song by The Beatles and the other one by The Kinks. Had there been anything like John Peel available in my Midwestern town I would have been thrilled. So it's an honor to be here. I understand that. I appreciate it.

Some months ago when the idea of this talk came up I thought it might be okay to talk about free music in a Capitalist society. So that's what I'm gonna try to talk about. A society in which the Capitalist system dominates all the others, and seeks their destruction when they get in its way. Since then, the shit has really hit the fan on the subject, thanks to U2 and Apple. I worked half of my life for free. I didn't really think about that one way or the other, until the masters of the record industry kept complaining that I wasn't making them any money. To tell you the truth, when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail. But, a good LP is a being, it's not a product. It has a life-force, a personality, and a history, just like you and me. It can be your friend. Try explaining that to a weasel.

As I learned when I hit 30 +, and realized I was penniless, and almost unable to get my music released, music had become an industrial art and it was the people who excelled at the industry who got to make the art. I had to sell most of my future rights to keep making records to keep going. And now, thanks to digital advances, we have a very large industry, which is laughably maybe almost entirely pirate so nobody can collect shit. Well, it was to be expected. Everybody made a lot of money reselling all of recorded musical history in CD form back in the 90s, but now the cat is out of the bag and the new electronic devices which estrange people from their morals also make it easier to steal music than to pay for it. So there's gonna be a correction.

When I started The Stooges we were organized as a group of Utopian communists. All the money was held communally and we lived together while we shared the pursuit of a radical ideal. We shared all song writing, publishing and royalty credits equally – didn’t matter who wrote it - because we'd seen it on the back of a Doors album and thought it was cool, at least I did. Yeah. I thought songwriting was about the glory, I didn't know you'd get paid for it. We practiced a total immersion to try to forge a new approach which would be something of our own. Something of lasting value. Something that was going to be revealed and created and was not yet known.

We are now in the age of the schemer and the plan is always big, big, big, but it's the nature of the technology created in the service of the various schemes that the pond, while wide, is very shallow. Nobody cares about anything too deeply expect money. Running out of it, getting it. I never sincerely wanted to be rich. There is a, in the US, we have this guy “Do you sincerely wanna be rich? You can do it!” I didn’t sincerely want to be rich. I never sincerely felt like making anyone else that way. That made me a kind of a wild card in the 60's and 70's. I got into the game because it felt good to play and it felt like being free. I'm still hearing today about how my early works with The Stooges were flops. But they're still in print and they sell 45 years later, they sell. Okay, it took 20 or 25 years for the first royalties to roll in. So sue me.

Some of us who couldn't get anywhere for years kept beating our heads against the same wall to no avail. No one did that better than my friends The Ramones. They kept putting out album after album, frustrated that they weren't getting the hit. They even tried Phil Spector and his handgun. After the first couple of records, which made a big impact, they couldn't sustain the quality, but I noticed that every album had at least one great song and I thought, wow if these guys would just stop and give it a rest, society would for sure catch up to them. And that's what's happening now, but they're not around to enjoy it. I used to run into Johnny at a little rehearsal joint in New York and he'd be in a big room all alone with a Marshall stack just going "dum, dum, dum, dum, dum" all my himself. I asked him why and he said if he didn't practice doing that exactly the way he did it live he'd lose it. He was devoted and obsessive, so were Joey and Deedee. I like that. Johnny asked me one day - Iggy don't you hate Offspring and the way they're so popular with that crap they play. That should be us, they stole it from us. I told him look, some guys are born and raised to be the captain of the football team and some guys are just gonna be James Dean in Rebel Without a Cause and that's the way it is. Not everybody is meant to be big. Not everybody big is any good.

I only ever wanted the money because it was symbolic of love and the best thing I ever did was to make a lifetime commitment to continue playing music no matter what, which is what I resolved to do at the age of 18. If who you are is who you are that is really hard to steal, and it can lead you in all sorts of useful directions when the road ahead of you is blocked and it will get blocked. Now I'm older and I need all the dough I can get. So I too am concerned about losing those lovely royalties, now that they've finally arrived, in the maze of the Internet. But I'm also diversifying my income, because a stream will dry up. I'm not here to complain about that, I'm here to survive it.

When I was starting out as a full time musician I was walking down the street one bright afternoon in the seedier part of my Midwestern college town. I passed a dive bar and from it emerged a portly balding pallid middle aged musician in a white tux with a drink in one hand and a guitar in the other. He was blinking in the daylight. I had a strong intuition that this was a fate to be avoided. He seemed cut off from society and resigned to an oblivious obscurity. A bar fly. An accessory to booze. So how do you engage society as an artist and get them to pay you? Well, that's a matter of art. And endurance.

To start with, I cannot stress enough the importance of study. I was lucky to work in a discount record store in Ann Arbor Michigan as a stock boy where I was exposed to a little bit of every form of music imaginable on record at the time. I listened to it all whether I liked it or not. Be curious. And I played in my high school orchestra and I learned the joy of the warm organic instruments working together in the service of a classical piece. That sticks with you forever. If anyone out there can get a chance to put an instrument and some knowledge in some kids hand, you've done a great, great thing.

Comparative information is a key to freedom. I found other people who were smarter than me. To teach me. My first pro band was a blues band called The Prime Movers and the leader Michael Erlewine was a very bright hippy beatnik with a beautifully organized record collection in library form of The Blues. I'd never really heard the Blues. That part of our American heritage was kept off the major media. It was system up, people down. No Big Bill Broonzy on BBC for us. Boy I wish! No money in it. But everything I learned from Michael's beautiful library became the building blocks for anything good I've done since. Guys like this are priceless. If you find one, follow him, or her. Get the knowledge.

Once in secondary school in the 60's some class clowns dressed up the tallest guy in school in a trench coat, shades and a fedora and rushed him in to a school dance with great hubbub proclaiming "Del Shannon is here, Del Shannon is here." And until they got to the stage we all believed them, because nobody knew what Del Shannon looked like. He was just a voice on some great records. He had no social ID. By the early 60's that had really changed with the invasion of The Beatles and The Stones. This time TV was added to the mix and print media too. So you knew who they were, or so you thought anyway. I'm mentioning this because the best way to survive the death or change of an industry is to transcend its form. You're better off with an identity of your own or maybe a few of them. Something special.

It is my own personal view having lived through it that in America The Beatles replaced our assassinated president Kennedy, who represented our hopes for a certain kind of society. Didn’t get there. And The Stones replaced our assassinated folk music which our own leaders suppressed for cultural, racial, and financial reasons. It wasn't okay with everybody to be Kennedy or Muddy Waters, but those messages could be accepted if they came through white entertainers from the parent culture. That's why they’re still around.

Years later I had the impression that Apple, the corporation, had successfully co-opted the good feelings that the average American felt about the culture of the Beatles, by kind of stealing the name of their company so I bought a little stock. Good move. 1992. Woo! But look, everybody is subject to the rip off and has to change affiliations from time to time. Even Superman and Barbie were German before America tempted them to come over. Tough luck, Nietzche.

So who owns what anyway. Or as Bob Dylan said "The relationships of ownership." That’s gates of Eden. Nobody knows for long, especially these days. Apparently when BBC radio was founded, the record companies in England wouldn't allow the BBC to play their master recordings because they thought no one would buy them for their personal use if they could hear them free on the radio. So they were really confused about what they had. They didn’t get it. And how people feel about music. ‘Cause it’s a feel thing, and it resists logic. It’s not binary code. Later when CD's came in, the retail merchants in American all panicked because they were just too damn tiny and they thought that Americans want something that looks big, like a vinyl record. Well they had a point but their solution was a kind of Frankenstein called "The Long Box." It didn't fool anybody because half of it was empty. It had a little CD in the bottom. You’d open it up and it was empty. Now we have people in the Sahara using GPS to bury huge wads of Euros under sand dunes for safe keeping. But GPS was created for military spying from the high ground, not radical banking so any sophisticated system, along with the bounty it brings, is subject to primitive hijacking.

I wanna talk about a type of entrepreneur who functions as a kind of popular music patron of the arts. It’s good to know a patron. I call him El Padron because his relationship to the artist is essentially feudal, though benign. He or she (La Padrona) if you will, is someone, usually the product of successful, enlightened parents, who owns a record company, but has had benefit of a very good education, and can see a bigger picture than a petty business person. If they like an artists’ style and it suits them, they'll support you even if you’re not a big money spinner. I can tell you, some of these powerful guys get so bored that if you are fun in the office, you’ll go places. Their ancestors, the old time record crooks just made it their business to make great, great records, but also to rip off the artist 100%, copyright, publishing, royalty splits, agency fees, you name it. If anyone complained the line was "Pay you? We worship you!" God bless Bo Diddley.

By the time I came along, there was a new brand of Padron. People like this are still around and some can help you. One was named Jack Holzman. Jack had a beautiful label called Elektra Records, they put out Judy Collins, Tim Buckley, the Doors and Love. He'd started working in his family record store, like Brian Epstein. He dressed mod and he treated us very gently. He was a civilized man. He obviously loved the arts, but what he really wanted to do was build his business - and he did. He had his own concerns, and style, and you had to serve them, and of course when he sold out, as all indies do, you were stranded culturally in the hands of a cold clumsy conglomerate. But he put us in the right studios with the right producers and he tried to get us seen in the right venues and it really helped. This is a good example of the industry.

Another good guy I met is Sir Richard Branson. I ended up serving my full term at Virgin Records having been removed from every other label. And he created a superior culture there. People were happier and nicer than the weasels at some other places. The first time he tried to sign me it didn't work out, because I had my sights set on A&M, a company I thought would help make me respectable. After all they had Sting! Richard was secretly starting his own company at the time in the US and he phoned me in my tiny flat with no furniture. He said he'd give me a longer term deal with more dough than the other guys and he was very, very polite and soft spoken. But I had just smoked a joint that day and I couldn't make a decision. So I went with the other guys who soon got sick of me. Virgin picked me up again later on the rebound. And on the cheap. Damn. My own fault.

Another kind of indie legend who is slightly more contemporary is Long Gone John of the label Sympathy for the Record Industry. Good name. John is famous with some artists for his disinterest in paying royalties. He has a very interesting music themed folk art collection – its visible online - which includes my leather jacket. I wish he'd give it back. There are lots of indie people with a gift for organization who just kind of collect freaks and throw them up at the wall to see who sticks. You gotta watch 'em.

When you go a step down creatively from the Padrons who are actually entrepreneurs you get to the executives. You don't wanna know these guys. They usually came over from legal or accounting. They have protégés usually called A&R men to do their dirty work. You can become a favorite with them if your fame or image might reflect limelight on their career. They tend to have no personalities to speak of, which is their strength. Strangely they're never really thinking about the good of their parent company as much as old number one. Avoid them. If you’re an artist, they’ll make you sick or suicidal. The only good thing the conglomerate can do for you – and they’ve done it recently for me - is make you really, really ubiquitous. They do that well. But, when the company is your banker, then you are basically gonna be the Beverly Hill Billies. So it's best not to take their money. Especially when you’re young. These are very tough people, and they can hurt you.

So who are the good guys?! They asked me when they read this thing at BBC 6 Music. Well there are lots of them. If fact, today there are more than ever and they are just about all indies, but first I want to mention Peter Gabriel and WOMAD for everything they've done for what seems like forever to help the greatest musicians in the world, the so called world musicians to gain a foothold and make a living in the modern screwed up cash and carry world. Traditional music was never a for profit enterprise, all the best forms were developed as a kind of you’re job in the community. It was pretty good, it was “Yeah, I’m a musician, I’m gonna skip like doing the dishes or taking the trash out.” It's not surprising that all the greatest singers and players come from parts of the world where everybody is broke and the old ways are getting paved over. So it's crucial for everyone that these treasures not be lost. There are other people of means and intelligence who help others in this way like Philip Glass through Tibet House, David Burn with Luaka Bop, Damon Albarn through Honest John Records. Shout out to Hypnotic Brass Ensemble. Almost all the best music is coming out on indies today like XL Matador, Burger, Anti, Epitaph, Mute, Rough Trade, 4 A D, Sub Pop, etc. etc.

