Sunday, February 6, 2011
I’m currently living in Austin, TX and I am a member of IATSE (International Alliance of Theatrical Stage Employees) or in simpler terms, The Stagehand’s Union. I work behind the scenes on the various plays, operas and what-not that come through town. Last year, I released a book, entitled, The Umpteenth Times: YEAR ONE, based on a year’s worth of “fake” music news stories and essays on specific songs and albums that I had written:
I’ve since changed the format of The Umpteenth Times and I now review films exclusively:
I also sing and play guitar for a band called Twenty Four Thousand Dollars. You can download our demo for free at:
I’ve yet to get married but I do live with my girlfriend and two kooky cats.
Friday, February 4, 2011
Thursday, February 3, 2011
I’ve been living in L.A. for the past 13 years and I make my living doing voice overs. It’s nice work if you can get it! I’ve done a little of everything – radio, TV, films, and a lot of instructional videos. Most recently, I did a voice over for a landscaping company in North Carolina. Like I said, it’s nice work if you can get it.
On the musical side of things, I’m in a band with Jeff from Gameface called Your Favorite Trainwreck. We have a 4-song ep and we’re currently recording a full-length. We’re also going to be on the east coast in February to play a few shows. It should be fun, but I also know it’s going to remind me that I hate cold weather. Yeah…there’s a reason why I live in L.A.
Wednesday, February 2, 2011
Bri Hurley took some incredible NYHC photos and also did the Making A Scene book – a must have for all diehards. Here’s the scoop about the girl behind the camera. Hopefully more to come, big thanks to Bri! -Gordo DCXX
I grew up in California. First at Esalen Institute, Big Sur, then later at Gate 6, Sausalito (with a little moving around in between). Both places were filled with live music, from the drums of Babatunde Olatunji, to Joan Baez, to the dirty rock ‘n roll of the Red Legs. But I’m sure you mean, when did I get involved with hardcore, punk music. I had a friend in High School who was very much into the punk scene in San Francisco. I went out with her a few times, but it didn’t quite stick. It was when I moved to NYC, that I got into this myself.
Before I was involved with photography, I was involved with the arts. I got interested in photography through my experience with theater lighting. Black and white photography “sees” the light and shadow, nothing more or less. I took a basic photo course at Marin Community College, the semester before I went to the east coast. This is the sum total of my formal photography training.
Before NYC, I had a job offer to be the master electrician’s assistant at a summer stock theater in Westport, CT. The job was pretty dreadful. The work was great but my boss, not at all. It wasn’t until the accident that I had at work in the lighting rental house in NYC, that my focus fully turned to photography.
I built a darkroom in my basement flat, found someone selling everything I needed and spent all my money and much of my time behind the lens or in the dark.
At that same time, I was photographing other subjects as well as the hardcore music scene.
Shooting musicians was sort of an obvious thing for me, having a background that included music and dance. Musicians repeat the same movements and patterns, so it’s just a matter of waiting for the moment. Shooting at CBGB’s was ideal. I didn’t like to shoot with a flash. Being in a club where the lights were close to performers gave me more to work with.
But the interface with music and photography…well it was all visual. I was often so focused on the visuals that I didn’t even hear the music. Shooting on the street in front of the club, I was so focused on the visual that when people spoke to me, I actually couldn’t speak. I didn’t have the facility to shoot and speak for a long time. I’m sure this had some effect on how people perceived me.
As far as my actual introduction to the NYHC scene, I had a neighbor on Norfolk St., Charley Sclafani, drummer for Ultra Violence. He invited me to a hardcore matinee to shoot his band. Told me I was on the guest list. When I got there, Ken Sly, the door man, thought I was trying to scam him, when I was just clueless. He shouted, “There is no guest list!” So I paid.
The energy, the motion, the chaos and the wave of sound…it all hooked me in.
My interest was really in the rich visuals. A lot of people were suspicious of me. A new comer who arrives with a camera is usually suspect. I expected this, having grown up in alternative communities. I was very aware of coming into a place where people knew each other and they had a common bond. The music was the obvious, but it was also larger than the music. Conventional life/society/culture chaffed. They wanted something that wasn’t on offer. They had to make it themselves and they did. I have great respect for this.
With my ‘alternative’ upbringing, I didn’t fit into the conventions either. I knew that there were alternatives and that often you had to create your own. But I had gone through this discovery process some time before. I didn’t feel the need for a group. The group dynamic was also something strange for me as I had grown up so much by myself and very self contained.
