Fear & Loathing LB November 2013 Sympathy for the Record Industry Honey Bane The Adicts Nina Antonia Henry Rollins Ava Adore Generation X: Derwood Andrews Pi単ata Protest Helios Creed The Urinals Teddie Dahlin ANTI: Danny Dean Exopolitics: Alfred Webre Record Reviews and more... Editor, Design, Writer: Kevin McGovern Journalist, Researcher: Mike Spent
www.fearloathelb.com AVA ADORE
Editorâ€™s Note: What a long and strange month it has been for all of us... The world connues to buzz intensely with chaoc sounds and experiences bringing the past and present together. This recent issue has been an amazing one to do. I wanted to thank all of the arsts and writers involved for being so fucking cool, as it always restores my faith in the global and local creave community. The pulse just never stops and the obsession owns you, always. Some obsessions are worth having. Obsessions that are worthwhile will never die, I think the dying begins when we give up on moving forward in any direcon we please. Follow your bliss, even it if it leads you straight into a brick wall. Thatâ€™s where the fun begins. Enjoy. â€“ Kevin
My first exposure to Sympathy for the Record and had records out…people really liked them they were sorta the poster children for the punk movement: short fast songs, set over in 15 minutes spiced with equal amounts of abandon and legendary nudity. Blag is an incredible songwriter and he has always surrounded himself with incredible musicians. I think Blag is a little more intelligent than most and he knows how the game works and takes care of business. He is serious (John) The name for the label came to me as I was driving down the 710 heading for L.A. to mas- about his career. ter the first record. I’m a Rolling Stones fan and it What I love about SFTRI to this day is the folkjust sorta came to me as if ordained by God or lore and mystique that surrounds it. Who is perhaps it was Mr. D. I thought it was a fitting Long Gone John? name and apropos as the record industry was an Well, that is a name I came up with one night easy shoe-in for the Devil. My distributor and when i was going to the liquor store between many others thought it should be, no sympathy, but to me it was tongue in cheek as if I could really bands, by the Cathay de Grande. I was with my best friend. We had been in a boys home together give a shit either way. The name has served me when we were 16-17 in Echo Park. We were in the well. liquor store and all of a sudden he was laughing I soon got turned on to the Dwarves “I Wanna really loud I went over and he showed me some Kill Your Boyfriend” 7 inch followed by Hole’s porn magazine with an article about John Holmes “Retard Girl”, in my perspective, these singles titled Long Dong John. The name kinda stuck in began to define a new era of music in the my mind and sometime that night I came up with 1990s, a renaissance of sorts. How did this reLong Gone John. I was unaware at the time there surgence affect you and what aspects did you were a couple songs that used that name, one by like and dislike in the decade? Tom Waits, an old field holler and a pretty great one by Louis Armstrong called Long John From Bowling Green. Anyway I was actually studying to become a tattooist at the time and thought it would be a great name for me, so the name precedes the label by 5 years or so. Nowadays I actually prefer to go by two-bit Johnny cuz after the "Treasures of Long Gone John" film came out I Hole almost more than anyone was a big deal for kinda felt that chapter of my life was over. me. I’d been seeing them a lot and to me it was I always attempted to make Sympathy appear as a pretty evident that with a force like Courtney at much bigger entity than it was and because I kept the helm, the potential was certainly there to be a a high profile with advertising and such, people solid contender for stardom. Although I fully unwere surprised to discover it was a label run enderstand, it is near sacrilege and I risk being tirely by one guy out of his house. I’d get calls stoned to death in the town square, I still like her. with someone saying, "Can I speak to someone in I think she's talented, she writes some great songs college promotions?" or "Can I speak to someone and is a real rock chick and there are nearly no who handles foreign press?", I always thought it rock chicks around. was funny. The Dwarves were already a well-known entity Industry was in 1989 when I began reading zines like Flipside and Maximum Rock n Roll. Right away, I would notice the SFTRI ads and thought “that’s a strange name for a record label”, how did underground music speak to you and inspire the record label and corresponding name?
There were stories (some of which I created) that the label and artist, it'll be tough wherever they go. The sad reality is that the chances of a band making it in a big way are pretty infinitesimal at best and if they make a bit of a splash it is usually pretty short lived. I released records with over 550 bands and I think most of them do it for fun and have realistic expectations. I think they are fortunate to get a label to foot the bill to put out a record, make it look good and get it out with proper distribution. The retail market has to There was a rumor going around Long Beach that know about the band, find the record in a shop I had Tourette’s Syndrome cuz I cussed so much. and then plop down their dough. It’s practically The reality is I was just a hard worker obsessed magic if those 3 things happen in succession. with records, trying to make things look good and there is so much product out there. A glut of horreleasing records at an astounding rate. At 10 rible stuff by horrible bands. It’s difficult to wade years in business, I had a catalog that equaled a through the shit to find the good stuff. release per week for every week of existence. I did If you had to trade places with an artist/ eventually slow down a bit. I just didn't know musician from any era, who would it be and what else to do, I didn't know how to stop. I had why? so many friends in bands and bands would break up and splint off into new bands and I’d get so I’m gonna say Hank Williams. of course his life many recommendations from people whose opin- wasn't glamorous and it was very short, but he ions I respected. I never went out looking for was so prolific. He must've written every day and bands and rarely choose things from submissions found inspiration in the simplest things. His muexcept for foreign bands. sic is pure and uncluttered, he was an early American treasure, and it seems his music was very What was your opinion then and now about artists venturing from independent label noto- much aimed at the downtrodden and working riety to a major label, in search of a larger au- man sensibilities. He wrote songs of sadness and dience and paying the bills with art (if possible heartbreak and of love and tearing things up. I have a great admiration for him for that reason. at all) ?
I was a trust fund brat, that I owned slaughterhouses and that I was heavily involved in the pornography industry. Stuff like that kept people guessing and probably made me appear more interesting. The truth was I got up, worked on Sympathy all day, and if I wasn't off to see a band at night I just watched TV. I really had a pretty insular existence.
It's an inevitable and necessary step for an artist. I don't begrudge anyone wanting to better themselves. It’s the reason I’ve never signed contracts and I never once asked a band for any portion of their publishing. Most artists were aware they would not get rich with Sympathy and I believe most thought of it as a springboard to something else. I was fine with that, but the lack of finesse and consideration with which it was done by certain parties was a very different thing. I think someone like me who put a great deal of faith and time and money into a band deserved something if they went to greener pastures, just seems like courtesy and honor to me. it's a tough game for
As “part of the problem since 1988”, you helped introduce the world to Billy Childish whose work ethic seemed eerily similar to SFTRI. What similarities do you see between yourself and Mr. Childish, if any?
Well, actually there are similarities, I think our work ethic was the same and the result is: he put out a shit load of records and I put out a shit load of records. Billy is a real renaissance man. He is a prolific performer, he is an accomplished poet and he is an artist garnering greater accolades and success as the years roll by. Billy was always gracious and thankful.
have to drive to L.A. to see bands. Now, there is the Scientists, Gun Club, and Roky Erickson to Alex’s and they seem to get very cool acts. I only name a few. Why do you think music listeners left cuz I was tired with Southern California in do not catch the greatness of these artists the general. I was born there and lived there my enfirst time around or is that the classic conun- tire life. I needed a change and wanted to be drum most artists face? somewhere that it rained a lot. I wanted to live in a forest on the water and I was fortunate to be I think with time the important/visionary musiable to find that. Olympia is a quiet little town and cians will be recognized and receive the status I am 7 miles from there. I’m really happy here and they deserve. Truth is there are very few that realappreciate the beauty and solitude every day. ly rate any longevity in the history books. The Scientists, Roky and Gun Club rate pretty damn After years of varying accounts of your artistic high. I’m also very proud of the Wanda Jackson, dealings, what are your favorite misconceptions and rumors about Sympathy? Wreckless Eric, New York Dolls and the Suicide releases I was able to do. Well, it's interesting that I worked with over 550 bands and only had one legal entanglement. there Throughout the decade of the 2000s, what changes were you starting to notice in modern are those who were unhappy, but very few in light music at the time (good and bad)? of the total. I made mistakes. I did not however promise things I would not deliver. It's always the I’m kinda oblivious to time frame. It’s hard to ones who sold the most poorly who are certain make a definitive distinction between the 1990's they've been cheated. I had an ongoing mantra; and 2000's. It's all a blur. I do feel the quality of "anyone who can handle the humiliation is welthe bands I was able to work with did continue to come to go through my files at any time". get better as the years rolled by and the last records I released before I moved from Long Beach The only reason I was able to sustain Sympathy are some of my favorites, like Matson Jones, the for so many years is that I had so many releases Ettes and projects with Jack Oblivion and Greg and each month I'd sell a few of these and a few of Cartwright. those and it would add up to something. The ones
The label reissued some legendary works by
that actually generated anything beyond the expense of the original budgets were few and far between. I spent most of the money on new projects. The recent ones subsidized the upcoming ones, it's just the way I did it. I wasn't Capital Records, I was an uneducated record collector that accidentally started a record label. I never had an ofYou have a sincere passion for Long Beach, as fice or an employee. In retrospect I think I did a the city was heavily associated with the label and amazing bands such as The Red Aunts and pretty good job. I did not leave any bodies in my the Humpers. Why is your affection for Long wake and I put out a lot of very cool music that Beach so strong and what do you consider the likely wouldn't exist if Sympathy operated on any “heart of the city” to be? other level. I think the important thing is that the bands have left behind a legacy and there are docI do love Long Beach. I lived there for 25 years or uments that they existed. so many performers so. It's a great city. I love that it's by the ocean never get that and are relegated to remain in the and it still feels like a little town. For a while it ether. had a couple of the best venues and that was Fenders and Bogarts so it was nice to not always
There isn't much going on right now that I care about, I’d rather listen to old music than follow new bands that are merely aping the cool old stuff at best.
don't think too much about tomorrow. I sleep when I’m able and watch lots of films and TV. I’ve just published a beautiful new book, called, "The Timid Cabbage" written by Charles Kraftt and illustrated by Femke Hiemstra and I still produce projects with my other venture, Necessaries Toy Foundation. The days disappear, I never run out of things to do. -Kevin McGovern, F&L LB 2013
As founder and sole owner of Sympathy for the Record Industry, indisputably one of the most influential independent labels over the past 20 years, what made you decide to stop doing the label?
Well, Sympathy still exists although I’ve only done a few things since I’ve been in Olympia. I released the Waldos album as an LP, as I’d only done a CD originally. I released the Ettes last album on LP as well as putting out 3 singles with them with 3 different covers and 3 different Bsides. Anyone who has run a label knows that’s a suicide mission, no way to break even on a project like that. I did it because I love the band and wanted to do something special for them. If the right project crosses my path I’d consider it, but I’m not interested anymore in spending money on losing propositions. I put my time into trying to document the music I thought was cool. It was never about making money to me. It was keeping me busy, out of trouble and cultivating friends I would cherish the remainder of my life. I have been fortunate to work with some amazingly talented people. I am grateful to every one of them for sharing their creative force with me. What consumes your creative appetite nowadays?
I share my home with four cats, I stare out my windows, I walk on the beach and in the forest. I go to swap meets, yard sales, antique shows when they happen. I continue to fill my life with peripheral things; toys, books, art and records. I
Can you tell us about your first band, the Fatal Microbes, single and where you played?
own back. I had got a new band together and was soon gigging everywhere.
The original Fatal Microbes played 3 songs live at Epping Hall (which was attended by a few members of the band Crass) in Essex in the UK, before the single was ever released, but never played publically as a band again. One time when I was 14 and on the run from the home, Vi snitched to the cops about my whereabouts and almost got me caught. I fell out with her because of that, and it made it impossible for the original Microbes to work together as the police would always know where to find me, so I got a completely new band together which I also named Fatal Microbes, to go out and gig with.
steal a gas, fill up and drive off to be able to get from one gig to the next.