But now YouTube is trying to put the squeeze on these people because it's just easier for a power nerd to negotiate with a couple big labels who own the kind of music that people listen to when they're really not that into music, which of course is most people. So they've got the numbers. But the indies kind of have the guns. I've noticed that indies are showing strength at some of the established streaming services like Spotify and Rhapsody – people are choosing that music. And it's also great that some people are starting their own outlets, like Pledge Music, Band Camp or Drip. As the commercial trade swings more into general show biz the indies will be the only place to go for new talent, outside the Mickey Mouse Club, so I think they were right to band together and sign the Fair Digital Deals Declaration.

There are just so many ways to screw an artist that it's unbelievable. In the old vinyl days they would deduct 10% "breakage fees" for records supposedly broken in shipping, whether that happened or not, and now they have unattributed digital revenue, whatever the **** that means. It means money for some guy’s triple bypass. I actually think that what Thom Yorke has done with Bit Torrent is very good. I was gonna say here: “Sure the guy is a pirate at Bit Torrent” but I was warned legally, so I’ll say: “Sure the guy a Bit Torrent is a pirate’s friend” But all pirates want to go legit, just like I wanted to be respectable. It’s normal. After a while people feel like you’re a crook, it’s too hard to do business. So it’s good in this case that Thom Yorke is encouraging a positive change. The music is good. It’s being offered at a low price direct to people who care.

I want to try to define what I am talking about when I say free. For me in the arts or in the media, there are two kinds of free. One kind of free is when the process is something that people just feel for you. You feel a sense of possibility. You feel a lack of constraint. This leads to powerful, energetic, sometimes kind of loony situations.

Vice Media is an interesting case of this because they started as a free handout, using public funds, and they had open, free-wheeling minds. Originally a free handout was called Voice and these kids were like “Just get rid of the old! I don’t wanna be Vice, yeah!” Okay. By taking an immersive approach with no particular preconceptions to their reporting, they've become a huge success, also through corporate advertising, at attracting big, big money investment hundreds of millions of dollars now pumped into Fox Media and a couple of others bigger than that in the US. And they get it because they attract lots of little boy eyeballs. So they brought us Dennis Rodman in North Korea. And it’s kind of a travesty, but it’s kind of spunky. It's interesting that capital investment, for all its posturing, never really leads, it always follows. They follow the action. So if it's money you're after, be the yourself in a consistent way and you might get it. You’ll at least end up getting what you are worth and feel better. Just follow your nose.

The second kind of freedom to me that is important in the media is the idea of giving freely. When you feel or sense that someone that someone is giving you something not out of profit, but out of self-respect, Christian charity, whatever it is. That has a very powerful energy. The Guardian, in my understanding, was founded by an endowment by a successful man with a social conscience who wanted to help create a voice for what I would call the little guy. So they have a kind of moral mission or imperative. This has given them the latitude to try to be interesting, thoughtful, helpful. And they bring Edward Snowden to the world stage. Something that is not pleasant for a lot of people to hear about, but we need to know.

These two approaches couldn't be more different. To justify their new mega bucks Vice will have to expand and expand in capital terms. Presumably they'll have to titillate a dumb, but energetic audience. Of course all capitalist expansions are subject to the big bang – balloon, bust, poof, and you’re gone. As for the Guardian I would imagine that the task involves gaining the trust and support of a more discerning, less definable reader, without spending the principal. There is usually an antipathy between cultural poles, but these two actually have a lot in common in terms of the energy and nuisance to power that they are willing to generate. I wish red and blue could come together somehow.

Sometimes I'd rather read than listen to music. One of my favourite odd books is Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin. I bought the book in the 90's because a couple of my bootlegs were mentioned. I loved my bootlegs. They did a lot for me. I never really thought about the dough much. I liked the titles, like Suck on This, Stow Away DOA or Metalic KO. The packaging was always way more creative and edgy than most of my official stuff. So I just liked being seen and heard, like anybody else. These bootleggers were creative. Here are two quotes from the dust jacket by veteran industry stalwarts on the subject of bootlegs in 1994.

"Bootleg is the thoroughly researched and highly entertaining tale of those colorful brigands, hapless amateurs, and true believers who have done wonders for my record collection. Rock and roll doesn't get more underground than this." – that was David Fricke, the music editor of Rolling Stone "I think that bootlegs keep the flame of the music alive by keeping it out of not only the industry's conception of the artist, but also the artist's conception of the artist." – that was Lenny Kaye from the Patti Smith group, musician, critic and my friend.

Wow!! Sounds heroic and vital!

I wonder what these guys feel about all of this now, because things have changed, haven't they? We are now talking about Megaupload, Kim Dot Com, big money, political power, and varying definitions of theft that are legally way over my head. But I know a con man when I see one. I want to include a rant from an early bootlegger in this discussion because it's so passionate and I just think it's funny.

This is Lou Cohan "If anybody thinks that if I have purchased every single Rolling Stones album in existence, and I have bought all the Rolling Stones albums that have been released in England, France, Japan, Italy, and Brazil that if I have an extra $100 in my pocket instead of buying a Rolling Stones bootleg I am going to buy a John Denver album or a Sinead O'Conner album, they are retarded."

So the guy is trying to say don't try to force me. And don't steal my choice. And the people who don't want the free U2 download are trying to say, don't try to force me. And they've got a point. Part of the process when you buy something from an artist. It’s a kind of anointing, you are giving people love. It’s your choice to give or withhold. You are giving a lot of yourself, besides the money. But in this particular case, without the convention, maybe some people felt like they were robbed of that chance and they have a point. It’s not the only point. These are not bad guys. But now, everybody's a bootlegger, but not as cute, and there are people out there just stealing the stuff and saying don't try to force me to pay. And that act of thieving will become a habit and that’s bad for everything. So we are exchanging the corporate rip off for the public one. Aided by power nerds. Kind of computer Putins. They just wanna get rich and powerful. And now the biggest bands are charging insane ticket prices or giving away music before it can flop, in an effort to stay huge. And there's something in this huge thing that kind of sucks.

Which brings us to Punk. The most punk thing I ever saw in my life was Malcolm McLaren's cardboard box full of dirty old winkle pinkers. It was the first thing I saw walking in the door of Let It Rock in 1972 which was his shop at Worlds End on the Kings Road. It was a huge ugly cardboard bin full of mismatched unpolished dried out winkle pickers without laces at some crazy price like maybe five pounds each. Another 200 yards up the street was Granny Takes a Trip, where they sold proper Rockstar clothes like scarves, velvet jackets, and snake skin platform boy boots. Malcolm's obviously worthless box of shit was like a fire bomb against the status quo because it was saying that these violent shoes have the right idea and they are worth more than your fashion, which serves a false value. This is right out of the French enlightenment.

So is the thieving that big a deal? Ethically, yes, and it destroys people because it's a bad road you take. But I don't think that's the biggest problem for the music biz. I think people are just a little bit bored, and more than a little bit broke. No money. Especially simple working people who have been totally left out, screwed and abandoned. If I had to depend on what I actually get from sales I’d be tending bars between sets. I mean honestly it’s become a patronage system. There’s a lot of corps involved and I don’t fault any of them but it’s not as much fun as playing at the Music Machine in Camden Town in 1977. There is a general atmosphere of resentment, pressure, kind of strange perpetual war, dripping on all the time. And I think that prosecuting some college kid because she shared a file is a lot like sending somebody to Australia 200 years ago for poaching his lordship's rabbit. That's how it must seem to poor people who just want to watch a crappy movie for free after they’ve been working themselves to death all day at Tesco or whatever, you know.

If I wanna make music, at this point in my life I'd rather do what I want, and do it for free, which I do, or cheap, if I can afford to. I can. And fund through alternative means, like a film budget, or a fashion website, both of which I've done. Those seem to be turning out better for me than the official rock n roll company albums I struggle through. Sorry. If I wanna make money, well how about selling car insurance? At least I'm honest. It's an ad and that's all it is. Every free media platform I've ever known has been a front for advertising or propaganda or both. And it always colors the content. In other words, you hear crap on the commercial radio. The licensing of music by films, corps, and TV has become a flood, because these people know they're not a hell of a lot of fun so they throw in some music that is. I'm all for that, because that's the way the door opened for me. I got heard on tv before radio would take a chance. But then I was ok. Good. And others too. I notice there are a lot of people, younger and younger, getting their exposure that way. But it's a personal choice. I think it’s an aesthetic one, not an ethical one.

Now with the Internet people can choose to hear stuff and investigate it in their own way. If they want to see me jump around the Manchester Apollo with a horse tail instead of trying to be a proper Rockstar, they can look. Good. Personally I don't worry too much about how much I get paid for any given thing, because I never expected much in the first place and the whole industry has become bloated in its expectations. Look, Howling Wolf would work for a sandwich. This whole thing started in Honky Tonk bars. It's more important to do something important or just make people feel something and then just trust in God. If you're an entertainer your God is the public. They'll take care of you somehow. I want them to hear my music any old which way. Period. There is an unseen hand that turns the pages of existence in ways no one can predict. But while you’re waiting for God to show up and try to find a good entertainment lawyer.

It's good to remember that this is a dream job, whether you're performing or working in broadcasting, or writing or the biz. So dream. Dream. Be generous, don’t be stingy. Please. I can't help but note that it always seems to be the pursuit of the money that coincides with the great art, but not its arrival. It's just kind of a death agent. It kills everything that fails to reflect its own image, so your home turns into money, your friends turn into money, and your music turns into money. No fun, binary code – zero one, zero one - no risk, no nothing. What you gotta do you gotta do, life's a hurly-burly, so I would say try hard to diversify your skills and interests. Stay away from drugs and talent judges. Get organized. Big or little, that helps a lot.

I'd like you to do better than I did. Keep your dreams out of the stinky business, or you'll go crazy, and the money won't help you. Be careful to maintain a spiritual EXIT. Don't live by this game because it's not worth dying for. Hang onto your hopes. You know what they are. They’re private. Because that's who you really are and if you can hang around long enough you should get paid. I hope it makes you happy. It's the ending that counts, and the best things in life really are free.

[daggerzine]

Celebrity Mixtape Party #1 with Steve Michener (Volcano Suns, Dumptruck, Big Dipper) Part 1

Steve (far left with Big Dipper) 

Mixtapes. They're back! Or maybe they never went away? What happens when you make a mixtape for someone who MAKES music? And then they talk about that mixtape? Well, dear reader, let's find out in..

Okay!  First song. Side A. So I'll give my impressions and then we can talk about the song. Okay? Then the reveal, when appropriate.

Sexy

Thanks for this tape, Matthew, I've really been enjoying it.  However, I gotta say the first song is my least favorite.

What is it pray tell

I don't know but I usually love that style of song.  Very Love/Byrds-y but there was something cloying about that hook of 'Let's Get Together'

Oh yes. Justin Trouble.

Can't tell if it's authentic 60's pop or revival

Early '80s. He was friends with Johnny Thunders.New York City area guy

Never heard of him but I'm not inspired to search him up. Too many words.

Aw man he's just riffing

Anything you wanna say in his defense?

I mean I could. I think that song and the whole record is genius. To me it's the very essence of rock and roll.

Okay, maybe that's just one song that I wouldn't like. I'll check it out. I know you love your 60s stuff  but to me it's just too twee. But if you were using this as a "courtship tape", the relationship is over.

Since we can't "get together" on that song?

Courtship tape. I think they were called love mixes back in the day my friend.

I'm older than you. We used to bring them and play them in the parlor. So this second song is right up my Alley. Great guitar sound, great drummer.  I love that it's poppy but it takes a minor key/dissonant turn when he sings the tagline 'Solid Gold'. Kind of a Fall vibe to that hook.