So, I was just there. I felt like I was standing in rising, fast moving water but never actually got wet. This was the illusion.
I did my utmost to be respectful of the people I was shooting. That was important to me and still is.
There is a hazard being behind the camera. It’s the position of an observer and chronicler, and it changes things. Between this, having difficulty speaking and being rather a loner, I’m sure my demeanor didn’t encourage people.
The photography was quite a compulsion. I didn’t set out to take pictures for a book. I just took pictures of what interested me.
Tuesday, February 1, 2011
Every once in awhile, while scouring YouTube, we here at DCXX come across videos that simply can’t be ignored. These three videos here from Supertouch, Breakdown and Absolution are perfect examples of just that. Not that the audio or video quality on any of these will necessarily knock your socks off, but just the mere fact that I’ve never seen these videos before and from the view count, it doesn’t appear many others have either. So kickback and enjoy a little New York Hardcore, Tompkins Square Park style. -Tim DCXX
Sunday, January 30, 2011
It’s been more than 20 years since I played in Confront and recorded the first Integrity 7″, but I’ve felt like “hardcore” has been a part of my life the whole time. I don’t make it to shows very often, but still get the same rush from the music and the message. I even try to keep up with some new bands, and frequent the HC retirement community of the Livewire board. I’ve lived in Washington DC for ages, and teach CrossFit, a high intensity strength and conditioning program (www.crossfitdc.blogspot.com). The energy and community remind me of the old days. I even ripped off the Bad Brains cover for our CrossFit DC t-shirts.
My girlfriend and I love to travel, and usually spend a few weeks each summer in Asia. Last year I even made it back to visit Cleveland!
Tom with his girlfriend in Mongolia, Photo courtesy of: Tom Brose
Saturday, January 29, 2011
Wednesday, January 26, 2011
The original Youth Crew at the Stamford, CT. Anthrax, 1986, Photo: Chris Schneider
If you’ve got the ‘Everybody’s Scene’ book, then you’ve seen this photo; I’m in the back, standing behind Gavin’s right shoulder. To my recollection, this is the first visual documentation of the whole ‘Youth Crew’ concept, which was an idea that Ray Cappo had because he was really into the whole Boston Crew image – you know, the photos of Al Barile and 20 other guys in their letter jackets, walking through Kenmore Square. Both Ray and Porcell used to really be into the DYS and SSD record covers, for instance, and wanted to have the YOT records look the same as the XClaim! records, with a Bruce Rhodes photo taken at The Rat and so forth… they were really into duplicating those same visual images. So, this photo was our attempt at staging a Boston Crew sort of thing.
Dave Run It, behind Gavin’s right shoulder, Photo: Chris Schneider
I can remember this day almost as clear as a bell – it was a weekend that Albany Style played at the Anthrax, in March of ’86, so we were standing against one of the side walls of the Anthrax. One of the things I can remember about that day was walking to the gas station that was on the corner next to the Anthrax and buying a Gatorade. Porcelly once said, ‘I think that Gatorade should be the official Youth Drink!’
What I’m up to now: married, still living in Connecticut, writing a blog now instead of a ‘zine and still going to shows, which I’ve kept up doing (off and on) since the ’80s…sometimes my 15-year-old son goes to the shows with me, he started going to some all-ages shows a couple of years ago. The newer photo of me was taken last season while I was at a hockey game, which is also something that I do a lot.
Tuesday, January 25, 2011
Classic Rollins Band, 1987 “Life Time” era, heavy, hard and ready to destroy anything and everything in their path. I actually caught them on this tour here in Trenton, it was my first show, they played with the Descendents and MIA. What a way to kick off 24 years of punk rock. If you dig these videos, follow the links to YouTube, the entire set is up there and broken down, song by song. Part Animal Part Machine -Tim DCXX
Monday, January 24, 2011
Post-Hardcore I attended the University of Colorado after which I returned to CT to get involved with the family business, Marcus Dairy. I’ve worked for the Dairy for 19 years and after doing every job conceivable I am now the Vice President of Operations. Three years ago I went back to school on weekends and got my MBA from University of CT. I’m married 11 years to my wife Gina (a Dead Head if you can believe it) with a 6-year-old daughter Skyler. In whatever free time I have left I ride old motorcycles with my BFF Tom from Wide Awake.