During this time I was also quite involved with I was in a home for problem children! A member Killing Joke, who used to invite me on stage with of staff there knew Poison Girls and introduced me them at their gigs, we hung out and I often stayed to them after I had been writing a lot of songs with them in a house Notting Hill Gate, London. *Violence Grows* being one of them. I formed the A friend hired a van for us to go play outside of band with Poison Girls (singer Vi) and my songs London for a few days but we ended up keeping it were featured on the flip side of their 12" single. for 3 weeks. This was a really fun and crazy time. Due to public demand, it was soon released on the Getting chased down freeways by chefs after runSmall Wonder record label, without Poison Girls. ning out on paying the food bills and we had to
What transpired next? I hid out at the Crass house and recorded Girl On The Run, hid out in other peoples apartments in London while doing secret interviews with various music magazines, and along with all the national press I was attracting. I'd gained a lot of public support, and it wasn't long before I was able to literally walk into social services and get them off my back once and for all. Because the home I was in had a lot to hide, (abuse of the kids in there) they were not appreciating all the public attention I was creating for them, they didn't want me back, so I was 15 yrs old, and free to live life my way, off my
It was just before that set of gigs that I recorded Guilty, and at the end of that stint of gigging we had just arrived back in London, when I yelled to a random stranger at a bus stop in London's Kings Cross "Oi mate, you wanna lift" much to my speed freak driver Patric's dismay. The guy couldn't have been more plain looking, he was going to Birmingham (a few hundred miles away) I told my driver we were going to drive this guy all the way there whether he liked it or not, and an hour into the drive I played him the Guilty track we'd recorded. He turned out to be UB40's very first keyboard player, and for driving him to Birmingham he said he would take us to Ali Campbellâ€™s apartment and introduce us, as they had a tour coming up and he thought they were looking for a supporting act. When we got there Ali's beat box wasn't working so he came down to the van and listened to the track and really liked it. He couldn't promise me the tour without talking to his management but he said he would see what he could do. After a week I got a phone call offering me the tour, they were great guys and touring with them was really awesome, I still hadn't turned 16 yet!
You charted your first hit song, “Turn me on turn me off”, and this is when you meet Jimmy Pursey. What was the experience like? Meeting JP was once again one of those chance meetings. A friend and I were in London and having nothing better to do that day decided to hitch a ride to wherever, and see where we would end up. We ended up in a small town called Hersham in Surrey , UK. No sooner had I gotten out of the car, a guy came running across the rd, from a small playing green, toward me, and this was JP. We got talking and he said he wanted me to stay down there, I had nowhere solid to live so I agreed, and moved into an apartment with the Angelic Upstraight back to London from Manchester for the starts, above a betting shop, practically opposite Top Of The Pops performance. where the car had dropped us off! So after the whirlwind music with JP what Jimmy wanted to introduce me to his manager, did you do record more and tour your and he would taxi a lot over to his best friend’s sound was more commercial now? apartment, also in the music biz. Jimmy Edwards, Jimmy E became my mentor and took care It was never more commercial live, I never played of me. I wrote a lot of songs when I stayed over Turn Me On Turn Me Off live, the music live was there, including Turn Me On Turn Me Off, which I what I wanted it to be, so it was always more punk. later gave credit to Jimmy P for, not sure why I did I did a TV appearance on what used to be a poputhat, I was young and somewhat stupid I think. lar little TV show here called 'TISWAS' which inDuring this time period I was also staying often at volved an interview with the legendary Sally John Lydon’s house (aka Rotten) , I was the go beJames, and TMOTMO in the kids disco with all the tween for Johnny and Jimmy. Eventually I met little under 12's dancing to it, which was weird to his manager, played him Violence Grows and he say the least! It was soon after Top Of The Pops agreed to take me on. At 16 I signed a deal with that I got into acting. I was offered a lead role in a Zonophone, a subsidiary of EMI, designed to look west end play, called Demonstration Of Affection, like an Indie label, and Jimmy wanted to produce along with the lead singer of Scottish band 'The my first single. We went into Trident Studios in Skids' Richard Jobson. We had quite a star audiLondon and didn't leave or sleep for 4 days and ence, David Essex and Annie Lennox (who I head finished the single. was quite a fan of mine) Soon after that I played the role of Molly in the British feature film Then while I was flying around the country on a radio interview tour, TMOTMO went into the Brit- 'Scrubbers' 9 grueling weeks in the winter, in an old closed down Sanatorium with no heating! ish top 40 and I had to cut the tour short and fly
What was like as a kid, meeting the stars and trying to stay true to yourself?
ness because I couldn't handle not being allowed to be me any longer.
When I signed the deal I believed it was going to allow me to continue what I was already but on a I was also in a TV series with bigger scale, I had no idea they were out to totally Hazel O'Connor called Jan- change me, and I couldn't enjoy it because of that. gles, Hazel was a lovely per- Also, people assumed I must be rich but nothing son, and she took me out for could have been further from the truth! I was bedinner one night with herself ing completely ripped off by my manager and nevand Hugh Cornwell from The er saw any of my money, other than a VERY Stranglers, he was another SMALL weekly retainer, the money was all hanreally cool person. dled by my manager, who also managed JP, Upstarts, Boy George (Culture Club) among others. Life was very difficult after Every Friday we would all have to go to the office TOTP! I received death to get our weekly small checks, lol. threats from people accusing me of selling out, I couldn't The machine eats its own. I dislike the busigo out in public without be- ness side of our art form, so you kept your ing harassed. For better OR own ethos? Do you think meeting Crass and worse, and was given no sup- Poison Girls helped mold you into who you port from the label or through my management to are or did it keep you from the commercial deal with any of this, other than being told I could success? I still feel your early punk in your not use public transport anymore, but would have work today ,to me it's who you seem to be to take taxi's everywhere instead. I really hated all today. the attention in this respect, it bleeding into my One day I just walked into EMI's offices and said private life the way it did was very difficult, and I "I'm not doing it anymore, I'm not going to write had to put up with a lot of press that would often anymore songs, so you might as well let me out of be false, untrue reports of things I'd supposedly my contract, I went to my publishing company said etc. It's quite a nasty reality being famous and told them the same. I carried on with the actwhen you have no protection. ing for a little while and then I decided I wanted I guess being associated with the Crass out of entertainment completely. ethos, made it appear to some that you sold However, I did continue to write over the years, I out . Did all the threats affect you and make did various recording projects, and then in the you give up the new career? 90's I got another band together, an alternative The record label would freak out if I went to their metal band, and I got out on the live circuit again, offices and wasn't smiling, they would call my only I never went out as Honey Bane, I didn't want manager and ask if I was on drugs because I anyone to know who I was at the time, I was trying seemed fed up and they were worried about me. I to find myself and hone my art as a singer. It was wasn't on drugs so it would really fuck me off, I one of the best things I ever did, it really did allow just wasn't happy trying to be something I wasn't me to develop into the artist I am now, and now because they didn't allow me to be myself. I never I'm in a place that I'm really proud of musically, gave it up because of any threats, I had also gained I'm in the process of getting a new band together even more new fans. I ended up quitting the busi- so that I can go out live again, only this time as Honey Bane.
Do you think it’s “your turn” to be you now and what have you gained through your experiences? I'm definitely who I was meant to be now, I'm a better version of what and who I was before EMI. What I created on my new album is what I'm personally, musically most proud of in my entire career, it is 100% me. The album is a self-release currently, only available through my reverb nation as a CD or MP3 download. It's going to be released on Vinyl by Punkerama in Belfast, Ireland and possibly on CD through them. I have several tracks from the album on the Sex, Lies and Depravity (trilogy) soundtrack, and also on the soundtrack of the most recent film (I've acted in) An experimental Indie feature, due for release on DVD early 2014.
revolver, I should have shot the fucker then! The lyric is "The gun that you gave me, my license to kill, To have used it on you would have been such a thrill". He works in what they call the bomb dump-making and inspecting bombs. He had to take a course of Anthrax Shots; no choice! Hence the reference to Anthrax,, it’s all true. He is astrologically a Scorpio, as am I. The reference "Now Disarmed of Your Sting" is to do with that. I thought that by making this song and getting it released, it would act as a bomb of justice in some way; that if people ask what it’s about; I can tell them the story behind it!
Hence the line On a deeper level, this album represents about a "THE BOMB, 10 year period of my life, it's all personal and real YEAH THE stuff, creating it was like an exorcisms, I had to re -live some very dark and difficult experiences I'd BOMB, I’M THE BOMB OF JUSTICE" … had, so I went through a great range of emotions I was inspired to re-write Violence Grows, now and it was all very cathartic. Violence Grew, after learning of the Kings Cross bombings, and specifically the young kid with the The musicians involved on the album were very backpack that was shot dead by police on the few, just myself, Mickey Howard, who without London underground by mistake! I felt I needed him the album would never have been possible, and a couple of the drum tracks were played by a to get the message out there again, specifically to show what happens when shit is ignored. I felt it guy called Mallet (x Transvision Vamp) Mickey Howard is a multi-instrumentalist, I played a few could and should be brought up to date to sit of the bass tracks, but Mickey played everything right with the current generation and the kind of violence and social problems we deal with now, else. in the millennium.I wrote Got Me All Wrong Could you explain the dark and true nature about my son's paternal father. of the lyrics that are present in your recordI truly respect the artist Honey Bane apings? plaud her bravery and tenacity ,she is still “The Bomb”, I wrote after discovering in April 05 creating musical art well into the 21st centhat "he" had been molesting his own paternal tury! -Mike Spent daughters, as well as my son. He is in the USAF NEWS FLASH : HONEY BANE SIGNS 2014 and they are protecting him still. You wouldn’t believe the time; energy; and work I have put in RECORD DEAL! since then; to try and get justice for my kids! The http://eromedaentertainment.com/2013/10/01/ reference to the gun is this. Our last wedding anhoney-bane-signs-to-eromeda-records-2/ niversary he bought me a 38 undercover special
PETE DEE: Everyone kid wanted to be in a band back then . For us we had a good combination footy sex drink drugs & a bit of Clocky. So, it's probably why we do it. I used to love the sound of the Fulwell end ( Sunderland ) it was like being in a band, Loud as fuck. & all it needed was a Drum kit & a few Guitars. I think it was NME described the Adicts as a Terrace Rock Band. Probably the best thing I ever read. They actually got it right, all the above are what we're into, it was & still is a part of who & what we are. With the seed planted in 1975, were you inI remember when I was 19 and driving my fluenced by early glam acts such as Roxy friends around, drunk and stoned. We had Music, Bowie, and Ultravox? “Sound of Music” blaring and they sat in PETE DEE: There were so many good influences horror as I filled up the gas tank with the in music. the Ziggy era was important. Slade Tcar running. “Eyes in the back of your Rex, Roxy, and also the Rock bands Like Doctors head” was booming and I felt this really summed up the maniacal fun of the Adicts. of Madness, Cockney Rebel, Sabbath & Deep Purple. But prior to that we had The Move, Kinks, Are you surprised it has been 35 years? and Free. I look back & I still hear great music. MONKEY: Yes, and no, we should be out on good There aren't that many doing it these days or behavior soon, maybe it has been the longest par- should I say turning my mind on with a good tune ty ever. or great words. Ultravox were phenomenal when John Foxx was the singer. But when Midge Ure PETE DEE: Its actually been 37 years but a year became the singer they became irrelevant & shite. here or there isn't a big deal. Time flies by. It We did however invent Ziggy's Bastard Son & it's a seems just like yesterday we started, or was it last Monkey. week. It's illegal to drive drunk I wouldn't recommend it. MONKEY: We were into all that, still are so it has always been a reference. As teens that were into football hooliganism, masturbation, and underage drinking, Do you consider the infamous live show the how did these combine into the idea to band has evolved over the years to be true start a band with Clockwork Orange image- to the theatrics of original glam? ry and insanely well written songs? MONKEY: Yes i think a lot of that was tongue in MONKEY: The drinking was the main influence as cheek, we don’t take ourselves too seriously either. it was 17p a pint then. I think it was 30p, to get Pete Dee: Who knows. But we do make a mess. into a game with my unemployment card, and masturbation was free but the material was not as “Songs of Praise” and “The Sound of Mugood as now, page three has nothing on youjizz, so sic” have the vibe of teen angst, violence, drunk wanker bootboys = silly/happy/fuck you and worldly observations true to the real songs. spirit of punk. Was the band angrier and more disillusioned in its younger days?