So what is that second song?

Boston band....Real Kids...1974 demo...EARLY REAL KIDS

I knew you'd get a Real Kids song on there but that is very 'Unreal' real kids.  Sounds like they were way ahead of their time

Yeah. That song is unhinged. Nothing twee about it.

Amazing band.  I would have maybe guessed that but that chorus is so left field.  If I knew about that song back then, I would have had the band cover it. Real Kids sounding like the Fall. They should have been as big as the Ramones.  Worse drug and ego problems I guess.

To me it sounds like The Dolls. A little bit of Glam in there.

I saw them a few times at the Rat.  Always a reliable live band. I hear the 60's thing in there but that turnaround into the chorus is at least 5 years ahead of its time. I need to hear more of those demos.

It's on vinyl.

Next song- One thing that I know about you is that you love your 60s stuff.  This sounds like an authentic acid rock band. Roky?

I don't have the tracklist

Ah, okay.  It's by Girl Trouble-"Storm Warning'. Don't know them but I love the song.

The pride of Bellingham

Kind of like the Seeds meet Nick Cave. What year?

1993 on Empty

Love the sax and guitar interplay at the end.  Wow. I would have placed that in 1965

Yeah except for the production. I think he's one of the Great rock and roll vocalists of the '90s

Yeah, great singer.  Are they still around or mutate into something else?

Kurt Kendall. No, I don't think they really play around much anymore. There was a reunion show not too long ago but I missed it.

Great stuff, I'll check it out. Next song? Okay, this one I knew from the first note--the great NRBQ. The greatest rock and roll band ever, at least in this incarnation.

Green Lights?

Yes.

I saw them around this time with the WW Horns, opening for Thorogood.

Another great vocalist

I didn't appreciate them back then cuz I was too into the alternative scene (tho still loved GT) but when I saw them in the 80's I was amazed.

This is a band that should have played the bar band in every '80s movie ever made

Exactly.  they were my template for 'a band'

That's Joey singing that one? favorite bass player ever, favorite drummer ever.

I'm not entirely sure what that guitar is in the solo. Sounds almost like a pedal steel or something.

Big Al could make anything sound like anything.  Genius band. Shoulda been huge.

The YouTube comments say Joey.

Yeah, Joey wrote the hits. Like most bass players.

Lol. The album is called nrbq at Yankee stadium and it's funny because the picture shows an empty Yankee stadium with them far away in the bleachers...a play on words...clever

I see.

I'll explain humor to you another time.

Make me a 'humor' mixtape

Okay next song

The 5th song on side A is called Buried Alive.  A 3 chord slab of brilliance.  Sounds like another Boston Band.  More Real Kids?

Hmmm

Should I peek?

It could be Avenged Sevenfold. Yes peek.

Oh no, it's the Nervous Eaters!  Born to Die.  I thought he was singing Buried Alive.

Ahhh!!

I knew it was Boston, can't believe I missed the Eaters.  Loved that band.

Another Boston band you didn't ID! You are 0 for 2

I wrote down it was "the Lyres without keyboards" so I get half credit.

Okay so one of the cool things about this band is it had one of the Paley Brothers. Who never did anything this "heavy" outside of this band?

I had their singles and saw them live a few times.  They were great. Just Head is a classic.

The major label debut was a bit of a disaster:  slick production, terrible cover art. I swore that I'd never let that happen to any band that I was in.

This song for some reason reminds me of Judas Priest.

I thought Saints at first but Priest would work

Next song?

Ok

This is one that I will probably miss too. Sounds VERY familiar and my first guess is Rockpile/Brinsley Schwarz.  "I'll have another drink and then I tried to crawl out the door.."

"I never did know a thing about it." It's got that Nick Lowe/Dave Edmunds vibe.

Take a peek

Status Quo-Lies

Ah yes

Wow, I don't think of SQ sounding like this. This is pub rock, I thought they were harder

Very boogie

Don't you get the Rockpile thing tho?

Oh absolutely

Great song.  I'd cover this. Was it a hit?

That status quo song is from 1980. I think so. They did it on Top of the Pops

Good. I'd be depressed if a song that great didn't get an audience.

Agreed

Next?

Yes

I also don't know this and I'm not sure what the hook is but it sounds like what I imagine the Muffs sound like. Be my baby.?  Sneering female vocals, 3 chords, loud guitars.

Fastbacks - Read my Letters

Yeah, another band I completely missed out on.  From the PNW?

Seattle

I've seen them quite a few times and they were always amazing. Big fan.

I'm sorry I missed them live. I don't care much for this song but I'll bet it sounded good in a sweaty club.

Ok

Did you like the Muffs?

Not really. I mean I respect them a lot but they never resonated with me. I think Kurt Bloch is a great lyricist. And I love that he didn't sing his own lyrics.

Wait, that was a guy singing?

No. The guitar player Kurt wrote the lyrics for most of their songs.

Got it.  So he left them to join YFF?

He did both simultaneously. Kim Warnick is the singer and bass player.

Too talented.

Definitely.

I saw the Fellows quite a few times also.

They opened for us in Seattle in 1990. I loved them but, as an east coaster, had never seen them.

Also amazing one of my favorites. During that time that both the Fastbacks and the Young Fresh Fellows were active it made me envy Seattle because Portland didn't have bands like those bands.

This is a different convo, but Seattle is a much more rockin town than Portland.

Full disclosure in the '90s I was not a fan of Portland's music scene. But I did like Hazel.

They were so cute!

Alright, let's not get distracted!   Next song I recognized easily , though I may not have a few years ago.  This is Sparks - Something For The Girl Who Has Everything. Brilliant band but one that I missed out on until recently

You know I never introduced you at the beginning of all this. Dear readers, I am discussing a mixtape with our esteemed guest Steve Michener from Skid Row.

Skid Row UK, legally. Not to be confused with those dorks from Hollyweird. Michael Cudahy was my roommate back in the day and he was way into them. I could never get past the vocals.Recently though, I have come to appreciate them and now I am a big fan.

I love the vocals. It's its own thing. Who is this Michael you speak of?

Michael was in Christmas at the time and then started Combustible Edison.  Now he does movie soundtracks.

Have you ever seen the video of Ron Mael singing karaoke to a Sparks song?

No, I'll google it.

Next song?

Ok

Well, I didn't recognize the song itself but it's hard to miss the unique guitar sound of The Wedding Present-The Boy Can Wait

Fastest wrist in the west

Trademark double strum. They're one of those bands that I just love the sound of but never bought any records.

That's a Peel session by the way.

They were around last year but I failed to attend.

I like the lyrics. They're clever. Kind of misanthropic but not in a Morrissey way. More humorous.

I'm not a lyric guy but I do love a good Morrisey couplet

The dude could pen a tune

Stephen I mean

Moz

The Moz

Himself.

He should pull a Prince and just change his name to Himself

Next song is one that you would never get past me, tho I'm 0-2 with Boston bands before this.  Heading into a Boston binge here.

Ok. Just another band out of Boston

I was the world's biggest Peter Dayton fan for years.  I moved to Boston the week that LaPeste broke up so I never got to see them.  So I made up for that by seeing every PD gig for years. 'She's a Girl' by LaPeste, probably one of the best bands out of Boston ever.

I like how evil La Peste sound. They sound like they carried shivs.

It means "the pest"

Perfect

"la" is "the" in french

Waow

I don't know if you knew that. Anyway, this must have been an Ocasek demo?  Sounds like they were trying to go pop. I had a live tape of them from the rock and roll rumble in 1979 that I wore out. Just a great pop punk band. Next song is also LaPeste- Die in My Sleep.Ric got involved with them later in their career and produced some demos.  Or maybe it was Greg Hawkes.  But Ocasek worked with him solo for a few years.  Dayton's EP, which came out the same time as Panorama by the Cars. It's a fun record.Better off Dead is an amazing single.

I'll check out solo Dayton.

Jim Janota on bass. I think he was in some of those early boston punk bands

But Ric was the producer guy then . Alan Vega etc

Yeah, Ocasek was cool.  He had Dayton's band open for The Cars at the Boston Garden.  Big supporter of smaller bands.

Next two songs had me stumped. I just wrote 'Sex Pistols'.

I would never put a sex pistols song on anything ever. But I do love a lot of things that Cook and Jones were on later

This just has a Pistols energy and sneer. Hey Hey! Hey Hey!

Hmm

3 chords, English. Fall-like but harder.

Not ringing any bells

Ha! I looked at the list--Naked Raygun-Roller Queen.

Yes

"trying" to be british

Nooo

I tuned this band out early.  Not my cup of tea.

I love the Raygun. Midwest thing

Just like Soul Asylum.  I was (and remain) a judgemental asshole when it comes to music.

Hard. Arty. Humorous.

I lump them together.  Prejudice.  But this is why I like the idea of listening to the tape blind.

Throb Throb is fantastic

It can blow up my preconceived notions  or reinforce them. I know they were hugely popular in the scene and it's probably my loss that I didn't explore their stuff. I was probably reacting negatively to the Big Black thing.  Lots of competition and jealousy-fuelled listening bias.

Eh no biggy. I never really liked Big Black. To me they were great in theory but not in practice.

I prefer Shellac

Great band

But i think BD covered 'Bazooka Joe'. Not my idea.

There was another Chicago band from that time that I like a lot called Breaking Circus.

Yes, I liked Breaking Circus.  We played with them.

Yay

Next song. 60s sounding psychedelia

Ok

Didn't recognize it, but liked it. reverby guitar,

Hmm

La Luz- I Want to Be Alone. Cool sound.  What's their story?

Ah. Seattle. Then moved to LA. 4 women. On Hardly Art (label). Started in 2012. They have three lps. Saw them at The Aladdin.

Short but sweet. I'll check them out.

Very very good band

I like good bands

No bad songs. They were VERY GOOD live. Jealous of the drummer's speed and dexterity. They play with a lot of feeling.

If we ever get to see live music again, I'll check them out.

You need to.

Next song is a classic Boston number called 'No Place Like Home' by The Neighborhoods. Such a great power pop song. B-side to Prettiest Girl, which was probably the biggest indie single of the time in Boston.  That and Academy Fight Song. Both on Ace of Hearts records

Oh really? Nice that I got airplay in Boston. I mean it. I didn't get any airplay in Boston

Yes, it was huge! (sorry about your lack of airplay)  top song on WBCN, the local rock station. They should have been huge-they had it all.  Cute guys, great songs, amazing live show. I woulda bet on them

Despite looking like a reggae album I've read good reviews with their first LP. The thing with a lot of these bands is they're from a time when there were regional scenes period and if they didn't make the jump to Major label then a lot of what they were about might have been lost on people outside of their scene

Honestly, I don't remember that LP at all.  Maybe I had dropped them and moved onto hipper stuff. They were kind of a high school crush for me. They got progressively more hard rock as time went on. Yes, probably a common theme with local bands. Some focused on getting a 'deal' and making it big.  Thank god for labels like Homestead, who gave smaller bands a chance to make mistakes and grow

If you had any anecdotes about any of these guys share away.

Anecdotes? I do

'dote away

Dave and Lee worked at Harrington's Liquor, the biggest booze shop in Allston and were always in there when I went to buy cheap vodka. Then, one day, they were fired. Word was that they tried to lift some expensive champagne from the shop to celebrate a record release party or something.  They were both dating members of Salem 66 at the time and Dave married Judy.  They were very nice guys.

Lee?

Lee Harrington, Beth's brother was their bassist in the late 80's. Beth Harrington was in Jonathan's band.

That's a good anecdote.

Jonathan?

Richman

Oh I thought I recognized her voice from Jonathan Richmond records. She was a backup singer. She had kind of a classically trained sounding voice

Yes, her and Ellie Marshall. Beth married my old roommate, whose girlfriend when I knew him, left him for Steve Forbert.

Ellie Marshall was related to who?