Sunday, January 23, 2011
HARDCORE ZINE LOT FOR SALE
*PLEASE READ CAREFULLY
I am selling approx. 275 zines in a single lot sale. I’m too lazy to organize them, list titles, or even count them. I’m not selling individually or even in small bundles. One price takes ALL, I’ll send you everything I’ve got. Buyer pays ALL shipping costs (and I don’t know what this will cost yet to box and send).
The majority of it is stuff from the 90s, when I basically bought ANY zine I saw at a show that wasn’t total garbage. There are dozens of cool well known 80s era zines. There’s also more recent titles over the last 10 years. There are also lot of a lesser-known one-off zines from the 80s and 90s as well that are pretty cool.
There are no super crazy obscure collectible finds in here and there is nothing absurdly valuable. I’m keeping those.
What you do get is a very solid collection that includes a bunch of total rarities and tough finds, some good solid reads you may have simply missed over the years, and even some stuff that is unremarkable but still fun to see. There are doubles and even triples of some zines.
Off the top of my head, here are just SOME titles (an “x” denotes there being multiple different issues of a zine):
In Effect (x), Hardware (x), MRR (x), Heartattack (x), No Answers (x), Indecision, Tidbit (x), Dear Jesus, Against The Grain (x), Constant Change, Step Forward (x), Contrast, Line Of Defense, No Labels (x), Suburban Voice (x), Not For The Weak (x), Look Beyond (x), Blood Book, Tunga Tunga (x), Anti-Matter (xl), Razor’s Edge (x), It’s Alive (x), Change (x), Guillotine (x), War On Illusion (x), Skate Edge (x), Help, Tension Building (x), Plain Truth, Crank Call, Reflections (x), Radio Riot book, Touch&Go reissues, Town Of Hardcore, Words Carved Into My Head, Gimme Some, Even The Score, Belief, Extent (x), Chain Reaction, Triumph, Engine Of Lies, Enquirer (x), Contention (x), Face Tomorrow (x), Sit Home And Rot (x), Push The Limit (x), Start Today (x), Impact (x), Happy Days, Under Construction, Landslide, Game Plan (x), Finish Line (x)………and probably 75 more titles.
There are also all sorts of various catalogs (Rev, Very, Lumberjack, Initial, Lost & Found, EVR, Victory, etc. etc.).
There are also photocopies of zines which I had before I could track down original copies…such photocopies are Boiling Point (x), Schism (x), Axtion Packed (x), Good And Plenty (x), and all sorts of photocopies of specific interviews with bands from old zines.
***The zines in the photos are about 1/3 of what is included in the entire lot.
PRICE: I will entertain offers STARTING at $250. Best price/least hassle takes them all. Paypal or cash in person. Again, buyer must pay all shipping, and based on the weight of these, I’m expecting it will be a considerable amount.
Thanks, Gordo DCXX
Email offers to me at:
Thursday, January 20, 2011
Greg and Henry with Black Flag
We let this recent poll wrap up linger a little bit, but it was worth the wait, because we got Jon Roa to come in here and recap this in a way only he could. Minor Threat won (and as a SE dude that makes me happy), and there’s no real wrong answer…but like Roa, I also voted for Black Flag. Roa’s reasoning further solidifies my answer and is one of the most cohesive arguments for the impact of that band that I have heard in recent memory.
We love The Misfits, we love Black Flag, we love Bad Brains, we love Minor Threat, and we love Roa. Have at it! -Gordo DCXX
I shout that all four bands have had a severe impact on punk rock (although one must try hard to see more than a couple of bands copying the sound or horror image of Misfits prior to 1991), but the heaviness and easiness of so many people copying Minor Threat, Black Flag or Bad Brains is undeniable.
That having been said, my choice is for Black Flag.
Minor Threat, Photo: Cindi Micheau
Now, although a strong argument may be presented for Minor Threat or Bad Brains (and to a lesser extent, Misfits), I respectfully offer the following answers to the anticipated variations of “Why the heck would you choose THEM?!”
First and foremost is the chronological factor. Black Flag released their first record a staggering 18 months prior to Bad Brains and an unmentionable 5.5 years before the Minor Threat EP. Yes, Misfits Cough/Cool came out 6 months prior but the sound, lyrics or attitude were not influential toward anything that followed…including the band themselves as they changed their sound drastically on the next release Bullet which came six months post-Nervous Breakdown. While the Misfits were more prolific, Black Flag stayed around much longer than the rest of them (maybe too long some might say) battling the normal folks both in court and on stage. Heck they served time in jail for putting out their music. Not a bad story to tell if you are fighting an artistic fight.