MONKEY: Yeah we played along with that a bit but really just developed our own philosophy of trying to have a good time no matter what. PETE DEE: I think the younger years we displayed our rage a little more. We come from the school of hard knocks. But Has anything really changed out there. No' I will always speak out against things that bother me. It's not normal to state an opinion these days, is it?
out of the box. We have No rules when we write music. MONKEY: We are always trying to progress and that was where we were at that time, it’s probably our most obscure album and a bit of a surprise to some people. If that was the only album, we had ever made. I would be proud of it, and I am still even though it sometimes gets lost and hard to find.
Because people are so easily offended. Like wanky hipsters, who think they know everything & pretend they care. They are all wankers, sitting on the fence & demonstrate by yap yap yap. & then after it goes to shit they will blame it on someone else. & can hide behind a computer screen or a cell fone & bounce around all day long in a rubber room. Political correctness is not my fave subject. Do I sound Any angrier or just smarter these days. I tell you this I wouldn't hesitate to tell anyone what I think. Naaa I'm not angry. Not disillusioned either. I live in a world that is run by MorThe 1990s saw an enormous revival of ons. That's all. So why not write about it. Punk Rock and the Adicts released “Twenty With the release of “Fifth Overture” in the -Seven”. Most bands from the original era 80s, the band really showed its pop/rock were releasing subpar new outings, you resensibilities, what prompted the new direc- leased another, now legendary, essential tion or was it unintentional. album for a new generation that didn’t suck one bit! Was the release to show those new PETE DEE: Fifth Overture was my first full proupstarts, back then, how to do it right? duction of an Adicts album, we recorded it just outside Stuttgart, in Germany. It was different, all the songs we had, were the ones, which never made the previous albums because they were too slow or shit. We had been gigging so much we hadn't really written any new songs. So it was a tricky album. The tempo was pretty laid back. a mix of all sorts. It's a great album. I just wish I had a few more days to work on it. The direction was more of a natural process. We have never stagnated musically, because we think
MONKEY: No we don’t go into a creative mode with any defined agenda, we just write the songs and if it ends up making a point the so be it. PETE DEE: Ahhh 27' Well we just knocked that one out quick. We pissed off a few people with that one. the sound of that album sucks it has no uumfff to it. Shame really because if it had ummff to it. That Generation may have got it. But we made our point. & We aren't sorry that we offended anyone. Especially God.
down & knock out a fkin good album in the studio. It was exhausting but I’m pleased with it. It’s's a great album & yeh, Monkey got into the pledge thing with the fans it was cool. Our fans are why we do it & now we have social media we are more connected with our fan base. It's great. We really Love our fans.
In every town I’ve been in, you can always see someone sporting The Adicts shirt. The band has outlived disco, new wave, and post-punk. The maniacal coolness of the band is timeless, is it because you never stop playing and writing?
California seems to keep the blood flowing in the Adicts musical machine. Do you find Los Angeles more embracing of your band as a mainstay than other cities around the world, what city has the best girls? MONKEY..LA is very solid for us, its a young audience, theer is always a good vibe (see im all LA dude), best girls for what? we love them all, and the boys.
PETE DEE: We wrote a song called California PETE DEE: I think after all these years we can look back & say We have done ok. & we still have a back in 83 because we loved it so much. It is one of our favourite places to play. Ask any band out long way to go. there, they will tell you the same. MONKEY: It’s our lives, it’s not really a living in South America is embracing more so. I think our the financial sense but we still get other rewards fans love us just the same everywhere & appreciate from it and have no reason to stop anytime soon what we are. & Women are beautiful all over the The band released “All the Young Droogs” world. in 2012 with the help of fans, I thought it was really cool how the band explained the Looking back at your beginnings as a pissed off punk band, are those same sentipledge as a means to keep the band alive, ments still relevant in 2013? safe, and healthy. Music for the sake of music… Were you done with the headaches MONKEY: Not for me, can’t be angry for that long, of working with a label, or has the digital but maybe for some oppressed kid in Malaysia. age made it more difficult to keep a band PETE DEE: I still get angry & frustrated more so active? when I see poverty. Nothing has fucking changed. MONKEY:I don’t think there’s a label that has ev- Yeh I'm still a angry bastard, but not the hot head er done anything great for us, we have been surlike I used to be & I cannot save the world. But I vived by getting out and playing. Social media can help someway & that reflects in the music we helps to connect with fans, as long as kid is not in make. I just don't like ignorance & it seems more charge, he doesn’t know how to send an email and & more people who Think' they are well off need to doesn’t own a cell phone. wake up & think about those who have nothing. We make people smile & Happy & that's all right PETE DEE: I dunno, I never got involved in that pledge thing, all I knew was I need to get my head with me.
What current recordings and tours does the band have lined up? Do you ever plan on calling it a day?
band in the world. That can happen again! You don’t need a fucking computer or the internet or The Voice or American Idol.” - Dave Grohl (number 10 in richest singer list at 225 million by MONKEY: World tour in 2014 hitting some new the way. I have a 99 Subaru with windows that pastures, china, Indonesia and beyond, no, maybe don't work and kid pulls out his own teeth, so yes a day will be calling us, but we won’t pick up. being in a band is better than shoveling gravel for PETE DEE: With my bad health I will play until I a living but we don't all get to be, or reach, nirvana) die probably drop dead on stage. then we will be famous. & some fker will write about us. & say nice PETE DEE: We started a band as friends & We things. & then everyone will make a shit load of come from the working class shit holes. We had no money except for me. Which I really wouldn't money at all. We enjoyed making a noise. With the miss one bit. Simply because I'd be dead. shit gear we could afford. We used pots & pans Saying that, We have loads going on & we will ap- from the kitchen for drums, Until we could afford proach it in the same manner we always do. Me & a drum kit. There wasn't Pop Idol & crap like that Kid have been writing some good stuff. & We will back then. Imagine us standing in a line for some evolve as we always have & progress in The Adicts cunt to say we are crap. They'd get the nicest of way. One either climbs on the journey of can just kicking they deserve.& believe me it wasn't pretty back then. We had everything thrown at us on fuck off. Same attitude since day one. stage & the punch ups were frequent. How do you see the landscape of music It takes time for anything to take shape & every changing in the future for other kids out one deserves to be heard. Times certainly have there who want to start some action? changed. In my opinion for the worst.... MONKEY: I would refer you to Dave Grohl They-the corporate record label - no names menWhen I think about kids watching a TV show like tioned, wanted us to fire Monkey years ago , BeAmerican Idol or The Voice, then they think, ‘Oh, cause they said he could not sing. But fuck that. OK, that’s how you become a musician, you stand He's my mate. We are a family we are a band. Can in line for eight fucking hours with 800 people at Jagger sing. Imagine him auditioning for Pop Idol. a convention center and… then you sing your We are who & what we are. & have never forgotten heart out for someone and then they tell you it’s our Roots. At the end of the Day Yes we can not fuckin’ good enough.’ Can you imagine?” he change the world to be a better place for everyone. implores. “It’s destroying the next generation of Because Music is the only Language that brings us musicians! Musicians should go to a yard sale and buy and old fucking drum set and get in their all together. So get out there form a band & make a noise. Who knows what can happen. It is a fast garage and just suck. And get their friends to paced world we are living in, But some of us just come in and they’ll suck, too. And then they’ll like to roll with what we have. Me personally I just fucking start playing and they’ll have the best time they’ve ever had in their lives and then all of enjoy rockiN. a sudden they’ll become Nirvana. Because that’s exactly what happened with Nirvana. Just a bunch of guys that had some shitty old instruments and they got together and started playing some noisy-ass shit, and they became the biggest
It is all in the attitude & no one can ever take that away from you. Cheers
-Kevin McGovern, 2013
wouldn’t have suited JT’s vision and its more in the style of live reportage that utilised what press was available. The Cherry Red edition that came out in 2000 has the wisdom of hindsight. By that point I understood the nature of addiction and how it entraps people. It’s more reflective and contains additional interview material from Jerry Nolan and Johnny’s sister, Mariann. Unfortunately, it lacks the visual aesthetics of the original. Ideally, I’d like to merge the two of them.
F&L – How did you get to know Mr Johnny Thunders? Nina- In 1982, I began formulating an idea to write a book about Johnny and made a wish-list of people who I wanted to talk to that included Alan Hauser at Jungle Records, who had overseen some Heartbreakers releases and Tony James, formerly of Generation X, who had started playing bass with Johnny. Both of them were really supportive and arranged for me to meet the legendary Mr Thunders. Fortuitously, he was spending a lot of time in London so it came together quite quickly. F&L – The book was an authorized biography when he was still living. Can you tell us about it and differences in the revised book after he passed on? Nina- 13 years separates the two books. The original version of ‘Johnny Thunders – in Cold Blood’ was issued via Jungle Records in 1987 and is a delight in terms of quality, lay-out and extensive photographs. This was very much in keeping with how Johnny wanted it to be. He enjoyed subtitling the photographs and put his wry wit to good use. However, it was prior to the internet age and I was less experienced as an author and the book’s tone is much punkier and confrontational. Although it’s not a perfect historical document, that
F&L – Recently your book was optioned – can you tell us about that? Nina – Yes, although until there’s an industry announcement I can’t say too much. It take a lot to get a movie off the ground, especially if it’s an independent project but I have faith in the production company and have just returned from L.A for the first time. The script is great and very sensitively handled. There is now a director on board but there’s still a way to go, including the casting of the actor to play Johnny. Can you imagine? That’s going to be quite something to pull-off. Until everything is finalised there is still a sense of unreality about it. F&L- Why were you attracted to Punk? Nina – The energy of it was appealing and the fact that anything seemed possible rather than the majority of the music. Suddenly there were more creative avenues available from DIY record labels to publishing companies and gigs were affordable. Saying that, the first time I went to Vivienne Westwood and Malcolm McLarens’ boutique, ‘Sex’ on the Kings Road in London as a teenager, I was horrified at how expensive everything was. Can high fashion ever be truly revolutionary? Only if you steal it. I returned home to Liverpool and made some clothes of my own. To me punk was a mind-set not something that you spent all your money on.
F&L- First Punk concert? Nina- Dr Feelgood, Liverpool Stadium, 1976. Of course they weren’t ‘punk’ but they ticked all of the boxes – the tension was palpable, they were incredibly belligerent and never let up from start to finish. Few of the acts labelled as punk were actually that mean on stage and tended more to the chaotic. I got a ticket for the Anarchy Tour in late December 1976, but the show was cancelled in Liverpool and so I got a Shangri-La’s album with the refund and cried on the way home because that would have been my first chance to experience The Heartbreakers. I wasn’t particularly bothered about seeing the Sex Pistols as I viewed them in the aftermath of the New York Dolls. F&L– How were your Punk years? Nina – There was a café in Liverpool’s town center called the Kardoma and they refused me entry because I had pink hair and wore home-made bondage trousers. I also happen to only be fivefoot tall and rather mild mannered so it was a bit ridiculous; the tabloids in the UK really put the scare into people. F&L- Other books? Nina- A biography of Peter Perrett and The Only Ones entitled ‘The One & Only’ (SAF Books.) This is now out of print so I’m looking for other publishing outlets. I hear from people who have paid extortionate amounts for copies, which doesn’t seem right. ‘The New York Dolls – Too Much Too Soon’ (Omnibus Books) is still readily available both in print and on electronic format, as is a glam memoir entitled ‘The Prettiest Star’ (SAF Books) This year Think Baby Music in Greece issued a limited edition collection of poetry and prose entitled ’13 Knots’. By 2014, there should also be a kindle version of ‘JT – In Cold Blood’ available as well. F&L – Poetry?