Something related to Paley Bros. It'll come to me.  Barry Marshall.

The next song is the Office Supply song. Swivel Chair. I don't recognize the song but it's gotta be something like Fountains of Wayne or Weezer.

Nothing Painted Blue

Oops. Hope they aren't insulted!  I kinda knew of NPB but obviously didn't get into their stuff.  Sounds like a certain pop band from Boston in the late 80s. Where were they from?

Franklin Bruno. Great songwriter in my opinion. Great band. LA

Oh, I know Franklin.  Of course.  I confuse them with that band from Boise

Franklin bears a slight passing resemblance to Bill? Cool that you know Franklin.

Well, on FB at least.  Very nice guy.  He's probably gonna unfriend me if he reads this.

I can edit it out. Celebrity mixtapes is about bringing people together, not about fighting.

No, it's fine.  It's part of the process. I'll take my lumps.

Ok

I just thought it was a little bit of a novelty song.

I just think it's adorably nebbishy

Not that we didn't veer close to that sometimes. It's a risk when you are trying to write songs that have humor in them.

Singing about office supplies. One of my favorite things about Big Dipper is you guys never crossed over into parody even though you were slyly funny.

Yeah, it def sounds like something I would write. I was an office supply nerd.

Maybe I sensed that. Dilbert Rock

Thanks. It's a fine line between clever and stupid, as the Tap says. Anyway, super catchy but maybe a little too clever for me.

NEXT!

Next song has to be Scrawl. Apple of his Eye.

Nope

Very Gang of Four with female vocals.

I did like Scrawl back in the day though. Bratmobile-Queenie.

Ah, well they should write a check to Sue and Marcy. Sounds like early Scrawl. Catchy song but a little derivative to my ears.

Yeah Scrawl predates the Bratmobile.By a few years.

You could steal from worse.

True

Scrawl were an amazing band.

Pride of Columbus

Really had the goods live and on record.

Never saw them live unfortunately.I always thought they were on Homestead but it turns out no.

You had your Homestead goggles on.

"I like everything that comes out on Homestead..."

Well that was me back then too

Last song on side A.  Permanent Wave.  No idea who it is, a short, catchy, new wave song.  Mo-dettes?

I do like the Mo-Dettes but no.

Oh Ok. From Athens

Ah!  i had their single, was this on it?

Michael Stipe's sister

Sister of Stipe

Matthew Sweet was in the band for a minute too, later on.

I bought it, I think, cuz I thought I could resell it when rem got famous. Retirement investment

I think the single and the lp are both amazing

Kind of twee, to revisit a theme

The lp is not as twee

That song sounds a little thin

I like the production. it sounds live.

I see that. Okay, I've gotta run.  This was fun.

Ok. Thanks for doing it.

https://www.mixcloud.com/matthewkenneth9/steve-michener-mix-pt-1/?fbclid=IwAR2hhMS8KXo51QjlpJ__ANfdmKY3Ux7vRyIqHHOxGfY_UK4H6tz6vIXyaxE

[invidiosa]

IWTB fic

In honour of the 12th anniversary of the IWTB release, here is a fic I wrote 10 years ago (1 March 2010 to be precise):

In a Graveyard by Circe Invidiosa Rating: PG-13 for the swears Disclaimer: I know the law, and the law would win.

Summary: He hated snow…Mulder attends a funeral. A post-I Want to Believe fic. 

Keep reading it here or read it on: my fic site LJ

He hated snow, he decided. Considering the week he’d had, Mulder didn’t know why he hadn’t come to this conclusion before now. He watched the flakes begin to fall in bigger clumps, sticking to the casket in splotches.

The snow muffled the minister’s drone, making him sound like he was rooms away. Like when Mulder would hide in the linen closet when his parents had company over and they thought he was asleep, back before Samantha was born. He’d hoped to hear something he wasn’t supposed to hear. Why else would they send him to bed? But it always turned out to be boring adult talk. They didn’t even talk about him.

Mulder shook off the memory and the snow that had collected in his hair and tried to concentrate on what the minister was saying. But it was obvious the officiant knew Dakota Whitney about as well as he did. The trite platitudes, the words about faith and God’s will, seemed even more pointless to Mulder than usual.

He couldn’t give Scully an answer to why he was going to Dakota Whitney’s funeral. He didn’t know what he’d hoped for — meaning, absolution? None of that was here.

He’d stayed back, far enough away that he could scan the faces of the crowd. He’d recognized a few faces, older now, just as he was. No one would meet his eye except Drummy, who glared openly at him. Mulder wished he had a reason to glare back.

It was during this absurd staring contest that someone approached and stood next to Mulder. Walter Skinner didn’t even acknowledge when Mulder turned to see him, hands shoved into his overcoat pockets staring forward. But Mulder felt bolstered enough by his presence that he could forget about Drummy and his censure.

Mulder leaned toward Skinner. “Arlington, huh? How’d she score this kind of real estate?”

Skinner motioned his head to the older uniformed man who held the folded flag. “General Whitney.”

That explained a lot.

Mulder realized that he hadn’t really considered anything about this girl — woman. Christ, she was older than Scully had been when they’d first met. Obviously — far too obviously — Dakota Whitney had been interested in Mulder and had considered everything about him. He began to feel embarrassed for her, and for himself, remembering their final conversation, when she’d made a play for him.

Uncomfortable again, Mulder turned to Skinner to make his apologies and leave when Skinner said, “There was snow at your funeral, too.”

Well, fuck. Mulder knew that he hadn’t said it out of maliciousness, but maybe Skinner was making a point — he’d been to enough funerals and didn’t want to go to another of Mulder’s. Whatever Skinner’s reasons, it rooted Mulder to his spot.

Mulder changed the subject as fast as he could. “Did you know her?” He nodded toward the casket.

“Sorta. She came to me, before this case, wanting to know about you, about the X-Files. Pestered me every day for a month. Kept telling me it was all ‘off-the-record’.”

“What did you tell her?”

Skinner snorted. “I’m still an AD because I know there’s no such thing as ‘off-the-record’. And because I know when to leave something damn well alone. Last time she talked to me was last week. Came into my office and triumphantly told me she’d gotten approval to get you for consulting on some hot case, and thanks for nothing.”

Mulder smirked, remembering her tenacity. “I noticed she didn’t take no for an answer.”

“She didn’t get to be an ASAC by backing down.”

Mulder sighed. “Well, it got her killed. Bringing me back got her killed.”

Skinner shook his head. “You’re unbelievable. Isolation has actually made you more egotistical. You must’ve been a joy to live with these last six years.”

One thing Mulder knew was that regardless of how many times Skinner threw everything aside to help him, there was only one reason he did it: for Scully. And this was Mulder’s cue.

“Thanks for the chat and for the cuddle the other night, Walter. Drop by any time now that I’m not wanted.” Mulder started to back away.

Skinner rolled his eyes and walked past him, back down to the path. “Get over yourself, Mulder. There’s something here you need to see.”

Mulder took one last look at the snow-freckled coffin before he followed. They walked away to a gun salute.

———-

Skinner led the way. After a few minutes, he veered off the path and stopped in front of an unremarkable headstone. Unremarkable until Mulder read the name aloud: “Frohike.” Sure enough, Langly and Byers flanked him.

“Shit,” Mulder muttered. Scully had told him all about The Gunmen’s heroic deaths, but it never seemed real. Especially not with the spectral visits the boys occasionally had paid him.

Skinner pointed to the fresh flowers left at all three graves. “Jimmy, that kid who started following them around that last year, he visits every couple of weeks. Makes sure it looks like someone’s been here. That someone remembers what they meant.”

“I met him once. He was –” How could he put it delicately?

Skinner read his mind. “What he lacks in sense, he makes up for in eagerness. I thought their deaths would kill him. But he’s still putting out the paper. He still believes.”

Lucky kid.

Skinner bowed his head momentarily, paying his respects, before he cleared his throat. “I’ll give you some time alone here. I’ve gotta go make an appearance at the wake and do Assistant Director stuff. You can make it outta here okay?”

Mulder nodded. “I’ll just follow the breadcrumb trail I left.”

“Tell Scully I’ll be in touch,” Skinner said before he walked away.

Mulder knelt down by Frohike’s headstone. He didn’t have to wait long and was not startled when a voice spoke.

“I thought he’d never leave.” Langly appeared from behind a nearby tree.

“‘Bout time you showed up,” Frohike said as he stood up from behind his tombstone.

Mulder rolled his eyes and stood upright. “You might recall that up until very recently, I was wanted by the FBI for killing a marine. You even warned me to go on the run and not look back. So it would be a pretty stupid idea to just waltz into the largest armed forces cemetery. But thanks for understanding.”

Byers appeared from behind Mulder. “Don’t mind him, Mulder. The afterlife isn’t what he expected.”

Mulder chuckled. “What, all the great conspiracies didn’t just reveal themselves to you when the pearly gates opened?”

Langly was leaning on his own headstone. “Nah. He’s just got his panties in a twist because it turns out he’s just as bad at getting dead tail as he was at getting live tail.”

“At least I’m looking for girls! You’re just interested in other long haired dudes!” Frohike said.

Langly’s fist came down. “Joey Ramone is a GOD, not a dude!”

Mulder was getting fed up. “Guys! I’m here now. Not that you couldn’t have come to see me any time, you know, what with having shuffled off your mortal coils and all.”

Byers shrugged. “Mulder, even you think we’re figments of your impressive imagination. If you haven’t seen us lately, maybe you should ask yourself why.”

Mulder rubbed his forehead. “If you really are figments of my imagination, why haven’t you gotten any better looking?”

“Speak for yourself, Not-so-Grizzly-Adams,” Frohike said. “Did you shave just for us?”

“All right,” Byers intervened, his hands raised like a referee. “Mulder, we know why you came here today. We’re sorry about the girl, Agent Whitney. You and she seemed to work well with one another.”

“Too well,” Frohike interjected.

“What’s that supposed to mean?” Mulder replied a little too defensively.

Langly sighed. “Don’t get him started.”

Frohike waved him off. “Too late!” He turned to Mulder. “Running off with this young chickie, Mulder, just because she’s all into the paranormal? When you’ve got the luscious Dana Scully waiting at home? What are you thinking?”

Mulder turned away. “It wasn’t like that –”

“It never is,” Byers said, to Mulder’s surprise. “And that wasn’t our point, Mulder. It’s not your feelings for Agent — Doctor Scully — that are the problem. It’s where your relationship stands now that you’re free.”

Mulder replied. “Look, Scully knows where we stand –”

“Does she?” Frohike asked.

Mulder threw his arms up. “Of course she does. How could she not?”

“Have you actually told her, Mulder?” Byers asked.

“Yeah, that really seems to be a bit of a foreign concept for you two,” Langly said.

“Think about how ready was she to give up on you when you went into crazy investigator mode.” Frohike said. Don’t give up. Maybe it was Mulder that Father Joe had been referring to all along when he said that to Scully. Frohike added, “Does that seem like a person who knows where they stand?”

But I can tell you that I won’t be coming home. Mulder had just chalked it up to Scully having a passive aggressive tantrum for not getting her way. He hadn’t understood a single thing she said that night. He still didn’t.

“She doesn’t need to worry. We’ve been together for years now.”

“Only because you didn’t have a choice. You were in hiding. You had to rely on her,” Byers said.

“Maybe she thinks she’s a placeholder. Just good enough for now until you were able to get back to what you love doing,” Langly added.

Frohike shook his head. “Lemme tell you something. I ever had a woman half as smart, sophisticated, and hot as Dana Scully, she’d never have to guess what she meant to me.”

Langly laughed. “Like that would ever be a possibility. She’d have to be half as tall, too.” Frohike made a hand gesture at Langly.

Byers interrupted, bringing them back to the matter at hand. “The point is, Mulder, whatever you end up doing now that you’re a free man, you have to let Dr. Scully know where she stands.”