Ian with Minor Threat, Photo: Cindi Micheau
Next point: Black Flag seemed to be the first do something in the arena of punk rock. Minor Threat cites Black Flag as an influence on their mere approach to music (DIY, touring, etc) let alone musical influence. Ian has said (paraphrasing here) that he was a bit jealous when Hank was chosen for the vocal slot of Black Flag due because they were his favorite band. Both Minor Threat and Bad Brains’ first tours came in 1982 two years after Black Flag blazed them a trail to follow. Underlining Flag’s leadership role was that Bad Brains released their most heralded record on Black Flag’s label SST (while the inverse happening seems almost impossible).
The above are the big points, but how about the seemingly small and random points? Most notably, Minor Threat added a second guitarist and got rid of their second guitarist damn near the exact same time as Black Flag. Coincidence? Perhaps. Noticeable? Definitely. Also, Black Flag successfully toured Europe before anyone (Misfits? I don’t think a few shows and a great song, London Dungeon, trump the planning of Greg Ginn). Also, Black Flag made the papers in the METRO section (not musical) quite regularly for their notorious gig/riots.
Bad Brains at 9:30 Club, Washington, DC, Photo: Malco23
Now, I know some people might bring up money and that is a point which I tried to side step but here it goes: Black Flag are popular now, right? But back then? Oy, Vey! They were bigger than both Minor Threat and Misfits combined (actually, Misfits were not all that huge; hard to believe but true). They sold more tickets to more shows and more merch in more countries than the other three combined. Also, Black Flag’s SST records’ leadership also had the foresight to release many future successful bands who actually made it in the “real world” of music finding themselves in the Billboard Top 200 albums: Soundgarden, Meat Puppets, Sonic Youth and Dinosaur Jr., (I feel dirty after making those last couple of points).
Sure, Minor Threat started a great sub genre that we all enjoy but their fantastic music existed in the parameters that Black Flag set up. Sure, Bad Brains were great but their huge influence in music stops at music alone (well, maybe a tinge of religion as well). Misfits? They had it all – work ethic, fan club, a ton of releases, cool logo, etc. but many would attest that when around, they did not have the same impact as Black Flag.
Black Flag we loved (and hated as well) but all the while they just refused to stop touring and just die.
Yes, Minor Threat wins the battle of artistic integrity (by staying broken up for good) but Black Flag wins the war.
Black Flag had the biggest impact on the hardcore scene.
Then again, I may be wrong and so the debate goes on…
From the man with too many parentheticals, -ROA XXX
Minor Threat - 157
Bad Brains – 134
Black Flag – 124
Misfits – 12
Wednesday, January 19, 2011
We did an in-depth interview with him a couple years back, but here’s what Absolution’s Mr. Brown is up to today in case you missed it. -Gordo DCXX
It’s incredible to me how the fabrics of NYHC have stayed with me long after I stopped wearing the uniform. That’s exactly the beauty of it, seeing how that experience is still making its presence known in my daily life.
Presently today I work at South Florida Boxing on South Beach in Miami. I am a personal trainer and boxing/kickboxing/self defense instructor. As well I’ve kept up with my musical pursuits over the years in many different ways as producer, engineer, rapper, and DJ.
I am the father to an incredible 14 year old daughter, she is my PRIDE and JOY!!!
Yet being an instructor is just as Jay Krakdown said, “a childhood dream come true,” and 20 plus years later I’m still in front of a crowd of sweaty people screaming at them to “stop standing still and move that ass!!!” From the mosh pit to the dance floor to the gym floor it seems I’m still on a stage and at almost 41 life is the best it’s ever been.
And I wish all the best to all of you. -Djinji Brown
Tuesday, January 18, 2011
An incredible collection of old New York City Hardcore photos just dropped on a blog called, Street Boners and TV Carnage. Apparently they came from the collection of Brooke Smith, an actress who is best known for her role as the girl in the well in Silence of the Lambs, she’s also known as the lesbian Dr. Erica Hahn on Grey’s Anatomy. Who knew? Put the fucking lotion in the basket! -Tim DCXX
DCXX Partner-In-Crime, Chris “Smorgasbord” Daily, has been busy contacting some of yesterday’s players to see where they are now and what they are up to. This will be an ongoing piece, with Tom Kennedy kicking things off. Thanks Daily. -Gordo DCXX
Not soon after the Anthrax closed I joined up with the Marines and left the northeast. Looking back it’s probably one of the best decisions of my life. The Corps was good to me, and after my tour of duty ended I went into federal service where I still work today as a systems engineer. I have a bulldog named Chesty Puller and a small workshop where I spend much of my spare time cobbling together and repairing old Harleys; I like Panheads best. Attached is a pic.