Nina – I get the yen to write poetry like a seasonal disorder – the mood is variable - whereas writing a book takes time. Either way they are both forms of creative expression. F&L – What question do I truly wish I’d been asked? Nina – Right now that would have to be what I have been working on, which is editing Peter Doherty’s latest journals with a view to publication. His earlier diaries – 1999-2007, which came out through Orion are the work of a rising ingénue but the latter writing belongs more in the postBeat tradition of William Burroughs meets Henry Miller. I love rock n’ roll but literature has always had the edge for me.
-Mike Spent, 2013
Interviewed by Kevin McGovern
Photo: Heidi May
1,000 Times Uncensored
With a large population and relatively unchecked capitalism, it’s not hard to spend more than you take in. There is this idea that people are born and will not have expenses. All these people with 4 kids. Those are 4 huge risks, 4 guaranteed six figure outlays that will perhaps live longer than any generation before them. If you really ran With your latest book, Before the Chop: LA Weekly Articles 2011 – 2012, you com- those hard numbers, would you still have that many kids? You can do it but you will potentially piled the LA Weekly articles you wrote over the course of a year into one conven- lower the quality of life for those people. When ient reading source. As a popular writer, one guy, in a country of over 200 million people, you tackle subjects from Gay Marriage to has 30 billion dollars, some people are going to go without. You’re not going to get any of his Vladimir Putin all the way to Punk Rock. Do you find your writing process to money. So, you better figure it out. That’s America. If you’re not smart, you will have to be exbe stream of thought influenced by pertremely tough. sonal observation or a longer process of building on a theme you wanted to ex“The Best of 2.13.6” is a personal favorite press for some time? that includes amazing works from Hubert
“If you’re not afraid of failure and not overly concerned about when you’re going to die, you can get a lot done.”
(H.R.)- All of those pieces are the product of preparation. Sometimes, the notes I make are almost as long as the piece itself. I don’t believe in “stream of” anything. Might work for some, not for me. I prepare, focus and deliver as clearly as I can. I’ve always respected the very forthcoming opinions in your writings that question the complacency of individuals who choose to believe in stereotypes of culture and music. What compels you to have an earnest approach in the creative process, favoring sincerity over “cashing in” and placating? I have to live with myself. How can you live with yourself if you know what you do is fake or that you’re getting ahead by pushing someone else down, or selling them bad goods? It’s not worth any amount of money to do that. Besides, all that comes back to bite you in the end. In our current societal upheaval, what is your opinion of a cultural movement that embraces the theory “wherever there is profit there is also deficit"”?
Selby, Nick Zedd, and Jeffrey Lee Pierce. I never tire of the anthology because I can read it backwards or forwards. What was the motivation in introducing a new generation to independent thought in the 90s, a decade filled with “self-help” books promoting glib solutions? To do basically what you said. To bring people to these writers. That’s all the book company was ever trying to do. There was never much money being made, so it was always an ideological pursuit.
In the course of your musical career, “Life It does not infringe on anything I am doing. Also, Time” by Rollins Band kicked my ass when I was 14 years old. I always thought the album was a heavy Stooges drenched MC5 freak-out spiked with isolation and rage. The album actually set the romantic atmosphere for my first girlfriend and me. Is there a specific theme or musical intention running through this classic or is it just pure concise rage in one perfect take? It was one record that was made the right way. One or two takes of songs that had been played live for weeks and weeks, usually written at soundcheck. Vocals done with a handheld Shure 58 borrowed from the Chumbawumbas practice room. All recorded and mixed in 5 days for about 3500.00. It was just the songs that we had written at that time. I think it’s a solid album. The output of your spoken word recordings struck a nerve with the younger generations of the 1990s and 2000s in its Ginsberg meets Iggy Pop plus casual conversation style. Are there any current spoken word performers you find interesting or worthwhile?
that situation that you described is how most things get sold. Someone invents a plausible situation that makes you feel that your life will be better if you have that item. Again, I just do the work. There are a lot of things I don’t do. I have never been on facebook. I don’t know how it works. I treat a lot of the digital / online thing as fluff. It’s just not all that real to me. The work is all there is. The rest is just idle chatter. Throughout your years of meeting your favorite artists, who was the coolest? Were there any that did not live up to the image you had of them? Luckily, I have never had one of those bad experiences. The “famous” people I have met have been extremely cool to me. The one thing I have found is that usually the “bigger” the fame, the cooler they are. It seems that they would rather be friendly and down to earth and sidestep the big thing around them. On a final note, what advice would you give to a young artist or band that wants to make their mark on the world?
If you are really are going to do it, you’re not looking for advice. You’re looking for people to If there is a scene for that kind of thing, I don’t get the hell out of your way because you’re comfollow it. I just do my work. I would rather be ing on with it. I have never asked advice and nevfairly walled off from what is happening in any er had a doubt in my mind where I was going. I scene or movement or genre. I am sure there are was not 100% sure of the destination but I was plenty of people who do what I do and probably going flat out and forward, not up or down— do it much better. forward. If you’re not afraid of failure and not overly concerned about when you’re going to die, With the digital revolution now firmly in place, as a self-published artist and writer, you can get a lot done. It’s not for everybody. Those are the ones who ask advice. The best thing how has the transformation affected you and is it ever disheartening to witness the I could say is that you’re probably not going to get anywhere. The best thing you could do is prove creative process being transformed into me wrong an “immediate gratification platform” to sell corporate goods? -Kevin McGovern, 2013 No. Like I said, I do my own work and put it out there. Not being part of anyone’s scene has its upsides. Everyone’s creative process is their own.
A V A A D O R E
with Mike Spent
I am a Mother and wife first! I also Freelance as a Makeup Artist fulltime. Very nice to hear! I am very pleased you agreed to letting us feature you on the cover! SOCAL needs to meet you! You are a perfect fit! Yes Mike I'm thrilled to be A part of your new magazine, thank you for using me. So growing up what was life like in Chicago? It had it ups and downs I hate the winter, winters were long n cold...but summer in Chicago is amazing lots of culture and great food. My band played there once in the 1990s at a bowling alley! it was freezing outside ,I will never forget that! when did get discovered? what was your first modeling gig? I wouldn't say I got discovered I more or less just came about through my Makeup Artistry, networking and social media. First modeling gig were just shoots to build my portfolio. So you are a product of social media? MySpace played A big part in your career? I would have to say I am, if it wasn't for social media I don't think I would have the following I do. Lets face it social Media makes it easier now to brand yourself. Mike Spent: So Ava you live in Chicago and have been modeling for about 5 years now, please tell us how it started Ava Adore: As you know Mike,I got started kinda by accident, back when MySpace was big I would post pics of myself with my different makeup looks. A photographer contacted me to do a shoot, after that it's been going on since then.
Yes agreed,well you are very beautiful I have followed you on instagram and Facebook for a couple years now! you use Instagram , alot can you tell us about that? Thank you so much, I do use it a lot now. I use to promote my work, it's a great tool to get yourself out there.
Do you miss the early myspace days? it was fun Have you ever done pin up modeling ,I have seen you with lowrider cars etc ? for a while huh? I have a few times Yes I do it was fun I loved how you could create your own profile page. Also the fact that you can attach mu- Nice its popular out west here! Have you been sic to your page made it real personal it reflected the featured in any music videos? whole concept " MySpace"! Yes ,that I do know in California pinup is popular, Yes Besides modeling what else do you do? only 3 times .I did one with 2 big Rap groups from my city Crucial conflict and Do or die.
girls would want to emulate ! And you have a successful business model tooâ€Ś Thank you ,no trust me I'm thinking long term with my goals. I like you in that you are an independent and doing it yourself so many scammers and fakes out there! Thank you so much, fakes there are a ton of! Here no bullshit what you see is what you get!!! Always give respect always professional with all my endeavors. Yes say hello too California! Thank you Mike Spent , Good night I did enjoy it;) was my pleasure and thank you for the feature and the interest in my work.
-Mike Spent, 2013
Mike Spent: So Ava you live in Chicago and Have you been out here in California on a shoot? Ava: Nope not yet in California ,but I want too! Yes always been my dream, to model in California. I fell in love with LA through 90210 lol That was my fav show growing up I still watch the reruns! LOL Where do you see yourself in the next few years? I hope to be a brand, I want to build an empire! Out here you could! Lots of people start schools once their career ends not saying your will soon end but its something to think about! you have a distinct look that Iâ€™m sure
but top of the list is Paul Kossoff, why? Passion and minimal... The guitar solo at the end of “Youth, Youth, Youth” was listed as one of the greatest all time rock solos, I used to lift the needle off of the vinyl to repeat the ending part and air guitar to it over and over again. What was that track like to record in the studio, was it done in one take? We used to jump on my mates bed with tennis rackets to the Who's 'Young Man I wanted to let you know that since I Blues' and trash his pillows in suberban Streatham bought my first Generation X album in too. 'Youth Youth Youth' is certainly not a great 1986 during grade school, your guitar style technical solo but, it WAS done in one take with a and solos to this day get my adrenaline couple of pints of beer and a magic attitude of rushing. In my opinion, it was Hendrix and youthful angst. Townshend for a new generation of disenfranchised youth. When did you start play- “Running with the Boss Sound” was a track ing and what were the early influences that you penned for the Valley of the Dolls LP, I’ve heard so many punk bands try to emuhelped shaped your style? late the opening guitar intro, the album itWell thanks, my elder Cousin first showed me self was a perfect mixture of glam and raw some chords when I was about nine. His elder punk. How had your style changed in the Brother was in the Canterbury scene as a bass band by the time you were doing album player with bands like Caravan ect. As a kid it was number two? cool to hang out with players and then when I saw I no more 'penned' that track than any other, but Chuck Berry on TV it blew me away, also a band called The Nice was on TV and seeing them smash for some reason I got a writing credit. The style changed in as much as we had a famous 'rock-star' their shit up stuck with me… producer in Ian Hunter, a bigger budget, more At that young age I began to discover that raucous time and a wider gap between the two older guys playing along with racing motorcycles was a simi- and me and Laff. It was actually heartbreaking for lar rush. At the age of sixteen I was faced with a Mark Laff to be told by Ian, Billy and Tony that he choice of professional Speedway or jamming in my was not going to play on this album and for him to room with my mates. I chose music, but will never choose a replacement drummer. He chose Clive forget the feeling of seeing my motorcycle, leath- Bunker from Jethro Tull and whilst teaching him ers, helmet and trailer leaving my house forever the parts with two kits set up it was decided it and walking back into the house to look at my sounded great with two drummers. If I took to young decision, a Japanese Tele and Orange com- long tuning up for an overdub I could see Tony bo. My personal guitar influences are (in no orJames through the studio glass calling Chris der), Jimi Hendrix, Bo Diddley, Ritchie BlackSpedding! It wasn't the same camaraderie as the more, Rory Gallagher, Robin Trower, Wilko John- first album. son, Mick Ronson, Buddy Guy, and many more
What were the best and worst memories of Generation X’s quick rise to the top during those days? How did your leaving of the band morph into the beginnings of the now legendary Empire?
The best memories were delivering the musical goods against violence and pure hatred from our peers and competition. And the worst memories were to watch what happened to people I considered good friends. I believed something way different from the actual situation, and was pretty much stunted and ignored. My job was to play great guitar, but the gap became so great between Billy, who after three years I couldn't stand the desperate sadness of, and Tony who was losing his position of visionary. When I was told it's NOT your band it's ours and don't play such good guitar and we don't want to hear your songs, I had to leave for my own sanity… I love EMPIRE”S “Expensive Sound”, the track “Hot Seat” has the coolest guitar riff, were the compositions for EMPIRE intended for Gen X or originally written as a solo outing? I actually think Expensive Sound was Generation X's fourth album after we fired Billy and Tony.
I always thought Mark Laff was the new Keith Moon, do the two of you collaborate anymore? I love Mark Laff dearly, we will always be in the same boat…with a leak! Do you play out in California ever and are you working on any new projects? I just re-released my first solo CD called 'Tone Poet V1'. It was made some 7 years ago from loose ends. But I am working on Volume 2 at the moment, it's all done on Lapsteel guitar on my own with me singing. I play at bars and churches and it's the loudest thing I've ever played... Any plans in the future to reunite with any of the bands you’ve been in? Not really, what's done is done and then move on somewhere else musically. Looking back over your career, how do you think it changed you as an individual in your view of the world. I think growing into being a unique individual, as we all are, is way more important than a career, and being proud of your past work is a bonus. What made you decide on calling California home?