“Ditchin’ her ain’t an option any more, man,” Langly said, adding, “Even if you are pissed at her.”

Frohike rubbed his hands together. “All she’d have to do is open up that top button and I wouldn’t be mad at her any more.”

Mulder pointed at Frohike in warning. “That’s far enough, Melvin. You’re talking about the mother of my son there.”

Byers said, “You know, that’s another thing we should probably talk about.”

Mulder stooped and picked up a bouquet of flowers from Frohike’s grave. “Not today, boys.”

Frohike stepped forward. “Hey! Jimmy just gave me those!”

Mulder shrugged. “It’s for a good cause, Melvin. ‘Sides, you really wanna go around yelling that a dude left you these?”

Frohike grimaced. “Touché. Tell her we said hi?”

“Not on your life,” Mulder said.

Langly walked up to stand beside Frohike. “Considering we don’t have lives, that means absolutely nothing.”

“Yeah, yeah. I’ll be back. I’ll bring you something nice.”

“Scully would be nice,” Frohike said.

“You can’t win, Frohike,” Mulder said. “You don’t even have a body.”

“Don’t rub it in, Mulder,” Byers said, now standing on the other side of Frohike. “You don’t have to spend eternity with him.”

“No, I don’t,” Mulder said, walking back down to the path, “I have to make sure I’m spending it with someone else. Thanks guys.”

When Mulder turned back to wave, they were gone.

[misssophiachase]

A while back the lovely @megansarah11 asked for a Klaroline drabble prompt inspired by Sybil and Tom from Downton Abbey (modern-day version). Apologies I never got to it love but I’m so excited about the movie coming out tomorrow so thought I’d finally write something : ) Hope you like it. Lyrics by Tracy Chapman.

He’s an Uber driver she wants to hate, she’s the daughter of an influential person he wants to hate but a mutually beneficial arrangement might change all that. 

Fast Car

You got a fast car, I want a ticket to anywhere

“Five minutes late,” she muttered from the backseat, stabbing at the buttons on her cell phone. “And one less star for lack of decorum.”

He’d picked her up outside Columbia University but given it was peak hour and hundreds of students milling around campus he’d struggled to see her even if it was her responsibility to place his license plate first. 

Glancing at the impressive looking college in the distance while he waited, Klaus wished he could afford to study there. His GPA was impressive so too his SAT scores during high school but he couldn’t afford college and scholarships were few and far between. 

Klaus Mikaelson didn’t drive an Uber for fun, in fact, he only drove because he needed the money to support his family not rude commentary from passengers mid-trip. 

This type he’d seen before, the epitome of a spoiled princess, although Klaus had to admit she was easy on the eye; blonde waves, porcelain skin, pink lips and legs for days encased within that leather mini-skirt. Daddy’s little girl had obviously decided putting the Uber driver out of business would be a fun distraction on the way out with friends. 

“Five minutes late is reasonably good for New York traffic, although I’m sure you know that already, but what exactly is wrong with my decorum?” He asked, probably against his better judgment but Klaus was bored and needed some entertainment to pull him out of his Friday night funk. 

“Lack of decorum you mean and last time I checked that was none of your business.”

“Well, if you’re going to review my services aloud, it’s a little difficult to ignore,” Kaus offered, looking at her in his rearview mirror curiously, noting those expressive blue eyes widening in shock.

She didn’t respond immediately, obviously thrown off by his reply. Instead, she proceeded to punch at her cell with more vigor and Klaus knew he’d lost at least another star in the process. He wasn’t phased and decided he’d much prefer music than her thoughts anyway.  

“What the hell is this?” She growled, finally finding her voice as the music reverberated loudly through the speakers. 

“It’s called music, sweetheart.”

“I’m aware it’s music,” she growled, “and don’t call me that.”

“It’s the Clash.” 

“Well, the name seems fitting given the lack of musicality,” she shared. Before she could eviscerate him again via review Klaus replied. 

“I should have known I suppose.”

“Should have known what exactly?”

“That someone so uptight and privileged wouldn’t understand punk rock.”

“I understand it perfectly,” she huffed. “In fact, I admire the way the genre has pioneered political messaging over the decades.”

“Really? You do?” He inquired, not expecting that response from the princess in his backseat. He decided she must be taking a few political electives and thought she knew everything.

“Yes, and, while we’re at it, everyone knows the Clash. I didn’t think you’d be so easily fooled.”

“Well, excuse me if you don’t look the type.” 

“You got me,” she admitted, his crimson lips curved into a smile knowing he’d won the argument. “I’m actually more of a Ramones fan if I’m to be completely honest.”

“Figures, you’d pick the band with the conservative guitarist.”

“I was more of a Joey fan, not Johnny if you must know. I ought to really address your judgmental tendencies in my review.” Klaus had to admit she knew her punk rock and the fact brother Joey was far more liberal than his older brother Johnny. 

“Well, given that, my tardiness and lack of decorum at least I’m consistent, love.”  

“I’d be curious to know just what your other passengers think about typecasting their musical tastes and political beliefs. And, by the way, you’re down to one star, buddy.”

Klaus could tell by consulting the rearview mirror she hadn’t bothered to look down at her phone once and a sly smile was tugging at the corners of her mouth. 

She was enjoying this and Klaus had to admit he was too. It also didn’t hurt just how cute she looked twirling a blonde lock in her fingers and biting the right corner of her bottom lip either. 

“I’m amazed I still have one star,” he teased, realizing he had nothing to lose at this point. “Daddy must hate that his daughter is a Democrat.”

“You have no idea, not that I’m trying to entertain your stereotypes at all,” she mumbled, laying her head back, her blonde waves fanning out across the seat. “I think he’d disown me if I wasn’t his only child.”

“Well, then I’m sorry I judged you,” he offered, his eyes meeting hers briefly. “I definitely deserve that review.”

“Well, there’s still time to prove yourself,” she smiled deviously. “How about we make a detour and you can make it up to me?”

Maybe we make a deal

“You brought me to Central Park?” Klaus shivered, trying to ignore just how frozen his toes were and hoping it didn’t spread to other much-needed regions. 

Klaus had been unable to help himself, offering his jacket to his passenger who was less clothed and insisted they visit the Bethesda Fountain. It was empty given the season and this time of night.   

“If this is a frostbite competition, I give in,” he chuckled whilst trying to battle the chill. 

“This is my favorite place in the city,” she shared, looking upwards. The sky was clear tonight, the moon barely visible but multiple stars twinkling in the distance. “I like to come here when no one else is around.” 

“Well, you certainly chose the optimal time.” He agreed, hoping she’d get to the point sooner rather than later. As a driver, it wasn’t his role to get out of the car but for some reason, she’d enticed him into the cold. Klaus decided to blame it on his need for a good review, well in case anyone asked. “Don’t you want to meet your friends?”

“Maybe later,” she replied, taking a seat on the edge of the fountain and patting the spot next to her. Klaus wasn’t one to come on command but he’d long abandoned his usual routine when she’d jumped into his car. “I’ll pay extra and up your stars, promise.”

“It’s not about the money or the review,” Klaus admitted, probably too quickly. “I just like all my appendages working at full capacity.”

“Looks pretty good to me,” she shot back, a cheeky smile crossing her features as her eyes grazed his crotch. Klaus thought he’d pegged her when she jumped into his car but was finding it difficult to concentrate given just how unpredictable she’d proven.   

“You were not what I expected at all.”

“I have that effect on people,” she grinned. “My father doesn’t like it all that much, usually has one of his drivers take me around the city so as to avoid anything untoward.”

“And that’s not a nice, fatherly thing to do I assume?” 

“He does it to spy on me,” she growled. “It’s like I’m eight years old all over again and he’s chasing Liam O’Neil out of my treehouse.”

“What exactly were you doing in said treehouse?”

“We were playing doctors and nurses,” Klaus smirked knowingly, causing her to jab him in the ribs. “Get your head out of the gutter it was all above board. If anything it made me realise just what a bad nurse Liam made.”

“So, why no driver tonight then?”

“I snuck out before he arrived,” she admitted. “I wanted to spend my night my own way.”

“My curiosity is piqued, who exactly is your father?” 

“Republican Congressman for the 2nd District,” she murmured. “Talk about a total buzzkill. He has this tendency to put a dampener on my life in general and not just because of his choice of political party.”

“Wow, that was not who I was expecting at all when we started our discussion.”

“Oh, is that what you call it? From memory, it was all about you questioning my musical tastes and insulting my beliefs.”

“We haven’t even scratched the surface of a real political debate and you know it, Caroline.” For some reason that made Klaus smile in anticipation of a rematch.

“You said my name,” she smiled. “And here I thought I’d forever be known as love or sweetheart or whatever you call all the women you pick up.” Klaus didn’t miss her double meaning. 

“Assuming I pick up all these women, love,” he smirked flashing his dimples, noticing her creamy skin flush a cute shade of pink as he did. 

“So, any chance you’d consider driving me around?” His eyebrows shot up curiously wondering how they’d moved from pick-ups to fully-fledged driving.  “Urgh not in that way,” she groaned, jabbing him again. Klaus had to admit he was quite enjoying throwing around double entendres especially if it warded off the chill. 

“What? You mean like a chauffeur? It’s not really my thing and I’m not sure your father would approve,” he whistled. “We don’t exactly run in the same circles.”

“He doesn’t need to know that. I just need more space and this arrangement could be mutually beneficial.”

“And what do I get exactly?”

“You get money and I get freedom,” she shot back. “Seems like the perfect arrangement.”

“Except for the obvious,” he said, “Your father probably has the most stringent vetting process in place for the position of driving around his only daughter.”

“Just leave it to me.”

“Why does that worry me?”

“Because for the most part, and not that I want to prove your earlier assessment correct, my father does most things I ask. It’s either because he loves me or doesn’t want me to make a scene. Either scenario works I suppose.” Klaus could tell by the hurt in her voice that she cared about what he thought more than she liked to portray. “You’re English, surely we can sell you as some Margaret Thatcher-loving Tory who came to America to discover his dream.”

“Of being a chauffeur?”

“Of being a chauffeur who is saving for college to become a lawyer at a private equity practice in Washington DC and then the next Attorney-General in a Republican White House.”

“Sounds exactly like me,” he joked. “It seems like you’ve offered this position to others before me.”

“No, that’s just pretty much every guy my father has tried to set me up with since I was eighteen.”   

“I think that will be a tough sell, love.”

“But just think about all the money you could make, Uber driving would be peanuts in comparison.” 

Klaus wasn’t motivated by money but given his mother’s health problems he knew the extra cash would make a difference with her treatment. He’d be stupid to pass up an offer like that and if it meant more time to discuss politics with Caroline Klaus certainly wasn’t complaining. 

Maybe she needed more freedom and maybe he needed more money but for some reason, there seemed to be an underlying reason neither had verbalized. 

It was as if she wanted an escape just as much as he did.

Maybe together we can get somewhere, any place is better

[stevecanmakeanythingnerdy]

Battle #12

The Vaselines : Sex With An X (Side A)

Vs.