Sunday, January 16, 2011
Thursday, January 13, 2011
Maybe you’ve seen this, maybe you haven’t. It’s alternate footage from the Youth Of Today “No More” video shoot at The Anthrax. I got a copy of this video many years ago, but have never seen it up on YouTube until Jon Field pointed it out to me the other day. Not sure if this was footage shot to possibly be used in the video, or just something shot by a fan, but it’s interesting to see never the less. Sound quality leaves something to be desired, but fun as hell to get a glimpse behind the scenes and catch some alternate angles of a video that we’ve all seen a million times. -Tim DCXX
Wednesday, January 12, 2011
Over the past 3 years of doing DCXX, I’ve gotten a solid handful of people contacting me and asking if they could send me a copy of their printed fanzine, which in turn I could do some sort of review for. I’ve gotten a few good ones and it’s nice to know that the printed fanzine is not a dead format, but I gotta say, Artcore ranks up there as one of the best.
Artcore’s long-running editor, Welly, has been at it for 25 years and the guy has simply covered a lot of ground and continues to do so. Many of the issues are jam packed with interviews and articles on both new and old bands, not unlike what we’ve been doing here with DCXX. No doubt, Artcore offers something for everyone, so check it out www.artcorefanzine.co.uk. And now for the Artcore history lesson… -Tim DCXX
Who are you, where are you from and how/when did you get into punk/hardcore?
I’m Welly, I’m from Cardiff, the capital city of Wales in the United Kingdom. I got into hardcore kind of late circa 1983, but I didn’t know anyone else into punk. I liked what I heard in the 70’s, like the Clash and Dickies, but it was banned in my house, so when I got into music, I got into the burgeoning 2-Tone scene in 1979, and even this was a fight in my house. After the 2-Tone bands went pop or split up, my rude boy friends started listening to Oi! and I realized where that was heading and got out of it immediately. The kids who were into punk listened to The Exploited, and I thought that punk was all heading in that direction and didn’t bother with that UK ’82 stuff.
After this, I got into The Jam for a while, then they split, and I knew there was something I was looking for that I hadn’t found yet. So, I asked an older school friend if he could ask his even older brother if he knew any music that was ‘more powerful, more political,’ and he came back with two LP’s for me to borrow; ‘Inflammable Material’ by Stiff Little Fingers, and ‘Fresh Fruit For Rotting Vegetables’ by Dead Kennedys.
I thought the SLF record was great, but the DK album literally changed everything. From that point on, I sought out all their stuff, collected all their records and picked up this little book called ‘Dead Kennedys: Unauthorized Biography’ which had a discography in the back with all the compilations. It felt like years at the time, but after a few months, I found some compilations, the big one being ‘Let Them Eat Jellybeans.’
I couldn’t believe that there were all these bands I’d never heard of, and I went about trying to find stuff by Black Flag, Circle Jerks, Flipper, Bad Brains and the like. I was walking through town one day with my school pal Jon and I was going on and on about not being able to find Black Flag records. He was telling me to ask in the record shop, and I was like ‘there’s no way they’re going to have any.’ So he asked, and they dusted off this box under the counter and pulled out the Nervous Breakdown 7”. I couldn’t believe it. The same day we asked in another place and they dug out Six Pack.
I started collecting Alternative Tentacles and picked up ‘Flex Your Head.’ This sent me reeling into Dischord territory, and I still remember vividly finding the Minor Threat 12” and Government Issue’s ‘Boycott Stabb.’ The whole thing just became an obsession. My friends in school had no idea what this music was I was listening to. I hadn’t and never have since, heard music that has the same effect on me.
Fast forward a couple of years, and I started work on the first issue between Xmas and New Year’s in 1985, and put it out in January 1986. I was inspired by reading Maximum Rock’n’Roll. I’d never taken much notice of it, as I thought it was some kind of political paper, as it was behind the counter of my local record store (Spillers Records, the oldest in the world), but one day I asked to look at a copy, and realized that it was a hardcore zine. Which I’d never seen before. I took it home and read it from cover to cover. That was the first time I ordered DIY style too.