With your take on lead vocals for the LP, was it a new experience and do you prefer taking vocals or guitar on a project?
The love of a good woman and the weather…
I get very little pleasure singing, but it's a case of would you rather teach someone else to sing your songs and be disappointed, or be disappointed with yourself…I'd take the latter.
I love Long Beach, I've been shot at through the restaurant window eating sushi, I spread a good friend’s ashes on the beach, seen a good few bands at Alex's and of course Gawd bless The Queen
Any last comments for our readers?
Mary. Thanks for the interest. –
What cultural influences affected the band growing up that led to its potent mix of Chicano roots music and hardcore/punk? The biggest "cultural influence" was our life but more directly was the music that our parent's played around the house, in the car, parties, weddings, etc. Have there been any stereotypes or obstacles along the way that weren’t very punk? Due to our use of accordion and perhaps our vaquero attire, we sometimes get labeled as a novelty act which sometimes led to being overlooked for opportunities by promoters or venues. Prior to the emergence and takeover of rock and roll, the accordion was a staple in popular American and European music. In Mexico and other many other countries around the world, the accordion continues to be a regular instrument used in modern popular music. What influences the music and lyrics of the band, as its eclectic and diverse but pounding hardcore at the same time. Real life. The band’s popularity is growing fast, what do you think made this jump happen? Playing as many shows as we can, touring, and hustling. How was the just-finished tour with punk legends Guttermouth and Agent Orange? Touring with Guttermouth and Agent Orange was a fun experience. We grew up listening to those bands and at times we found ourselves doing a double-take when hanging out with them. Overall, the tour was great. The crowds were fun. What’s the most wild tour story you have? "What happens on the road stays on the road" What plans are next for the band in terms of a new album? We really want to release the best album we can. Do you prefer vinyl or CD releases? Both are great in their own regard but I suppose since the technology happened, vinyl is better due to its sound and ability to later transfer it to CD or MP3 later on. Anything else you’d like to tell our readers? Thanks for all the support! We will be hitting the road again soon. http://www.pinataprotest.com/
Helios explains the formaon I was led to Chrome and Damon Edge through Chrome’s original bass player Gary Spain. He played music with me at places like the Coffee Gallery (where the Beat poets read), Gulliver’s Pub and other places in San Francisco's North Beach neighborhood. That was from 1974 to 1976. He accompanied me on violin and I sang and played guitar. We performed mostly my own songs and some Gary and I made together. He told me he was making an album and I was excited…someone I knew was making an album! When he brought me The Visitation, Chrome’s first release from 1976, I listened and I liked it. They definitely knew how to trip out! Nobody else was doing what Chrome was doing at the time. Damon had an art background and I liked that. It was weird in a good way and stoney and it didn’t seem like there were any other stoney bands around the Bay Area at the time. Everyone else was playing this hippy Blues crap and I hated it. Why did every white guy feel like they had to be a black Blues musician? I couldn't get into it. On the radio Rock had gotten into this burned out Doobie Brothers sound, it had lost its edge, that's why Punk happened. The Visitation wasn’t like anything I was hearing at the time. It wasn’t exactly my style, but I loved the way it was produced and I knew I had to meet the producer. I could tell what he wanted to do. In a kind of a psychic sense I knew this wasthe band and the guy, and I knew they needed me.
So Gary arranged a meeting between Damon and myself. Damon came into Gary’s place with this gravely voice and I told him, “You guys really need me!” I had to grab it, because that was just the way it was supposed to be. There are certain things you just know. So they auditioned me and we all just knew. Damon and I were on the same wavelength. We were both into American Free Punk like Iggy & the Stooges, John Cale and the New York Dolls, and Psychedelia, Hard Rock, UFOs,Science Fiction movies , especially the cheesy B-movies, weirdness, scary noises, alien noises and just noise for noise sake. Punk shows had started happening at the Mabuhay Gardens in 1976, which was right there in North Beach too and the scene had an incredible energy and fire. It was the most fun era of my life. Mix all that up and 1977’s Alien Soundtracks was the result. It was released the same yearthe Sex Pistols released Never Mind the Bullocks and the whole Punk thing just exploded. Next we released Half Machine Lip Moves in 1979 and it and Alien Soundtracks took over in the Punk world. Our record covers filled the windows of record stores and I was in awe. We weren’t really a traditional Punk band. Nobody else sounded like us. We were more of a Psychedelic band, but a dark and Punk version of Psychedelia, Acid-Punk. Still I was influenced by the Punk scene, because the music was experimental and free, but still hard and solid. Punk's
guitar was fucked up and without rules. So it was a great scene to keep developing my sound in, and my approach to guitar. Damon and I were both into expanding the possibilities. We fed off of each other in our experimentation and as we created we'd both like the same things. There was this thing that Damon and I called the 'chill factor' where if its really good you get goose bumps, and we used to get the 'chill factor' at the same time. We shared concepts about how to approach music and we were into pushing the limits and that is how I guess we became known as proto-Industrial. We were into experimenting with what music at the time could sound like and people were just influenced from there, and the work ended up spawning a whole counter culture of sound. We were prolific together with Chrome, releasing albums through 1983. Then things began to change and Damon and I parted ways. He went to France and began recording solo as Chrome, and I formed my Helios Creed band, recording and touring in the States and Europe for years. I drove Damon to the airport when he left for France, and I’ll never forget the look in his eyes, like he knew he’d never see me again. In 1995 Damon was back in the states and he started reaching out to me by phone and suggested that we record again together. We discussed the possibilities, but he passed before we saw each other. I then took back the helm of Chrome and with a new line up began to compose and release material as Chrome again. In 2001 Damon’s label Dossier in Germany contacted me about a final collaboration on an album where I’d finish the tracks that Damon had been composing before he died. In 2002 Angel of the Clouds was the result. In 2012 I heard about these ‘Lost Chrome Tracks’ that were being shopped around to labels. I made an appointment with the seller to listen to them. Each track brought back a rush of memories and I kept asking the same question after each piece, ‘why didn’t we release this song’? I then starting remembering why…all the debates…all the head trips. Really, the answer is that it wasn’t their time then, because now is there time. Their release comes on the crest of the next wave for Chrome with the finishing also of our new 2013 material. Chrome has been an adventure that is hard to put into words, an incredible and unforgettable experience that continues on… Regards, Helios Creed
Title track PROPHECY is a hard driven mental rock ‘n roll psyche out guitar driven masterpiece ambient hard rock in a stew of synth sounds with biting vocals only Helios can deliver! Truly music too my ears YOU WILL LOVE IT! the new music is powerful frank and in your face! (sorta : Iggy Pop meets Sisters of Mercy, for reference only!) Trust me this is stand alone music! Also look for Chrome’s Half Machine from the Sun, the Lost Chrome Tracks from ‘79’80 dropping November 5th, 2013. Its a collection of previously unreleased gems from Chrome’s classic period of 1979- 1980. Produced by the original duo Damon Edge and Helios Creed. If that isn’t enough a re- release of Chrome’s Angel of the Clouds is also coming out this fall. A posthumous collaboration between Damon Edge and Helios Creed from 2002. All on Chrome’s own King of Spades record label
The Urinals U nfolded: A history Unfolded:
The classic lineup began in 1978, how did you meet and what was the intention when you first started as a band? Was it meant to be a band?
bands like Black Flag, The Last, the Go-Gos, Wall of Voodoo, Human Hands, Circle Jerks, Monitor, Leaving Trains, The Bags, each bringing vitality and idiosyncracy to a multi-colored scene. These audiences were open to variety, so they were very Well, it was meant to be a performance – it was for accepting. Only later did the definition of “punk” a dormwide talent show at UCLA. The first version collapse into hardcore and audiences become inof the band was as a five-piece. We all lived on the tolerant of anything that deviated from a dull roar. same floor, and thought it would be funny to put together a band that couldn’t play. After the show, With three legthree of us decided we wanted to keep going. And endary 7”s from the rest is infamy. 1979-1980, which one best After formulating your first songs, was the represented the minimalism deliberate and what do you band and what think of the term “punk haiku”? was the basis of Happy Squid Falling James assigned that term to our material and when I first read it, I thought, “yeah, he really Records? nailed it.” The minimalism was DEFINITELY deliberate. My influences up to that time included not only The Ramones (whose first LP was revolutionarily spare and direct,) but also more highbrow stuff like Terry Riley (“Surfin’ with the Shah” is our “IN C,” though it’s in D,) Steve Reich, Philip Glass, and the motorik velocity of Neu! and Kraftwerk. So, if you mix those influences, throw in a complete lack of musicianship, some anger, the usual youthful disaffection, and a smart-ass sense of humor, well then, you get the Urinals. The Urinals shared the bill with some legendary groups such as The Go-Go’s and Black Flag. How did those audiences respond to your art-damage/smash in the face delivery style? Early on, pre-hardcore, there was a lot of crosspollination. There was a feeling of the excitement that all of these bands were essentially creating their own culture, which was called “punk” but wasn’t really defined. Anything went, so you had
You know, each of those singles is quite different, and each reflects a different element of the band. The first one showcases our discomfort with our instruments (only half-joking here,) but also throws down the “minimal” challenge of the songwriting; ANOTHER EP shows that we were capable of a kind of pop music, and the SEX single shows that we could turn up the volume and shake the walls. HSR was created because we knew NO ONE would be interested in releasing our stuff, and we wanted it in the marketplace. A benefit of the name-change was also that we were more likely to get booked! Although the Urinals had played Gazzarri’s on the Sunset Strip, we were effectively banned from the Starwood until the name change made us more palatable to the Hollywood bookers.
Was there more success with 100 Flowers because of a more linear approach to songwriting?
most their own bands. That’s the great thing about an “influence”—it’s a starting point that allows you to find your own voice. Before too long, no one can hear the influence, they just hear what you’ve become! You might not know, for instance, that one of the earliest role-models for my singing was Howard Wall of THE LURKERS. Emulating him was step one in allowing me to find my own singing style.
Were the Chairs of Perception an extension of The Urinals, and how many recordings The songs became more colorful as we got more competent, so they were probably more-audience- did Chairs do? and-listener-friendly than the starker early mate- The Chairs of Perception was a band that wasn’t rial. I can hear psychedelia and pop in the 100F sure it was the Urinals. When Rod left in 2005, material that had been less overt earlier. Plus, we Rob Roberge joined – his guitar playing comes were getting more confident as performers. The from a different tradition from that of Kjehl or first year of playing out was pretty nerve-wracking Rod. Kevin and I weren’t sure what the music was because we all knew that everything could just fall going to sound like, but after 18 months of writing apart at any moment, which happened two out of and playing, it became obvious that the band was every three shows. That’s the downside of starting indeed the Urinals. CoP did some demos, but out as a non-musician trying to play high-energy nothing that’s been released. The new Urinals almusic. bum, due in early 2014, will represent this current 2003 saw a reformation of the Urinals, what led to the new material and release during the early 2000’s?
version of the band.
In the past and present, what are the cultural and political influences of the band The actual reformation happened in 1996, but the that play a major role in lyrical content and WHAT IS REAL AND WHAT IS NOT album didn’t the unique composition style of The Uricome out until 2003. There was very regular gig- nals? ging during that period, with Kjehl initially, and No one ever asks about the content of our songs, then with his replacement, Rod Barker. I’ve never so this is a welcome question! I come from a filmthought of this band as a nostalgia act, so it was school background, so underground and world only appropriate that we continued to write new cinema was influential, as was Warholian art, polimaterial. tics (we’re on the left end of the spectrum,) sexuality and desire, self-loathing and self-discovery, addiction, denial, transformation. Anything and everything that one goes through as a human being. One thing that set us apart early on was the It’s hard to say who we’ve influenced, and what we willingness to express sexual desire and romantic merely anticipated (by accident or design,) but we vulnerability in the context of punk-rock, which were certainly lo-fi before there was lo-fi. NO was generally thought of as being exclusively AGE, MIKA MIKO, and many of the Smell bands about anger. have cited us, but they were and are first and foreWhere can you hear the Urinals influence over the past 30 years in music and what themes still hold true?