Dead Boys: Young, Loud, and Snotty (Side II)

The Vaselines : Sex With An X (Side A)

The Vaselines are an alternative rock band from Glasgow, Scotland. Formed in Glasgow in 1986, the band was originally a duo between its songwriters Eugene Kelly and Frances McKee, later adding James Seenan and Eugene's brother Charlie Kelly on bass and drums respectively from the band Secession. The band released two short EPs, Son of a Gun, released in 1987, and Dying for It, released in 1988. The latter features two of the band’s most recognized songs, "Molly's Lips" and "Jesus Wants Me for a Sunbeam," both of which 90’s grunge superstars Nirvana would later cover. Though they were not widely known outside Scotland during their short career, their association with Nirvana brought major exposure to the band. Nirvana frontman Kurt Cobain once described Kelly and McKee as his "favorite songwriters in the whole world". With their songs "Son of a Gun" and "Molly's Lips" covered on Nirvana's album Incesticide and "Jesus Doesn't Want Me for a Sunbeam" covered on MTV Unplugged in New York, the band gained a new audience. I must admit, it’s totally how I heard of them. And thank goodness for that! Gems all of them! Kelly went on to found the band Captain America (later renamed Eugenius after legal threats from Marvel Comics), supporting Nirvana on their UK tour. RRW fans may remember them going quite far from a previous season of RRW. McKee founded the band Suckle and released her first solo album, Sunny Moon, in 2006. Shortly there after the band reformed on occasions and in 2010 they released this, their second full length studio album. “Ruined “ is the first track and it sounds amazing. More ballsy than the older stuff. Very produced and meaty by comparison. Drenched in melody and feedback. “Sex with an X” is the second and title track on the album. This is more like classic Vaselines. Light and jangling but still catchy like the clap (#seewhatididthere)! Following is the creepy, surf-like riffage that makes up the bulk of “The Devil’s Inside Me”. This has early Sub Pop written all over it. In fact, did Kelly find an old notebook or something?! It’s like they never broke up and we’re back in 1990. The Vaselines do such a good job of being both retro AND fresh...this is minimalist art! Beat Happenings anyone? (#seewhatididthere). “Such A Fool” is an example of another such artistic melody. Floating as if on sugar cube clouds, Frances takes lead vocals on this one. Pretty hooks and looks stunning on wax. “Turning it On” brings back the surf inspired leans into the curl and dreamboat Annies (#seewhatididthere). It’s a call and response song, and my response is brilliance. Morrissey would be proud. “Overweight but Over You” has more bounce to the ounce (#seewhatididthere). Fat man rock. An analogy to going under the knife. This is what makes them so good. Unique perspective and writing from unusual examples. Look, no matter how you slice it, this is their first output in nearly 20 years and it is sounding like they never quit. THAT is a talent all it’s own. Consistent and signature sound is everything in music and these guys have that formula down pat. They were one of the first two piece bands and with boy girl harmonies. Hipsters owe this band a LOT. PHENOMENAL.

Dead Boys: Young, Loud, and Snotty (Side II)

Dead Boys are an American punk rock band from Cleveland, Ohio. The band was among the first wave of punk bands, and had a reputation as one of the rowdiest and most violent punk groups of the era. Dead Boys were formed by vocalist Stiv Bators, lead guitarist Cheetah Chrome, rhythm guitarist Jimmy Zero, bassist Jeff Magnum, and drummer Johnny Blitz in 1976, splintering off of the band Rocket From The Tombs. They released two studio albums, Young Loud and Snotty and We Have Come for Your Children. Dead Boys were originally called Frankenstein, and as previously mentioned, they evolved out of the band Rocket From The Tombs . When the band members relocated to New York City in July 1976 at the encouragement of Joey Ramone, they adopted the Dead Boys moniker which came from the RFTT song "Down In Flames". The Dead Boys quickly gained notoriety for their outrageous live performances in the city that never sleeps. Lewd gestures and profanity were the norm. On more than one occasion, lead singer Stiv Bators slashed his stomach with his mic stand. These antics reportedly discouraged any mainstream rock following despite the relative breadth of their material beyond pure punk. Something tells me the Dead Boys didn’t give two shits about that. They frequently played at the rock club CBGB and in 1977 they released this debut album, Young, Loud and Snotty. Their song "Sonic Reducer" from it is often regarded as one of the classics of the punk genre, being covered by countless bands, some as diverse as Pearl Jam. Well, side two of this incendiary record starts off with “Caught With the Meat in Your Mouth”. That rock and roll riff, combined with Cheetah Chrome’s snot, form an animalistic ballistic statistic on this biscuit! Gimme some butter!! A great punch in the face to start. If you had any doubts if this was a punk rawk band, they are immediately shattered. “Hey, Little Girl” has a live-ish nitro. It’s about as laid back as these punx get. Another scorcher with those metallic guitar chords. “I Need Lunch” is next, and probably one of their more recognized tunes. Love that intro! Such poetic power trips here. It’s raw, uncensored, unapologetically sexist and NOT PC. In fact, it’s unadulterated filth and raunch, crawling straight out of an NYC gutter. This is what Dead Boys are known for. This captured well the short lived and self destructiveness of this band. “High Tension Wire” takes a little departure for the band. About as emo as they dare get in the times they lived in. Some good guitar work and a sad lamenting riff are all this song needs to draw you in. Nothing compares to

“Down In Flames”, though. If you listen to one Dead Boys still no in your life, make it this one. O. M. G!!! This song!! SOOOOOO GOOOOOOOD!! Again, the raw power is present and on full display. Guitar tones and fuzz on point! Brilliant screams and bleeds and leads. Even a mental breakdown right in the middle of the song, during the song! Amazing. The guttural throat scrapes are tops!! Look past the sexism and this band IS fucking rock. This is the classic album you always wish your band could write. 2017 re-issue On translucent green vinyl. Think Sex Pistols level greatness but not British, and more underground. The Stooges but on ALL of the drugs. In fact, I think you’ll get a contact high just from touching the record.

The Vaselines came back from the grave to have sex (with an X, apparently) and in doing so, wrote a slew of awesome new tunes. Wow. Re-reading that just now and it sounds pretty gross. Anyhow, They burned 143 calories over 21 minutes and 6 songs. That is 23.83 calories per song and 6.81 calories burned per minute. The Vaselines earned an impressive 15 out of 18 possible stars. The Dead Boys uprooted themselves from Ohio to New York City and became one of America’s most loved punk bands. They’re young, loud, and some of the snottiest punks you’re ever going to hear. Dead Boys burned 113 calories over 5 songs and 15 minutes. That is 22.60 calories burned per song and 7.53 calories burned per minute. The Dead Boys also managed to earn an even more impressive 13 out of 15 possible stars. Looks like those Dead Boys take the cake today!!

Dead Boys: “Down In Flames” (originally a Rocket From The Tombs song)

I just love that vintage footage exists...the audio is shit

https://youtu.be/Z3Cn4z4kYIA

Here is a better audio version

https://youtu.be/ueqTb0_jfMU

If you have half an hour to kill look up the amazing CBGB performance from 1977. It’s like having a time machine.

Oh hell here, I did it for you

https://youtu.be/QOHOM1hVM-M

#Randomrecordworkoutseasonsix

#Randomrecordworkout

[berlinner]

More reviews/comments about 7 SONGS:

Matt York (songwriter/musician)I love the whole album. Really love the job that T.J. Wenzl did bringing all the parts together and really making the whole thing pop. Great/big guitar work. Loved the CB's song. Reminds me of a modern day Jim Carroll Band tune. The song 'Fragile' is one Rick's best I've heard and I've been listening to him my whole life. The power of the vocals coupled with the fragility of the guitar parts and lyrics make it a standout for me. The musicianship is terrific and Rick's voice and words have never sounded better.

Gary Lucas (guitarist/in the Captain Beefheart Band)Rick Berlin has ben creating beautiful and brilliant music since the mid-70’s when I caught his then band Orchestra Luna on two memorable nights at Preston’s Airport Lounge in Nantucket. They were a wild and unwieldy band that lived at the intersection of art-rock, opera, fusion, glam and punk-- and they had a pronounced influence (largely uncredited) on folks like David Byrne. Rick’s latest incarnation with the NICKEL + DIME band, recorded during the pandemic, shows him in tremendous vocal and songwriting form, still capable of hitting the same heights emotionally as Orchestra Luna—but in more concise song formats. Every song is unique, and the stylistic range is impressive. My favorite is BOWERY BUMS, which rocks fiercely while name checking many of the CBGB’s regulars (including Patti Smith, Danny Fields, Joey Ramone and Seymour Stein) whom Orchestra Luna shared a stage and a moment with. They are all good songs that will grow on you—and are definitely worthy of your attention.

Edrie, (Army of Toys) Once again Rick Berlin and crew have created deeply moving and resonant music that touches the soul in the most direct way. Each song is profound, and I've learned a new thing about myself with every listen. Put this album on repeat and listen LOUD!

Adam Lewis (The Planetary Group)Loving the new album. Always great to hear your timeless voice. Your songs paint a story and a scene - every time. Your writing takes me right there. Love hearing the CBGB reference. You are a timeless wonder!


Bill Pfordresher (former Elektra A&R exec., producer of Berlin Airlift, about, Undersongs, voting member of the Grammy Awards)How you were able to record these durning the pandemic is a miracle. I have to laugh as I picked in addition to WHO WOULD YOU BE WITH OUT YOUR FRIENDS, WHAT R U WAITING FOR and FRAGILE which you notate will be a vinyl single in your blurb!!!!!! Great idea. The change at 2:20 in FRAGILE is plain brilliant. Also liked WALK YOU HOME. You continue to show the world what a great song writer/vocalist you are. Wishing you all the success in this crazy mixed up business we are in.

Lesley Bannatyne (Author)I loved this! 7 Songs is brilliant. Just when you think you know were each song is going it turns down another street or lifts up into some other universe. The lyrics are damn smart, whether they be etching out a story or lifting off into poetry: like a poem/like a Redwood tree. Vocals by Jen Truesdale on Fragile - wow. Vocals on Walk You Home so gorgeous. Each one of these is a little world, made perfectly.
   

[torso-boy]

I’m no stranger to a show. I’ve been to anything from a small basement show to large outdoor festivals. None of it could have prepared me for Vans Warped Tour. The excessive heat here in Phoenix, AZ was treacherous. Most of the records I found say we hit a high of 111℉ but I could swear it was more insufferable than that. The tour pushed their opening time to 12:30pm due to the elevated temperatures but it didn’t do much in the long run. There were a few tents set up to shelter attendee and staff alike. Water was expensive as one would expect but the security and staff were helpful. Many offered myself and those with me water by the stages so hydration wasn’t too much of an issue. We persisted and saw many amazing performances. All of which I must thank Doll Skin for.

Upon arriving at the Fear Farm Festival Grounds, we went straight to the Journey’s Right Foot stage for Doll Skin. Now, I’ve been wanting to write about these girls since I first saw them open for Dead Kennedys. But, as life does, things got busy and chaotic. So, getting the opportunity to cover them is amazing to me.

When Doll Skin first joined the tour, the band released their second CD, Manic Pixie Dream Girl, on June 16th (US) and June 23rd (UK). It has already climbed to #6 on Billboard Heatseakers chart and shows no sign of stopping. I picked up a copy at the show and have been listening to it nonstop. Like their previous CD, In Your Face (Again), I find the songs worm their way into your brain. Personally, I’d love to take a road trip with both these albums playing, cranked to eleven, with my windows rolled down.

Befitting of their sound, Doll Skin has just as much energy on stage as is conveyed through their music. Since seeing them for the first time over a year ago, these girls have been involved with bigger and better tours with little rest. So, if you haven’t seen them or even heard of these girls before, I highly recommend that you check them out.

During the show, these girls were still running around and rocking their hearts out despite the heat. It was mentioned that Doll Skin normally performed on a different stage but since Arizona is their home, they were moved to one of the larger stages. Although the girls were one of the first bands to play and ticket prices would go down later in the day, Doll Skin received a warm welcome home. This moved Sydney Dolezal (Vocals) on two occasions, claiming she was fighting back tears of joy while on stage.

Even though Doll Skin is no longer traveling with Vans Warped Tour, they are still touring and promoting Manic Pixie Dream Girl. Check out their tour page for more details.

This slideshow requires JavaScript.

Once the crowd thinned a bit, my party worked toward the Skullcandy stage just in time to watch War On Women set up. We were greeted by smiles, waves, and a loaded water pistol. Really, even if hardcore-punk isn’t your thing or you just don’t like bands from Baltimore, Maryland, War On Women is comprised of some amazing human beings. The Missus and I had seen them once before at my first punk show. The beautifully blended mix of bursting energy, intense personality, and passionate message is something that demands to be witnessed. Truly, War On Women was the other reason I wanted to go to Vans Warped Tour. If ever given the opportunity, I’d happily go to every show I could if only to hear them play.