I spent all my Xmas money changing it into money to send to the U.S. I got back the first Rest In Pieces 7”, Psycho 7” and tape and the Lookouts and Against The Grain demo. When I read the ‘Between The Lions’ zine reviews at the back, I figured out that anyone could do it, and set about making a zine. I had no idea what I was doing. The premise was that I was into hardcore and art, and wanted to give it an art/design edge. I was big into art in school and all my work was basically hardcore stuff pretending to be projects.
The first couple of issues were a real mess. I was finding my feet big-time. I borrowed my mother’s typewriter and undertook a steep learning curve at the local copy/xerox shop. Back then, I had no idea about design and print, and even photocopying was like some kind of alchemy. The buzz I got out of it made me realize that it was this is what I wanted to do. The school careers guy asked me what I wanted to do, when I said ‘something to do with art,’ he said ‘don’t bother.’ In retrospect, as a career choice, he was right, ha ha. But I ended up doing four years of graphic design at art college, and I still make the zine and do graphic design all the time all these years later.
As soon as I sent the zine off to MRR and got it listed, I started hearing from people all over the U.S., Canada, Europe and U.K. and traded zines, letters, tapes and records. I’d wait each day for the mail to arrive and there was nothing like the thrill of getting a letter from a far-off like-minded person, and gaze in amazement at the flyer the letter was written on the back of. If I had a no mail day, it was ruined. Hardcore was my education about the world. It blew a hole wide open in reality for me. I didn’t learn as much from school and TV.
Hardcore was my geography, history, social and political lesson all rolled into one. I was 17 when I started the zine, and about 14-15 when I discovered it, and everything was different after that.
Give us some highlights from past issues, some of your favorite interviews, articles, etc.
Well some of the best stuff is from the issues that have come with music, like the new issue. The last issue, which came with the House Of Commons CD, the one before that with the Beef People 7”, and the 20 year anniversary, which was the America’s Unknown compilation tape from the 80’s put onto LP. Interview wise, in the early days I interviewed Rites Of Spring, Maggot Sandwich, Instigators, Rest In Pieces, Freeze, Psycho, Adrenalin OD, Corrosion Of Conformity, Urgent Fury, Cowboy Killers, Spermbirds, th’Inbred, HDQ, which were great bands to have looking back.
There were a few years in the 90’s where I was broke and had some long breaks between issues, but circa 1998 I hit upon the idea of writing about old bands, as nobody else was doing it at that time. I called it Vaultage and have since had indepth biographies or articles on bands like Code Of Honor, Kraut, CH3, Dangerhouse, Upright Citizens, Reagan Youth, Really Red, Accused, MIA, Toxic Reasons, Effigies, Big Boys, Adolescents, Rattus, Avengers, Subhumans (Canada), Offenders, FU’s, Dr. Know, JFA, Battalion of Saints, Moving Targets, Gang Green, Social Unrest, Negazione, Bad Posture, State, Jerry’s Kids, Meatmen, TSOL, Nuns, Ripcord, Angry Samoans, Cramps, N.O.T.A., Die Kreuzen, Poison Idea, Dickies, Saints.
We’ve had previously unpublished interviews with Black Flag and Corey Rusk of Touch and Go and the Necros. Articles on X-Claim!, Posh Boy, Bemisbrain, Mystic, Smoke 7 and SST Records. And of course the art of Vince Ransid, Mad Marc Rude, Shawn Kerri, Brian Walsby, Jeff Nelson and John Yates. The list goes on. It’s a pleasure to have all of that stuff.
And from that I’ve luckily gone onto have some of it used as liner notes for re-issues and even done some of the design work too (see th’Inbred reissues on Alternative Tentacles). What an honor!
What issue are you up to now? Give us some details on your most current issue and where we can order it.
The new issue is out now and is the 25 year anniversary issue. It’s an LP – the lost Wardance Records compilation ‘Fuck Rock’ from 1991 with Citizens Arrest, Born Against, Rorschach, Go!, Animal Crackers, Warning, Inflatable Children, Antiem and Huasipungo. The zine comes inside with a large insert, and it’s on green vinyl. The zine has interviews and articles on D.O.A., Knuste Ruter, Southport, 40 Hells, Class War Kids and This System Kills, as well as the Vaultage section, which has a huge interview with Doug Moody of Mystic Records, as well as Die Kreuzen, Poison Idea, The Saints and The Dickies.