What bands do you currently like that are new to the underground music world?
When you look back at how the Urinals began, do you think the same phenomena could happen with a young band in 2013? Do you find modern underground music too obsessed with having instant financial success? I do believe this is possible. I’m sure many bands are NOT obsessed with having instant financial success – they’re going to make music because THEY HAVE NO CHOICE, which is the way it is with us. The band is still playing out as The Urinals and 100 Flowers, what motivates you to keep the band alive and what are some memorable recent shows you’ve had?
In the past few months, I’ve played on the same bill with SHARK TOYS three times (once with the band I sing with, TROTSKY ICEPICK,) also BIKOS, Calgary’s AUNTIE PANTY. I love the “Mellow Cruisers” album by AUDACITY. They were one of the bands we used to play with at the Smell – speaking of which, I saw some wonderful bands there whose names I don’t remember. There’s LeFACE of course, with whom we played just recently, but also many experimental duos and bands that probably played a couple of shows and then morphed into something else years ago. That scene had such great energy, and I’m sure still does. What that venue offers is invaluable to fledgling bands – a space to experiment without being concerned about anything other than expression. If you could go back and change anything in your musical/creative career, what would it be and why? Regrets, eh? I wish we had toured (more) early on. We rarely got out of town initially, while our compatriots like Black Flag and the Minutemen were out there raising national profiles. I appreciate the level of interest that we’ve seen over the years. I’m grateful that what we did then, and what we’re doing now, resonates with people. Thanks for the support, all y’all.
To quote Cabaret Voltaire, “Sex, Money, Freaks.” OK, that doesn’t apply to us. My primary motivation is to create a body of work that is resonant. We also love when a set really takes off, when -K. McGovern we’re firing on all cylinders and the audience gives us energy back – it’s a fantastic feeling, almost like sex. I’m left exhausted and happy. Memorable shows would include the Urinals playing at the Mike Atta benefit at the Echo (one of our best-ever sets,) our shows in Calgary last year, touring with Yo La Tengo, playing in Beijing in 2005, opening for Sonic Youth, touring with Mudhoney, playing SXSW with Nashville Pussy (it’s always fun to get out of town!)
Teddie Dahlin Mike Spent
Tell us how many books ,that you have written are so far… Teddie Dahlin: Just one on Sid . I contributed to Exiled, but that’s a book written by a punk expert on the concerts. Sort of a 'I Swear I Was There' type of book looking at the people who were there and what they did etc. In the aftermath, when it became public knowledge that the girl Sid met on the Scandinavian tour had come forward after all these years, I wrote "A Vicious Love Story".Its my own account, helped by people who knew Sid as I said. That’s that. One book. I'm done. I have nothing more to say about Sid. What I've left out of the book is private Ok what the other books and about the Gary Holton book ,did you come to write others?. BTW I loved the Gary Holton book/story.
"Project Polina" If anyone wants to read they can simply type my name into a search window on 95% of any book sellers and they all come up. You are known as the Sid girl, I know you much more than just that! What I'm trying to express and show t my readers ,is A little about Gary Holton who is virtually unknown here in the states. Absolutely. I do hope people read and realise that people they see on TV or in the media, are just people and often nothing like their public persona. So I’m hoping Vicious Love Story brings the real Sid to them, as he was a really good guy.
You met Sid, you two "hit it off" A young romance occurred, that never left your heart, I have written several books. As you say, "Fast Living, and sounds like Sid's heart also, this happens a book remembering Gary Holton". I have a crime ficall the time in the entertainment industry. Its tion called "Access All Areas" out in a week and anothkismet! er in the same series called Project Polina out spring I think the thing is people assume too much. They see 2014.Really pleased you enjoyed Fast Living. the book about Sid and think it's just another book "A Vicious Love Story : Remembering the Real Sid Viabout Sid and Nancy. Alan Parker has told that tale cious" several times over and it gets boring. Then they seem "Fast Living : Remembering the Real Gary Holton" to assume , again, that this person was probably a punk and a junkie or a liar wanting to cash in on that "Access All Areas"
story. And I even got a comment from an American saying "She spent 3 days with Sid and has written a 330 page book about it - fucking talent" which pisses me off no end. This book is different. Read it or shut up lolâ€Ś
team that with a ditsy music journalist who falls into the plot and lots of laughs and we have Access All Areas. Gary was the archetypical rock and roller. However his first love was acting. He was the original Artful Dodger in the London play Oliver Twist. He toured with the performance of Hair for 2 years. He played in Could you tell us more about Gary Holton? The Who film Quadrophenia with Gary Shail and John It's written like a documentary, where I lead the reader Altman to name two. And he had numerous TV apto the events in Garys life - talking heads, if you like. pearances. So the general public know him as an actor. Remember that I felt compelled to write the book about Sid to set the record straight. My experience His top hat and use of umbrellas, was amazing contributing to the Exiled book gave me the push I tell us how he dressed just like the Artful needed to do it. When Vicious was out there I wanted Doger right? to write another. I was, until then, just the girl who The top hat thing was because there was a club in Maiknew Sid and wrote a book about it, although I'd started my career as a freelance music journalist in the UK. da Vale North London called the Top Hat and Tails I have a lot of friends in the music business, so it was and Gary used to run it for a couple of days a week. easy for me to interview and mags seem to like it. Any- Him and Glen used to hang out there... way I wanted to show that I can actually string a sen- Gary was also a talented front for the proto-punk band tence despite being blonde, so the other fucked up old Heavy Metal Kids. They came together in 1972. Gary rocker that died under similar circumstances as Sid used his acting talent and took it to the stage when sprang to mind. Gary Holton was a huge acting and they performed, changing outfits several times. His singing talent and I knew him well. I also saw that voice was amazing. The Heavy Metal Kids were tipped there wasn't any books available about Gary and he to be huge. They were found by Dave Dee, previously also has a cult following. So I got together with friends in The Monkeys. and signed to Atlantic Records. Then that also knew Gary and I made a book where Garyâ€™s they moved to Mickie Mosts RAK lable, who also had close friends remember him and share memories and Suzi Quatro etc... Mickie was huge back then.... but stories about him. Gary was a heavy drinker and a bit naughty. Always So here in America the only reference we have having several girlfriends at the same time and taking off for days on end. about Gary ,would be from rock aficionados concerning Alice Cooper's career ,more or less just a footnote in rock n roll history! While I reading your book on Gary Holton and his band the Heavy MetalKids, I was only vaguely familiar with him, but the Cooper connection brought back it to the forefront, of my feeble mind!
He was just a huge rock star - except nobody else knew yet lol He came to Norway to get away from the craziness in London and they had a number one hit here, and so Gary moved the craziness to Norway. When he went back to London .once again he concentrated on his acting career, but got into heroin in a big way unfortunately. Happens to lots of people
Gary died under mysterious circumstances. The case into his death is still open. He died of an alcohol and heroin overdose, but there was no equipment at the flat where he died, that you would expect to find when a heroin addict takes a huge amount and is unconscious within minutes. So I obviously had to keep to the actual truth about this in Garys book, but I have used the autopsy report as the plot for a fiction. I can then play around with what could have happened....
Tragic the tool drugs take on creative people, but his top hat was epic! like a straight dandy! I know ACDC wanted him as front man! Gary kinda reminds me of the current bloke He was definitely a dandy. ACDC wanted him when Bon Scott died. Yeah Gary was really excited about it. I'll ask Glen who has the tracks they did together back then when I see him next.
the week before he came to Norway. Anyway I didn't have a phone at home back then, and neither did Sid. Mates of Casino from Trondheim would visit him in London. Cas said there was a stream of them all the time. He would take them to the Warrington Pub down the road where everyone used to drink, The speakeasy, The Marquee Club etc and introduce his friends to Lemmy and Sid and a host of punk bands such as The Damned and Souxsie etc. Anyway Sid would grab them and send messages to me.When Cas moved back to Norway we caught up and he introduced me to Gary, who was over to lay down some tracks for their first single and album. So I know you were around a lot of punkers and the "HMK" were actually an original protopunk band A garage hard rock band with a madman at the mic! In the vein of "ACDC"or A pub rock band ,is that a fair analogy? I can see A type of Johnny Rotten approach to the mic by Gary years before, Mr. Rotten took the mic as A frontman. I didn't know the "HMK's" back then. Gary spoke Cool I could see him fronting the band ACDC , about them being the greatest band in the world, but and honestly too me "Heavy Metal Kids"blow they never came to fruition. Shame really because they "ACDC"AWAY! I know I know blasphemy! LoL are great. Yeah HMKs are more of a rock band in my opinion. Still going stong too When Gary was told the date for the meeting with "ACDC"he thought it was a sign from above. It was ei- Teddie x ther the anniversary for Scotts death or his birthday, -Mike Spent not sure. Anyway he walks in carrying a crate of whiskey or Brandy, he was late and a bit drunk and hung over. He'd been told the job was his - it was just a question come meeting up and they'd be awed by his talent. He is very much like the guy who finally was chosen. "ACDC" didn't want another alcoholic frontman. Gary was gutted. So how did you and Gary get acquainted exactly? i know cos i read the book but pls tell my readers! cos the tie in is great! Another favorite band of mine comes into play here! I knew Casino Steel, keyboards in The Boys. I got to know Casino through Sid Vicious. Sid moved to Maida Vale and lived down the road from Cas in an apartment Malcolm McLaren got for him. Before that he lived in a squat with John Lydon, Jah Wobble and another John I can't remember his surname. Sid moved
ANTI: DANNY DEAN DeямБes the System
You were involved in the early Los Angeles punk scene circa 1980, what was your involvement in that scene and how did music influence your youth?
incredible that we were so young and we're looking at real life situations and the worldâ€™s problems to draw from, and to have some very extreme song ideas. The other kids around us wouldn't even consider thinking about the subjects that we're I formed the hardcore punk band anti in late 1979 writing about, we were writing about the things and it lasted to late 1983. It just so happens that I that were going on around us a in the world. 1979 was in high school from 1979 to 1983. Music was to 1983 happen to be the years I was in high a huge influence on my life it changed it for the school and I think I was probably the only one in better. Before I got involved in music, I didn't reANTI that actually graduated high school. The ally have that many interest just science fiction, bands members were true real life punks, dropcomic books, going to sci-fi conventions. outs, outcasts, social rejects. We were the rejects I was an only child raised by a single parent who a society and punk rock music seemed to suit us. was never around and when she was, she was alThat's probably helped our music come across so ways ill. So I pretty much had run of the streets well because we had lots soul and it came from the all the time I came and went as I pleased, never heart. Nothing contrived. Itâ€™s no wonder why for really had anyone telling me what I could or a little while became a template for lots of bands couldn't do. I had to learn a lot of things the hard to follow, I have met so many musicians that said way being that I didn't have a father figure. My anti was there number one influence when they grandfather came and went and he would stay started playing punk music, that's an honor I with us a few months at a time he was pretty think, But the band was never very happy with its much a gypsy work for himself when he felt like sound. working, he was his own boss. Both my parents never graduated high school. So when you're a Were you comfortable with the peace punk kid and you bring home a good report card and label? your parents don't really care, you think whatâ€™s ANTI was never meant to be a peace punk movethe point if no one cares. ment band, but a lot of people thought we were, Before I got into music I was hanging out on the ANTI has always been on the fence on many substreets getting in the street fights, science fiction jects, in the beginning Anti was Gary kale and mycomics kind of got me out of the streets it gave me self writing the songs than, Steve Acosta came an escape from the harsh reality that I had. I came along to sing so we had three different points of from one of the poorest families at my school. But view in area of writing. it was at a sci-fi con that I found inspiration. PeoWe were aware of the peace punk movement and ple at the cons were very positive very optimistic peace punk bands, I believe Crass was a popular and ahead of their time in thinking, they felt the one that Gary liked, and the fall was one of his faworld could be a new and better place for everyvorites. I think back then I had a lot of influences one. from 50's rockabilly to 60' surf, I really enjoyed How did the pivotal ANTI define the peace the English punk bands like the clash, Stiff Little punk movement and what was the reaction Fingers, and 999, the Damned, Buzzcocks, Generto that movement within the scene? ation X, the Jam, Sex Pistols, and American punk bands like DOA, the Alley Cats, the Gears, the From 1979 to 1983 ANTI had four different people Zero's, the Avengers, and Bad Religion. writing songs in the band and that's a what gave us versatility in its lyric writing. I think it's pretty
In the beginning, ANTI in fact did a few peace rally shows for activists. We had three different people writing the songs in many different directions, you had songs about being against the war, songs about being a soldier in the war. ANTI never set any boundaries as far as our views in writing, we always looked at many different views in other words, we were all over the map as far as attitudes and expressions of ideas because not everybody is the same. But for some reason the other guys in the band didn't like him and I was forced to fire him, I thought it was a big mistake, but when it came time to record the first album, Gary Kail said we had to speed things up to be more like the Germs, Circle Jerks and Bad Religion. The new ANTI album "OLD GUNS NEW WAR" due out in 2014, I am recording 20 old ANTI songs remolded and revamped to what I thought they should have sounded like, after this release I have plans to cut 40 more tracks for the next two records.