Throughout their set, War On Women promoted the safety and inclusion of all at shows and in the scene. As I see War On Women, follow them on social media, and hear their message, they fight for the safety and equality of all. It’s a message that resonates with me to the core of my soul. So, to hear they are further promoting and educating others on how they can help at Vans Warped Tour is a wonderful way to be more than just another talking head. War On Women shows that you can’t just talk about it, you have to do something about it. To pair that message with their music while taking on further action generates a powerful force of change.

After the set was over, which felt shorter than I wanted it to be, my party took a moment to cool off before seeing the War On Women tent. There, we met with Shawna Potter (Vocals). There was a moment to chat and laugh together as Shawna fought the heat. As a pleasant surprise before the show, the Missus was invited to photograph War On Women and interview Shawna. So, the two went off to lunch and to conduct the interview.

This slideshow requires JavaScript.

Meanwhile, I spent some time checking out some of the other tents. Some time was spent talking with A Voice for the Innocent and picking up some new music. It wasn’t long before the Missus returned and we returned to the Journey’s Right Foot stage for Neck Deep.

In case you haven’t heard of them before, Neck Deep is a pop-punk band from Wrexham, Wales. I had heard a handful of songs before seeing them and they bring a lot of wild energy to the stage. During their set, Neck Deep was promoting their upcoming CD, The Peace and the Panic, which comes out August 18th, 2017. After hearing a few of the songs that will be on this new release, I’m certainly looking forward to it.

The only downside was that I saw them from what was advertised as the accessible bleachers. These things were tall enough that I never had to worry about staring at the back of someone’s head. On the other hand, I was so far away that some of the music sounded like it could be drowned out by my home speakers. So, as much as I’d like to offer more about Neck Deep, I’m limited in my experience due to being simultaneously present and removed during the show. What I can say is they have quite a bit of energy and a fair collection of songs that touch on depression and fighting against the oppressing malaise, which I can immeasurably respect.

This slideshow requires JavaScript.

Then it was on to another band at the Full Sail stage that reached out to the Missus. I had never heard of Creeper before Vans Warped Tour. Yet, a few friends and family were very excited to hear we might see them and get some pictures. Still, I was skeptical. Except when I saw the band from Southampton, England, I was pleasantly surprised.

The playful and intense presence on stage was phenomenal. Sean Scott (Bass) knows how to egg on the crowd and rev them up. Yet, I always love to see keyboards and Hannah Greenwood (Keys) can really work a chilling calm that only further encourages the crowd. How the entire band works together is in a league of its own and you can see the joy on their faces. While Will Gould’s (Vocals) face might be hard to see most of the time due to his shoulder length black hair, I couldn’t help but think of Joey Ramone at times. Something about the mess of hair screaming into a mic just sparked the connection. Despite my initial apprehension, this band is certainly one to check out and I wouldn’t be surprised if they became difficult to keep up with. Their debut album, Eternity, In Your Arms, released March 24th, 2017 and is available for purchase online or you can listen to it on Spotify.

This slideshow requires JavaScript.

  Once the show was over, we stuck around to pick up our copy of the CD along with some patches. Considering that Creeper was signing after their set, we got the CD signed and ended up being a little late to see the Ataris at the Hard Rock stage.

I have a couple of covers done by the Ataris and wanted to see what these guys were really made of. A good helping of rock with a dash of punk to taste is how I can describe this band from Anderson, Indiana. While I’m still a little bummed for missing the beginning of their set, I’ll happily make up for it by buying a few CDs and listening to more than just a few covers from these guys. Yet, when we stopped by their merch tent, there really wasn’t much for them. So, while we left without anything from the Atari’s, they gave us a few patches for Bad Cop/Bad Cop and I’ll be listening to them soon.

This slideshow requires JavaScript.

After checking out a few more tents, like Support Tattoos and Piercings at Work which only made me want to get another tattoo, we went back to the accessibility bleacher between the Journey’s stages. Here, it seemed like a good place to rest and see the last few bands without stressing the crowds.

The Missus wanted to check out Hawthorne Heights on Journey’s Left Foot stage. Personally, these guys just aren’t my thing. A rock band from Dayton, Ohio, I’ve seen these guys labeled at post-hardcore and pop-punk but they still don’t do it for me. Yet, I’m willing to blame a good part of my indifference upon seeing them on being told that I couldn’t stay on the bleachers because they were tearing them down.

This slideshow requires JavaScript.

This became a rather distracting ordeal as I was told I could wait, then they needed to tear it down, then it was the wrong bleachers. It was confusing how the story kept changing of how and why I was allowed to stay on this supposed accessible accommodation. To make matters worse, it was hard to discern if those telling me to leave were just staff of the Fear Farm Festival Grounds or with Vans Warped Tour. But the back and forth went a little something like this:

Turns out they aren’t taking this bleacher… Funny how that works. Still not impressed. No clue how long I’ll have visibility of the stage.

— Torso Boy ⒶⒺ (@Torso_Boy) June 23, 2017

Hope I’ll be able to see @ckymusic still… But who knows? Guess we’ll find out how this tour will end.

— Torso Boy ⒶⒺ (@Torso_Boy) June 23, 2017

Even now, I find it odd to be told that I “need” to see a performance other than in an over-dramatic fashion that one might get from a friend. But that didn’t exactly matter since we had already planned to see Andy Black. Though, this is the second time seeing Andy and last time was also spent fighting those who might ruin a show. It was time to turn to Journey’s Right Foot stage.

Andy Black, the solo career of Black Veil Brides vocals, Andy Biersack, is a wonderfully cocky performance. The humor and posturing combine to an aloof Andy that can make most fans swoon. I enjoy the mix of hard and soft with Andy Black. Andy’s voice is very easy on the ears while the guitars keep you on your toes. Overall, Andy Black is easy to listen to with his powerful crooning.

This slideshow requires JavaScript.

As Andy left the stage, the crew immediately started striking the right stage. With it, those claiming we needed to leave the accessibility bleachers had returned. While the Missus was photographing CKY, the rest of my party and I figured out the lift.

Nope! @VansWarpedTour chose to tear it down. At least I can hear @ckymusic.

— Torso Boy ⒶⒺ (@Torso_Boy) June 23, 2017

Once back on the ground and behind a heard of fans, we chose to stick around for CKY. They were one of those bands I heard a lot of but never heard their music. Figuring it safe to assume, as they were the last act on a major stage, they’d certainly be worth sticking around even though I lost any vantage point to see them. But we all know what happens when we assume.

I’m discovering that it must be a trend that’s gaining momentum among more pop-punk bands from the 90s. That trend is they might have been good but they’ve lost their bite. I first experienced this when Jimmy Eat World came through at the Fear Farm Festival Grounds. My only other theory is the venue itself might be a factor. Whatever the reason, CKY felt flat. The music had energy but as I listened, I wanted the beats to be harder. So, I went and looked up some of their music.

The truth is, I don’t think CKY is for me. To my ears, it’s a nice build-up of energy but I want it to release in a big bang that never comes. Sometimes the worst thing is waiting for something that never happens. After a few songs, giving them as much a chance as I could, we opted to leave. There might have been a connection between the music and their stage presence but I will never know.

This slideshow requires JavaScript.

At the end of the night, we all had a good time. Yet, with everything that happened, I don’t know if I’d go to Vans Warped Tour again. I enjoyed supporting bands I’d seen before and happily experienced performances I had never heard of. But for the cost and what Vans Warped Tour offers, I’d rather wait for the artists I enjoy to come through another time. I’ve already encountered many new musicians that I needed to add to my music library through smaller shows that don’t involve excessive heat, prolonged exposure to sunlight, and the risk of having accessible accommodations stolen mid-show.

Here's the #review of #VansWarpedTour2017 in #AZ #punk #rock #music I’m no stranger to a show. I’ve been to anything from a small basement show to large outdoor festivals.

[daggerzine]

The Dot comes before the Dash- the Danny Ingram interview.

You would see their names on the back of records, many for Washington’s DC’s Dischord label and you might see a photo every now and again, but don’t know much about them unless you were part of that scene (ie; see my previous interview with Chris Bald from a few years ago). Danny Ingram was another one of those names. I knew he’d been in some of the early Dischord bands (Youth Brigade, etc.) and knew he’d done a lot of other stuff but wasn’t exactly sure where, when or in what context (‘cept that I knew he’s a drummer). Fast forward to nearly a decade ago when I saw his name as drummer of a new Washington, DC combo named Dot Dash. Their guitarist/vocalist Terry Banks had been in some of my favorite indie pop combos, namely Tree Fort Angst and The Saturday People, so I knew I was gonna like this one (Hunter Bennett rounds out the trio on bass)! I’ve enjoyed all of their records, but this latest one, Proto Retro (released earlier this year on The Beautiful Music label) is really a special thing of beauty. Well-written rock-pop songs that are both heartfelt and fun (and catchy as hell). Back to Ingram though, he was one of the older punks on the DC scene and thus saw and heard a lot so grab your favorite beverage, your reading glasses and bathrobe and take a stroll both down memory lane and up ‘til the current day.

A man and his drums, 

 Were you born and raised in Washington, DC?

Yes – DC born and raised. Lived in SE DC until I was 12, then moved to Palisades (NW DC) where I met my life-long friend and future bandmate, Nathan Strejcek.

 At what age did you take up the drums?

I had a fascination with drums from an early age. I’d had a crush on my baby sitter, Irene, and her brother had a drum set. To impress her, I tried playing along with his Beatles records and such, even though my feet didn’t reach the pedal. It was a lost cause. But a dear family friend and neighbor in SE, Richard Spencer, nurtured my interest. I think he bought me my first drums. He played in Otis Redding’s band and achieved quite a bit of success with his own band the Winstons (he wrote the Grammy-winning song ‘color him father).  I was about 19 when I took up the drums in earnest – with the intention of being in a band. At the risk of repeating an oft-told story…I had gone to see the Clash at the Ontario theater and was hanging out in the narrow, upstairs ‘dressing room’ with the band and several other people. I was sharing a spliff and talking with Joe, Mick and (to a lesser extent because I had trouble understanding him) Paul. Joe asked if I played in a band – I told him I didn’t – but that my best friend did. He admonished me to get off the sidelines – to ‘do something – create something’ – and when Joe Strummer tells you to do something…well…you do it. Shortly thereafter I volunteered to join the Untouchables (their drummer, Richard, left for college). A few weeks after that we played our first show. This was probably in the fall of 1980.

 How did you come into contact with the Dischord Records folks? Were you a Wilson HS student as well? Yeah. I went to Wilson (briefly) and knew all the Dischord people before there was a record label (or a Teen Idles). Nathan and I were best friends and he, along with Ian and Jeff, started the label. We all grew up together and have been friends since early days.

 Do you remember the first person you ever met in the DC punk scene? What was your first punk show?

I was there at the outset and knew most-if not all-of the people before there was a scene, per se. I guess the first people I met who weren’t in our group of friends were Xyra and Cathy – they had a punk radio show at WGTB (Georgetown University radio) called Revolt into Style. Nathan and I used to sneak out of our houses and go down for their shows after our parents went to sleep. As for the first concert? Hard to say. I saw so many bands in those early days –one of the first was probably the Ramones in the fall of ’77. I worked at the Atlantis and at the 9:30 club when it first opened up – so I saw almost every show that came through the DC area for many years. Also, I was a smidge older…so coupled with my fake ID I was able to get into places like the Bayou as well.

Youth Brigade (Danny is 2nd from left)

 From what I know you’re a bit older than some of the other DC punks, were you there early enough to go to places like Madam’s Organ and the Hard Art Gallery?  (places I only know about from pictures, usually of the Bad Brains).

Tell me about how/when The Untouchables formed? Was that your first band?