There’s also the art of Squeal (most known for Icons Of Filth art) and a pile of other stuff. It’s only been out two months, and is already almost sold out, so get your skates on if you’re interested, it’ll be gone very soon. The easiest place to find it is www.artcorefanzine.co.uk but if I’m all out, you may find it at www.bosstuneage.com as he split financed the project with me and we had half each.
Tuesday, January 11, 2011
We were slow to get around to the second part of our piece with him, but Jon Field delivers more about his time as a dedicated hardcore fan and Up Front guitarist. -Gordo DCXX
What did you notice about the west coast the first time you made it out there to see a hardcore show? What have you always liked about playing on the west coast even all these years later?
Different dancing styles, bleached blonde hair, circle pits, Gilman Street, people who used words like “rad” and
“hella” all the time…Chris Daily, Steve Up Front and our friend Jay Turbo and I first went out west in August of ’88 to see Youth Of Today play a few shows, including my first show at Gilman Street with YOT, Underdog, Bold & No For An Answer. I remember the trip being a pretty last minute idea…now it seems kind of random that we just flew across the country, when Jay was only 15 or 16, to see a few shows. It was great though. I still have my Gilman membership card from that trip. We met some of the Unit Pride and Breakaway guys on that trip too.
Then Up Front went as a band in the Summer of ’89. We played Gilman as well as Southern CA, and I remember how tan and clean cut all the HC kids seemed, compared to a lot of the NY/CT/NJ scene. On an off day we went to an incredible show at The Country Club with Gorilla Biscuits, Swiz, Inside Out, American Standard & Pushed Aside. There was a huge circle pit, which blew my mind. I was used to joke circle pits if a singer asked for it, but had never seen anything like that before. Mikey Fastbreak convinced me to join him going backwards against the circle. Good times. That summer I was really amazed at the size of the shows. I had seen big shows in NYC, but they usually included bands like GBH or the Bad Brains. To see a show with almost all SE bands draw 1500 kids blew my mind.
To be fair, I’ve only played one show on the west coast in the last 15 years, but I’ve always liked the vibe. Southern California especially feels like it’s own little world, very different from anywhere else in the country.
Up Front went through a few line-up changes even by 1990. What was unique about each one, which was your favorite, and how did the dynamic of the band change as members changed?
Well, the initial line-up in ’87 was just a bunch of high school friends, me, Jeff, Steve and Dan. But Dan was not too excited about SE, and more into thrash metal and punk. When he left in late ’87 we got Jim on drums, and he streamlined things a bit, but still kept the fast thrash speed that Dan had brought to the table. Steve left in late December of ’88, a few months after we recorded Spirit, and we got Roger on vocals in early January of ’89.
By this time Jim wasn’t too excited about SE either, and as he became more serious with Subzero he lost interest in Up Front. He quit about a month before our US tour in the summer of ’89, and we found Ari Katz within a week or so through Rob Fish. Then in the fall of ’89 we asked Ari to leave, and Roger quit. We got Tim on drums in January of ’90, and played a few shows with Roger on vocals again that year. Then Jeff moved to vocals and Rich came in on bass. So yeah, we had a shitload of lineup changes in a short period of time, haha.
It’s hard to pick a favorite, all were a lot of fun. Initially with Dan, we were excited to just play shows…anywhere. Then with Jim things got more serious, and we recorded the X Marks The Spot tracks and the Spirit LP. We played amazing shows, and started going on road trips for out of town shows. That lineup was a lot of fun. Jim was pretty funny and we all picked on each other a lot. With Roger and Ari we went on tour twice in the Summer of ’89, and that was a mind blowing experience. Add to that we were four people (sometimes 6 or 7 with roadies) that didn’t all know each other well, and we had some interesting experiences/arguments/fights. Still, that first tour still stands out to me as an unbelievable time.
But honestly, when the scene started to die in mid ’90 or so, we started to practice more, hang out more, and became a really tight group of friends. To me Up Front still is Steve, me, Jeff, Rich and Tim. I think the 5 of us (Steve still hung out with us and went to a lot of our shows in the early 90s, then rejoined in ’94) became really close during that time as the scene shrank. Not to slight any of the guys from the early lineups, whom I still talk to from time to time, but whenever the five of us (and Roger this past Summer) have gotten together over the last 15 years or so we immediately fall back into the mode of sarcasm, inside jokes, music and pranks that have kept us good friends all these years.
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