Running a record label, especially one with intentions to promote the nonmainstream, is difficult. How did your label form and what led to the dissolution? New underground records was formed late 1980 or early 1981 out of necessity, because the other punk and indie labels were not interested in signing ANTI, posh boy, frontier records, mystic records, byo, epitaph, new alliance, and SST all started around the same time and all seem to have a click of bands on their labels. ANTI was getting some airplay on Rodney on the ROQ and a few college stations, we had pressed some acid tape singles and them around to the college's radio stations to play.
No, it wasn't like that for us ever on any level, no one except for Mike Watt's knowledge did anything for us, a lot of people back them didn't understand what punk was. The thought we were all crazy for making this music, I remember people What types of gang violence surrounded hated it and didn't want to know you. Immediateyour upbringing, as a â€œGhetto Defenderâ€?, ly we were alienated. Everything from beginning what did you do? to end was up to us, even booking shows and makFor a short while I was involved in many Street ing t-shirts to sell, anything and everything was fights, these gangs would just come up on you done by you and you alone no help from anywithout warning, and they didnâ€™t suspect that they where. had fallen into my traps must of the time. EvenWhen I have told musicians that have had everytually I figured out ways to plot them against each thing done for them and all they did was worry other, and sometimes made anonymous calls to about writing the songs, they say they would have the police to give them updates on their activities. never have done all that work for their music. We It was wrong but I hated the gangs and someone had conviction, we were going to release this alneeded to stand up against them, I was so lucky I bum and many more on our own label whether wasn't killed, but for a short while the streets the world liked it or not, there was no stopping us. where I lived felt safe. We had plans to do many releases. We wanted to I was like a pre-Neighborhood Watch, before that help change the way people thought, we wanted to existed. Eventually the gangs figured out what was offer them an alternative to the crap they were going on and put a bounty out on me. A gang of playing on the radio that the corporate labels about 40 members hunted me down one afterwhere forcing the world to hear. We wanted to noon and beat me unconscious with bats, I ended inspire others that there is something else to lisup in the hospital for a while with amnesia I was ten to, that had a message to it, that they have a so lucky I wasn't killed . The whole thing was like choice. scenes from death wish, or kick ass movie. -Kevin McGovern 2013
the Environmental Protection Administration and saw that the positivist paradigm did not account for multidimensional phenomena. I enlisted the help of an expert in parapsychology and ET studies, and left government. By the summer of 1973 I had published my first book in the field of Exopolitics. By 1977 I was the director of the proposed Jimmy Carter White House extraterrestrial communications study. Were extraterrestrials and UFOs discussed in your work within our government or the UN? Did you have an experience ? I’m curious as to why and how became so important to you. UFOs are part of the data base of Exopolitics, although by no means the exclusive data base for evidence of intelligent civilizations in the multiverse. There is a 15 or 16 part data base that Exopolitical scientists use in researching the reality of intelligent life elsewhere in the multiverse, including for example statement from whistleblowers from secret govt-ET liaison programs. Early on in my Exopolitical career in February 1973, I had a multi-dimensional experience where I actually experience the phenomenon I was studying, so from that point on I knew the phenomenon was "real" - and therefore an important part of my future life. Do you possess inside knowledge of extraterrestrial life or beings?
My conversation began once I finished interviewing Andrew D. Basiago, he mentioned Alfred to me. I was seriously intrigued. A man with such credentials making claims of time travel UFOs and government cover-ups! I had to speak with him. He is a gentleman truly a peaceful dominant force in his field, please get too know him and his work – Mike Spent Is Exopolitics your creation? How did it evolve? Formally, the science of Exopolitics was first named in my 2000 online book Exopolitics: A Decade of Contact. In my own Exopolitics began in 1973, when I was NYC General Counsel of
Well, I am not sure what mean by inside knowledge of extraterrestrial life or beings? However (1) I have experienced directly inter-dimensional space craft (2) I have interacted directly with advanced inter- dimensional beings. In addition, I have studied extraterrestrial life and advanced intelligent life in the multiverse for 40 years. ET disclosure has been happening for aeons, through ancient alien visitations, in modern times through ET contactees, over flights, and secret govt liaison programs. For an intelligent discussion, see When will extraterrestrial "disclosure" or contact in the public domain happen? Below is the link to a recent article of mine (now republished in Australia) that analyzes the evidence and probabilities of official extraterrestrial “disclosure,” or of human society’s experiencing open contact in the public domain with extraterrestrial or hyperdimensional civilizations. Secret, compartmentalized human-extraterrestrial liaison programs between the U.S. government and specific extraterrestrial and hyper dimensional civilizations have existed for decades. By official “disclosure” is meant an authoritative statement by a head of state in ongoing communication with an extraterrestrial or hyper dimensional civilization. Open contact in the public domain is defined as public, consensual diplomatic relations between an extraterrestrial or hyper dimensional civilization and a national government, international institution such as the United Nations, or citizenbased group publicly recognized by an extraterrestrial or hyper dimensional civilization.
Did you also go to Mars or work behind the scenes with our Black Ops? As you know, my 2000 book Exopolitics founded the science of relations among intelligent civilizations in the multiverse. Cambridge-educated former U.S. chrononaut Andrew D. Basiago has revealed that in 1971 DARPA/CIA time traveled my 2005 book Exopolitics: Politics, Government Law in the Universe back to 1971, when as an environmental lawyer, I was unwittingly examined by a group of 50 CIA and DARPA officials who knew I would be a leading future Extraterrestrial and time travel whistleblower, and would become the developer of the Exopolitics and Dimensional Ecology models of the multiverse. With regard to the CIA Mars program, I became the first journalist to break the story that Barack Obama had gone to Mars, based on whistleblowing by former US chrononauts Andy Basiago and Brett Stillings. Andy first saw my name in 1971 when he witnessed my book EXOPOLITICS as he was a project participant of Project Pegasus and they showed him the copy of my book the CIA and DARPA had time traveled back in time from 2005 (when it was published ) to 1971 Then in real time Andy and I met in the year 2000 when he was researching his story. Andy and I were part of an online group researching mind control. We were introduced and Andy contacted me and asked me to be part of an informal group helping him reconstruct his experiences. At one level, the 1953 CIA Robertson panel (Durant Report) decreed that any mention of Extraterrestrial life in government, science, academia, public discourse, media, and education had to be accompanied by ridicule. This has crippled the public's access to information and understanding about the dimensional ecology of intelligence in the multiverse and the facts that the multiverse is highly populated and organized. You are a very credible source as an American success story an academic Fulbright Scholar and an NGO leader, what you are telling me is completely outside the social norm and very brave of you to do. So from 1971 until 2005 I was subjected to what I call time travel surveillance by the CIA, with great intrusions into my personal life by the national security state, and I could not figure out why I was such a person of interest to the national security state. Finally after 2005 when my book EXOPOLITICS was published Andy and I put the puzzle together. We figured out that my time travel surveillance by CIA/DARPA began in 1971, when CIA time travel had a copy of my future book back from 2005 and may have been using time travel surveillance through
chronovision or some other technology all of the time……..
In researching your work I found in Wikipedia a comment about Canada, being a Zionist state and the Queen abducting children in 1964 -were you aware that is posted in the internet via Wikipedia? I know some controversy happened in Canada with your comment on the Prime Minister ,does that have to do with being an enemy of the state? As a matter of fact Paul Hellyer, former Deputy Prime Minister of Canada endorsed and wrote a lengthy introduction to my book Exopolitics. Like it or not the Palestinians are in genocide! Is it going on? Yes, it is a war crime in my eyes too. I’m not for terrorism but for human rights. They are being oppressed not unlike other cultures do all across this globe we call Earth. We all know in polite circles Zionism is discussed and it can cause a media hell storm and be twisted to cause hate and racism ,but it is a political system not unlike apartheid, not a bash on a race or a religion- do you agree? Yes - I would agree - It is a political philosophy and has nothing to do with the Judaic religion or race. The genocide of the Palestinians 1948- present is well documented even by an Israeli historian in a recent book THE ETHNIC CLEANSING OF PALESTINE. I am of Jewish heritage on my mother’s side her family fled Germany! Alfred I am a PROUD mixed raced Mexican American have I experienced prejudice in America due to my skin color and stereotype - do I love my country?-YES and is oppression correct ? –NO… but it occurs The ethnic cleansing of Palestine was commenced in 1948 under an Israeli plan called Plan Dalet and involved the intentional mass destruction of Palestinian villages and massacre or deporting of millions of Palestinians, all documented, It is one of the major cover-ups in modern history. The current case we are dealing with at the Kuala Lumpur War Crimes Tribunal is an indictment
of Israel for war crimes in Palestine 1948 to the present. I was in Kuala Lumpur in the courtroom 30 days ago dealing with this issue.
Can you tell us about growing up in Cuba, was your family strongly anti-Communist? I’m assuming they left due to Castro ,can you please explain this?
Cuba understands the oppression of Palestine ! But being Communist that fact is over looked ! but i applaud their integrity as a nation am i Communist? No, I believe that we can find good in all religions and political systems. I am openminded and I do not let buzzwords blind me and keep me divided. I find common ground and look for unity…Can we discuss president Obama and his military space program?
I was born of an Louisiana-French father (Webre) and a CubanCanadian/American mother (Chisholm) at the US Naval Air Station in Pensacola Fla in May 1942, during WWII. My two grandfathers were in the sugar business together in Cuba and had toasted my mother's birth at the American Club in Havana, and hope that the Chisholm daughter would marry the Webre son which they did.
Certainly, Space is the military high ground and the last frontier for the war industry to develop weapons and make profit so that is the impetus for space weapons. The Outer Space Treaty prohibits the basing of nuclear weapons in space The US has successfully blocked the Space Preservation Treaty to ban all space-based weapons .
Fidel Castro played basketball with one of my uncles growing up in Havana and Castro would come to my grandmother's house for Sunday dinner while in high school, as one of my uncles was the rector of the high school. I was educated both in Cuba and at boarding schools in the USA.
Is it very bothersome for you, to see this president go forward like he does?
You were in a family of means ,did your family flee after the revolution? Revolutions are complex things. My father gave $30,000 to the Cuban revolution while Castro was in the hills. One of my brothers went back to Cuba and worked for the Venceremos brigades and met Che and Fidel doing so. My bother Septime Webre is Artistic Director of the Washington Ballet and during the Clinton years took the ballet to Cuba at the invitation of Alicia Lonso of the Cuban ballet and had a national tour in Cuba to great success. Did they flee? Do you have the real story on the U.S. led failed coup? Can you tell us about Kennedy and the revolution? So my family did not "flee" Cuba. We left initially after the August 1960 expropriation and I left and went off to university life at Yale. But my brothers have continued to go back.