…and please tell us about the origins of Youth Brigade?

I was born in 1961 – so it makes me a about a year older than Ian and Jeff and six months older than Nathan. I never really considered myself older. Now, Boyd and the guys in Black Market Baby were fucking old! Most of em born in the 50’s! J Seriously though – we were all roughly in the same age group – though I think Xyra (who was a bit older) referred to that initial scene (affectionately – not anatomically) as teeny punks or baby punks.  My first band was the Untouchables. As noted above, Richard had split and moved off to college. I was sitting at the Roy Rogers with Eddie, Alec and (I think) Bert as they lamented the loss of their drummer and the prospect of breaking up. I jokingly volunteered to take his place. They immediately said ‘yes’ despite my warnings that I’d never really played the drums. A few weeks later we played our first show. We hung together for almost a year before splitting up. After that was Youth Brigade. Nathan had been the singer of the Teen Idles – but when the band split, it seemed only natural that Nathan and I should start a band together. We’d been best friends for years and had very similar life arcs and musical tastes. We tried out a few guitarists (including Jason of 9353) and one other bassist (Greg) before finally settling on the line-up that most people know with Tom on Guitar and my old friend and former Untouchable mate, Bert on bass.  As for Madam’s Organ or Hard Art? I played at Madam’s Organ – and I was at the infamous Bad Brains show at Hard Art. I can’t remember if I ever played there…but it’s entirely possible. You would have to consult with Bert or Alec or someone whose memory isn’t a shambles.

 Madhouse backstage

Was Madhouse next? They were a bit different right? A darker sound.

I was in a few bands before Madhouse. I played in a band with Dave Byers and Toni Young (from Red C) called Peer Pressure. Tom Berard (scenester) also sang with the band for a while. We recorded a demo up in NY with the bad brains at 171A. We played a handful of shows but, like so many other bands of that era, split up and moved on to other projects.  I also played in a band called Social Suicide – great guys and a fun band (featured Joey A who went on to Holy Rollers). Also short lived – but we did record some songs for a local compilation ‘mixed nuts don’t crack’.  OH – I also briefly tried my hand at singing in a VERY short-lived band called black watch. This featured future members of madhouse (Brad Gladstone on bass and the mega-talented Norman van der Sluys on drums). The less said about this the better. Not because of the band – but because my singing can curdle milk at twenty paces.

I was starting to get a bit antsy with the way the DC scene was evolving – so my then girlfriend (Monica Richards) and I decided to start a band that was more rooted in post punk bands like killing joke, magazine and the monochrome set. That was how madhouse started. But unsurprisingly enough, there was no scene for this band, so we still played mostly punk and hardcore shows – but the direction we tried to take didn’t really sit well with a lot of new, burgeoning scene.  It seems, at least from afar, that you were willing to go in other directions musically (goth, etc.) whereas maybe some of your DC co-horts stuck to the punk rock thing. Would this be accurate? Did you get flack for it?

Yeah – I guess it was a bit gothy. Certainly, that was Monica’s m.o. I’ve always considered myself a punk – no matter what kind of band I played in. But this was definitely the beginning of stretching musical wings. And, yeah, we caught flack for it. But it wasn’t anything I couldn’t handle. Monica caught the most grief – and that is exactly why we both were getting put off by what the scene was turning into. I’ll just leave it at that. That said – my friends, the ones I’d known from the outset, were all cool. Otherwise I wouldn’t have spent some time drumming for Iron Cross with another life-long friend, Sab.

Strange Boutique (not ready to dine and (dot) dash) 

 Was Strange Boutique next? If so how/when did that band form and what was its history?

Yes – Strange Boutique (a name I copped from the Monochrome Set song/album) was next up. It was still Monica and me – but while Madhouse tried to straddle the punk scene with whatever it was we were trying to do – Strange Boutique basically said ‘fuck it’ and dove headfirst into what was certainly a more goth-punk-pop sound. The Chameleons, Siouxsie, Cure and bands of that ilk were really influencing us a lot and the quality of the band grew exponentially with the addition of Fred Smith and Steve Willett. -- I should pause here to note that I’ve lost a few friends and bandmates along the way – like Toni Young. But two hit particularly hard: Fred Smith – who was a true original. A crazy fucker. Much loved and much missed no matter how much trouble he got me into! And John Stabb – My brother in every sense of the word. Someone I loved until the end and who was a never-ending source of insanity, humor and energy. John and Fred were both unique spirits…and it’s just not the same without them.

Swervedriver- not huffin’ and puffin’ 

radioblue in black and white 

 Pardon my ignorance (I know it was some years) but was there anything between Strange Boutique and Dot Dash?

There were a few bands after Strange Boutique. I played in radioblue who, like strange boutique, were a band on the outside of the dc hardcore scene. They were more 60s-influenced indie pop (byrds, beatles, beach boys, buzzcocks). It led to drumming in a Mark Helm (a singer/guitarist in the band) project called Super 8 and playing on his solo album (on not lame records). I also started a band called King Mixer AGES ago with Steven Engel and James Lee (the bassist and singer/guitarist from radioblue). We still get together to this day, but it’s more like the monthly poker game: play some music, have dinner, hang out and catch up with old friends. We did put out a self-released CD years ago, but Dot Dash came along, and that has monopolized my time for the last seven years. I also played in Swervedriver for about a year, relocating to London for about ten months. It was an amazing experience. Adam Franklin (the singer / song writer) is the greatest musician I’ve ever played with. And as far as I am concerned Adam is in the pantheon of great song-writers of the last 40 years. Glad to still call him and my old swervie bandmates friends. A lifetime of memories crammed into a short period of time! When I moved back to DC from London at the end of 1992 I played in two more bands. The first was the criminally obscure UltraCherry Violet. They were definitely in the mold of swervedriver and some other favorites from that era. The band was Dugan Broadhurst and Dan Marx (who later played in king mixer). We played a handful of shows before I imploded. We got together a year after we split to record some songs for posterity – and those were ultimately released on Bedazzled records (a label I started while in strange boutique – but by now taken over by Steve Willett). There are a few songs on that CD that are among the things I’m most proud of as a musician.  I also played with my old running mates and brothers-in-arms John Stabb and Steve Hansgen (and Rob Frankel) in a band called Emma Peel. THAT was fun! We really clicked together musically – and we recorded a single on our good friend John Lisa’s label Tragic Life. The Avenging Punk Rock Godfathers! This web of connections is what led Steve to joining Dot Dash further down the road.  The last thing I did before Dot Dash was drumming in the legendary local mod band Modest Proposal, with old friends Neal Augenstein and Bill Crandall (who shortly thereafter was part of the original Dot Dash line-up). Steve Hansgen had played with Neal and Bill during an early incarnation – and he and I comprised the rhythm section for and MP reunion show.

Emma Peel (Danny is far right and that is the late, great John Stabb, 2nd from left) 

Do tell us about your current band Dot Dash? I think the records have been terrific. How did you meet Terry and Hunter?

Thanks for the kind words about the DD records. Right now, the band is a three-piece: me on drums, Terry Banks on vocals and guitar and Hunter Bennett on bass. Terry has been in almost as many bands as me – playing in a lot of indie-pop bands like Saturday People, Glo-Worm and Tree Fort Angst. Hunter was a veteran of the Stabb band among others.  I didn’t really know either of them before we started the band…but I knew of them from their previous band Julie Ocean (the band also had Jim Spellman of Velocity Girl on guitar/vocals and Alex Daniels from Swiz on drums). Julie Ocean released a great record on Transit of Venus – and they should have been huge. JO had planned to go on tour with a band called Magnetic Morning (that was my old friend Adam Franklin and Interpol drummer Sam Fogarino’s side-project), but drummer-Alex, bailed on the tour. So, that night at the Rock n Roll Hotel, Terry asked if I wanted to play drums in a new project with him and Hunter. I said yes – after consulting with my wife, Sally – but it actually took another six months or so to get rolling (I had already promised to do the Modest Proposal reunion). As it turned out, Jim was planning on leaving JO as well (taking a job in Colorado) – but when he came back he played briefly in Dot Dash (between Bill and Steve).  Dot Dash has been the most prolific band I’ve ever played with and the longest running active band. We’ve put out six CD’s on the Canadian label, The Beautiful Music. It’s run by an amazing guy – Wally Salem. I’m not sure that we would still be going without his love and support! Truthfully – I also do it for my kids (Noah 12 and Sam 16). I think it’s good to show them that you can do fun and creative things at any age. Sam has really taken it to heart. He’s been playing guitar since he was 10 and is already a better musician than I ever will be! He’s already formed and broken up his first band – and he filled in for Hunter (on bass) at one of our shows…picking up the songs with relative ease and aplomb. 

Almost forgot the Social Suicide pic (Danny’s the UK Subs fan)

What’s next for Dot Dash? Another record in the works? Maybe a tour?  I don’t know about touring. I think we would all love to do it – but because we all have demanding jobs, families and such – it makes it difficult to pick up and run off. That said, if the right opportunity presented itself (like going on a tour with a band we love) I think we would certainly consider it. We’ve been REALLY fortunate to play with some bands that have long been heroes/favorites: the Chameleons, Ash, Hugh Cornwell (of the Stranglers), the Monochrome Set, Stiff Little Fingers, the Dickies, DOA and so on – I think if any of them said ‘let’s do it’ we’d be packing our bags! As for another record? Well – we just released our sixth. And it is definitely the record I’m most proud of. Geoff Sanoff did an amazing job producing it – he also produces the Julie Ocean album – and it’s probably the best batch of songs Terry has written to-date.  We are always cranking out new songs – and already have a few in hand – but I think we want to enjoy the last release, Proto Retro, for a bit. 

Dot Dash with Sam on bass. 

What’s happening in Washington, DC these days musically? Any new bands we need to hear about? The great thing about DC is that it is like the Hydra of Lerna – every time a band breaks up, two new ones start up again! The scene has been regenerating for ages. And there are a lot of great bands still plugging away – The Messthetics with my old friend and Brendan Canty, Miss Lonelyhearts, Foxhall Stacks (with Jim Spellman), Nathan’s band the Delarcos, any band with Chris Moore (an epic drummer) such as the Rememberables or Coke Bust, Anna Connolly’s new project or the new project with Ian, Joe Lally and Amy Farina. Old or young – the scene here is still vibrant and vital.

 Any final thought? Closing comments? Anything you wanted to mention that I didn’t ask?

Obviously, most people know DC for the great music (bad brains, minor threat, fugazi, 9353, government issue, fire party, faith, rites of spring, tommy keene) – but to me, the best thing about it has been the friendships…which for me have been practically life-sustaining. You can’t have a great scene without great people – and to me the people I’ve known along the way simply are the best.

 BONUS QUESTION:  What are your top 10 desert island discs (I know some people don’t like when I ask this questions so I decided to put it as a bonus) Wow. Tough one. My top ten has about ten thousand records in it. So, it really is dependent on my mood at the time. I’ll try to throw it together…but if you ask on another day it might be a different batch. Because I’m old – I’m going to take the liberty of picking a baker’s dozen.  Adam and the Ants – Dirk Wears White Sox (original on Do It records) Art Ensemble of Chicago – Les Stances a Sophie J.S. Bach – Air on the G String Buzzcocks – Spiral Scratch ep (rip Pete Shelley) Chameleons – Script of the Bridge (or Strange Times) Miles Davis – ‘Round About Midnight Al Green – Greatest Hits Kinks – Something Else The La’s – The La’s  Punishment of Luxury – Laughing Academy Red Cross – Posh Boy ep Swervedriver – 99th Dream Zombies – Odyssey and Oracle

 www.dotdashdc.bandcamp.com

www.thebeautifulmusic.com 

(**all photos posted with permission from the Danny Ingram collection- if you took one of these please do let us know so we can credit. Thank you). 

Thank you very much Danny Ingram (from publisher/editor Tim)!

Dot Dash tearin’ down the house.