The original draft of the Space Preservation Act and Treaty banned HAARP and chemtrails space-based weapon of mass destruction I have written many things about Obama, which your readers should have the benefit of seeing. You have worked within the political system as a nongovernmental advocate but worked closely with federal state and international systems. It seems to me Alfred our 2 party system is mere theatre, am i too cynical? Mike…yes…in a way the 2 party system is a much more difficult tyranny to deconstruct than the one-party system, because in reality the powers that be run both parties, and the 2 party systems serves up a moving target. As we have shown, all Presidents since Bush Sr. have been pre-identified by CIA time travel therefore all elections are functionally an Orwellian charade.
I have many friends from Cuba who were in the Bay of Pigs invasion, and I had many friends who were back in Cuba on the revolution side. My understanding is that the CIA policy was essentially made by (1) the MAFIA which wanted Havana back as the drug and gambling destination for US tourists (2) there was a geopolitical struggle between Russia and USA for Cuba. Fidel Castro's sister Juanita got me out of a Castro jail in Cuba (that was before she became a CIA agent, BTW). 10+ Policies for a Positive Future 1. Extraterrestrial disclosure A full public disclosure of the presence of intelligent civilizations in Earth’s environment and a global referendum as to whether and on what conditions humanity should enter into relations with organized multiverse society, including a worldsponsored Mars Protection Treaty. 2. Criminalization of the war industry - A criminalization of and global ban on war and armed conflict as a dispute resolution method. A permanent ban on the design, production, or sale of weapons systems, including
nuclear weapons, space-based weapons, and conventional weapons. A permanent ban on the maintenance of offensive armed forces. Imposition of heavy criminal penalties for violation and astronomical fines, for individuals, organizations, and nations. 3. Criminal Prosecution and Conviction of War Crimes Racketeering Organization and Restorative Justice for War Crimes Victims - Criminalization and rigorous prosecution of the international war crimes racketeering organization for a planning and implementing a genocidal depopulation program, including: (a) planning and triggering wars and armed conflicts through false flag operations; (b) regional and global radiation genocide and ecocide through depleted uranium (DU) and the nuclear agenda; (c) planning and implementing environmental war attacks including geo-engineering, weather warfare, HAARP, chemtrails, and scalar weapons robotization and genocide of humanity, famine, GMO foods, DNA manipulation and more; (d) Carrying out a program of assassination and Cointelpro terror against activists, researchers and social inventors in the multiple areas of peace research; new energy; food and nutrition; radiation; democracy and electoral politics; (e) Carrying out as DOPE INC. a lethal, 300 hundred year old conspiracy to addict humanity to narcotics and to criminalize useful substances such as hemp for profit and enslavement. There is no statute of limitations on murder. Imposition of heavy criminal penalties for violation and astronomical fines, for individuals, organizations, and nations. 4. Implementation of teleportation as a global, national, regional and local transportation system, replacing polluting fossil fuel vehicles (trains, buses, trucks, autos) and their intensive land use in highways, railways, and urban freeways, as well as of a regulated time travel public education program. New free energy technology – Public implementation and rollout of sequestered of free energy technologies for powering dwellings, human settlements, industry, transport and propulsion, communication and many other areas. 5. Recognition of Animals as sentient beings with rights - Worldwide grant of personhood rights to animals with concomitant rights against murder, slaughter, torture, and cruel and inhumane treatment. Special intelligent civilization status for cetaceans including whales and dolphins. Development of healthy, safe, tasty protein meat substitutes for humanity's consumption and nutrition. 6. World Debt Forgiveness – Global forgiveness of all public and private debts – a world bankruptcy for a bankrupt system and an end to the debt – fiat money prison system. Criminalization of charging interest on money and of fractional reserve lending. 7. Reinvention of money as a human right and public utility like air, water or electricity available for creative investment at public money utilities. A global ban on privately controlled central banks like the “U.S. Federal Reserve System” and on privately owned commercial banks. Licensing of consumer cooperatively owned banks. Imposition of heavy criminal penalties for violation and astronomical fines, for individuals, organizations, and nations. 8. Social guarantees in the form of annual income, health care, and elementary, secondary, and
post-secondary education for every person on the planet, for life. Funded by universal state pools, tax on all financial transactions and by post graduation contributions to education plan, and more. Implementation of traditional and alternative, as well as advanced extraterrestrial medical technologies. 9. Secure Online Direct Democracy at the local, regional, national, and global level - Secure virtual technology now permits the implementation of Swiss canton democracy worldwide. There is no more need for intermediaries such as City Councils, State or Provincial Legislatures, National Parliaments or Congresses, or even, ultimately in time, a gathering of nations such as the United Nations. Experience over the centuries has shown that the powers that be buy off all intermediaries. Direct virtual democracy adapts secure virtual technologies and provides virtual hack-proof citizen voting at the municipal, provincial/state, regional, national, and world level. Under direct virtual democracy, the entire city votes on municipal laws; the entire nation votes on national laws; the world population votes on global standards, all duly informed by government staff at the respective local, national and world level. Municipal Government, for example, is tasked with efficiently picking up the garbage and managing the city according to the laws passed by local virtual democracy. 10. Disenfranchisement of the state power of monarchies and religions worldwide – The UK monarchy and the Vatican are examples of the abuses that occur when two institutions based on non-democratic principles (Divine Right of Kings and Popes) are given established state rights in a modern democratic world. 11. More – Please feel free to suggest more key policies. As our mutual legacy we can develop and implement these 10+ Policies for a Positive Future at the local, regional, national, UN, global, and multiversal levels. These are some of key policies for a future sustainable, free, and thriving multi-dimensional world. Will you support us in this effort and assist in our mutual work toward these goals? If you are interested, you can email us at email@example.com. Thank you Mike Spent, 2013
Record Reviews Brian James: Chateau Brian The legendary guitar slinger behind the Damned and Lords of the New Church makes his mark in the new decade. This album is ﬁlled with acousc introspecon and the skillfully craed work of an extraordinary musician and songwriter. With a brilliantly executed bar stool meditaon that embraces classic blues and edgy rock inﬂuences, the lights are dim and the feelings vibrate loudly. I hear anguish and loss among the ruins with a look towards the past and the present state of aﬀairs in the heart of Brian James. I would say this CD exposes Brian James as the man, not the “myth”. It exposes his soul like a ﬁne French wine. This old school recording contains tracks performed in one take, with raw and naked warmth. In the ﬂesh and quite contagious in its delivery of sordid goods. My fave tracks are : STARING AT ME, TRIPTINA, MOAN MOAN MOAN, and STARING AT ME
the DOGS, are an AMERICAN ORIGINAL. They resurrect the sounds of fury from the graves of the MC5, the STOOGES, and even BROWNSVILLE STATION! They pay homage to all the original DETRIOT BANDS in the track "MOTOR CITY FEVER", the name says it all ! Every Rock City inﬂuence is completely obliterated in this smoking tour de force. My fave tracks are "YOU CANT CATCH ME" "SLASH YOUR FACE" and BEATIN THE FLOOR"(which reminds me of The Stooges Classic, Cock in my Pocket). BEATIN THE FLOOR is personal fave. I am seriously diggin’ these lyrics, "driving down the street going 90 miles an hour", now that’s what is what i like to do! Punk and roll at its best so BUY THIS CD! The DOGS logo is a sick 70s graphic… dig the DOGS! I almost forgot, PUNK ROCK HOLIDAY and its lyrics "got nothing to lose and some ones gonna pay the price!” My personal anthem!
HONEY BANE: "ACCEPTANCE of EXISTENCE" CD
If you love acousc JOHNNY THUNDERS then you will also LOVE THIS ONE! Unlike J THUNDERS we don't have to put our arms around a memory because BRIAN JAMES IS HERE TOO STAY! GO BUY THIS CD! – Mike Spent
This release is existenal post punk atmospheric dub, with the twisted sensuality that only HONEY BANE exudes! Brilliant while relevant in its musical execuon, I love the enre mind-blowing output! My personal fave is VIOLENCE GREW. The album opener, "The Right Thing To Do!" echoes her THE DOGS: CRASS years. Classic teen-angst and vocal rants in free form “HYPERSENSITIVE” CD for your rock n roll ﬁx! New soon to be classics include: DONT TELL ME!, WHO's HELL AM I IN?, and YA GOT ME ALL This 3-piece proto punk WRONG (this song starts out with a folkie kind of 70s so band formed in the vintage rock vibe and enters into HONEY BANE telling it like it is in a year of 1969! What can i say very sexy way!) I was relaxing to the CD in a twisted kinda each song rules… Track one "SLASH YOUR FACE" starts out HONEY BANE way! I dig the artwork of the cover too! BUY like a classic 1970s acid rock song that morphs into a punk n IT! TRY IT! LIKE IT! I deﬁnitely do… roll explosion ﬂawlessly. Sophiscated punk rock pioneers,
LADY JUSTICE They blindfold Lady Justice so she canâ€™t see the money so blatantly changing hands. Lady Justice is just a figurehead, a statue posed and frozen suggesting an ideal, a permanent beauty, an essence independent of our senses, an essence weâ€™ve all been told over and over again since Kindergarten, is the chaste foundation of our freedom in this, the Greatest Nation in the History of the World. But this essence is no longer where they told us it was. Justice is a decoy floating around out there on the surface of the water meandering across a lake somewhere to make sure our guns are pointed far offshore. Lady Justice is just a decoy, so imposing in her hollow emptiness, so commercially enticing in her posture and in her stance that trade necessarily burgeons in her wake. On the street, a lemonade stand stood between the Lady and the painted whore squeezing lemons in the shade provided by the folds of the Ladyâ€™s marble robes.
And a gang of sirens sang the song fit for their collective voice so sweetly beckoning in the ships to their own-steered destruction. And whenever a ship comes in, the minions that circle out around behind her name and the shadows of her robes —these minions scamper out like so many malformed and maladjusted rats and crabs, drooling and wild, gathering up the faceless gold and the scraps of fish meat fallen from seagulls’ beaks a moment or so prior to their own riot. Lawyers are nothing more than Latin-speaking rat crabs, sucking on dead meat so they might imagine life while packing their own dead rectums full of broken gold and pink slips for slaves; and the judges, they are nothing more than retired lawyers. In fact, the toilets in every judge’s chamber are emblazoned with an image of Lady Justice at the back of the bowl so the Honorable Ones —when they evacuate themselves— remember their purpose as defined in their mission statements and so written in the mandate of the people who have the money. Further, in part due to advances in technology, and in part due to essential developments in the availability of Justice, changes have been made to the state-sanctioned images of Lady Justice available for public consumption.
The new and improved Lady Justice will now be wearing, in addition to Her traditional blindfold, earplugs, a ball gag, handcuffs, shackles, butt-plug, wrist and ankle restraints, nipple clamps, collar and leash, and will be available in several costume and lingerie options. Also, private, one-way mirrored booths will be provided at a nominal fee. Point-of-view DVDs are available for just $27.50 at the booth in the lobby on your way out —also find t-shirts, key chains, and phone covers! All two-for-one on Tuesdays. And Lady Justice —as well as Mother Nature— will also be very high, completely doped up, wasted, and given chemical lobotomies, which make them very hot and very horny, and they have both been subjected to appropriate MK-Ultra mind control with literally thousands of chips implanted deep within the folds of the cortexes of their respective brains, so delicate, equestrian, and vain. The new Lady Justice and Mother Nature invite you to join them at their Live Web Cam Channel where anything can happen, literally anything. Visit The Lady and The Mother at RapedJustice.com or at any of your Municipal, County, State, or Federal Courts!
- J.G. Redfern
! s e n u T I n o s e s a e l e r
Interviews with The Adicts, Sympathy For The Record Industry, Henry Rollins, Honey Bane, Nina Antonia, ANTI, Helios Creed, Pinata Protest, D...
Published on Nov 7, 2013
Interviews with The Adicts, Sympathy For The Record Industry, Henry Rollins, Honey Bane, Nina Antonia, ANTI, Helios Creed, Pinata Protest, D...