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I was living in upstate NY when this song got re-released. Suddenly this song that annoyed me when it came out a couple of years earlier was playing all the time on the local college rock station. “Why?” I asked, “Why did I have to live through this song twice?”

If you haven’t heard it, here it is:


I love/hate this song. I actually find the video kind of endearing. They were all older than me then, but they just look like kids having fun now. This song sticks in my head for weeks when I hear it, probably as the result of exposure at an early age.

I hate that whole “funk metal” era of bands though. I hate Primus. I hate Mr. Bungle. I’m ok with Victim’s Family I guess… but was that really the best that Northern California could do? Sadly, it seems that – post-Dead Kennedys and pre-Gilman St -- it was. When the option was seeing a Verbal Abuse/Fang bill again, well, I would have gone to the Verbal Abuse show, but I could see why others wouldn’t. But if I want some “funk” mixed in with my rock, I’ll go listen to a Big Boys record any day.

Supposedly this was some kind of statement/parody of “Live Aid” but it’s pretty incomprehensible at this day and time in 2011. Wanna hear the best “Live Aid”/”We are the World” parody?



You’re welcome. (The Steve Perry part is my favorite visual. But long-time readers probably assumed that.)

“We Care a Lot” did give of the theme for on of my favorite shows, “Dirty Jobs” so for that we should be grateful I guess.

The B Side is unlistenable. I don’t even know where this came from. It has no sleeve so I think it was in a free pile somewhere.

Rating: Don’t make me listen to this again. Even Amoeba won’t take it.
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First, I have to say that this era of UK leftist, feminist post-punk is one of my all-time favorite punk sub-genres. Bands like Au Pairs, Gang of Four, Delta 5, etc. were involved in – or paid lip service to*-- the anti-Thatcher political movements of the day, at least in my view 8000 miles away in California. The music was more jagged, still treble-y like punk is supposed to be, but not as scared of the bass as most punk, before or since. The lyrics of the songs of this era were some of the most astute ever written for pop music, and many would still resonate today if they were set to an electronic beat and auto-tuned.**

This 7” is Au Pairs first release but I didn’t pick it up, or hear it until the mid-‘90s sometime. I won’t say it’s my favorite record of theirs, but I do love it. What it lacks in their later lyrical and musical development, it makes up for in shear enthusiasm.

Unlike their other records, the mix makes the lyrics harder to understand so I always listen to this record for the overall sound. That said, I never knew what “Kerb Crawler” meant until I went to England. I had always assumed it meant (ala Tragic Mulatto) a “creep in the streets” instead of a guy cruising around in his car trying to solicit sex from women. Oh English slang, you confuse us American punk wanna-bees. For years we though the Sex Pistols wanted us to get angry, not drunk, with the lyric “Get pissed… destroy!”

Here’s “You”. I love that so many youtube vids show the actual 7” sleeves!


Rating: I love it, but it was just a warm-up for the great records that were to come.


*which, really is all you can expect in a pop band. Thank you Miley Cyrus.
**I like electronic beats and a lot of auto-tune so don't read that as snarky.
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I love this shot. It helps that we had just vacuumed the hall and stairs. He's so thoughtful

Pensive Schnitzel
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This is a Spanish language political hardcore split, Los Crudos from Chicago and Huasipungo from NYC. I hadn’t listened to this in years but I remember this being pretty amazing when it came out. Listening to it for the first time in a decade, I can say that the Los Crudos side is awesome, Martin at his hardcore screaming best. There’s always one side of a split that you gravitate to –even if it’s purely subjective (for me: Blatz over Filth, Code of Honor over Sick Pleasure, Dicks over Big Boys etc.)– and the Crudos side is the one I always played first. And yes, I’ll sing along phonetically.

I herniated a disc in my neck and missed the Los Crudos show at Epicenter that I was supposed to help put on. It was a show for our anniversary week and – I heard – one of the most amazing shows I ever missed. That and the Minutemen/Husker Du/Meat Puppets show that I missed due to emergency wisdom tooth surgery are two of my biggest punk show regrets. I’ve seen martin in other bands, but this – by all accounts – was something special.

And the record was something special too. Much like riot grrrl and queer punk, Latino punk in the early-mid ‘90s de-centered the white male hetero hardcore world. * To me, that was exciting. To others, less so. MRR often had scene reports from Spanish-speaking countries to be sure – and L.A. had the Suicidals – but Latino punks in big urban areas singing Spanish-language punk ostensibly to a Spanish-speaking audience: this was new.
Records like this and Latino punk shows also underlined how relatively privileged the punk scene in the mid-‘90s could be. Immigrant (or children of immigrant) punks who may or may not be legally in the country, have different and more pressing issues than the average backpack-wearing scenester of the time. Could the two scenes exist as one? One Epicenter Collective member asked if it was ok to print out fliers for that Los Crudos gig in Spanish and distribute them in non-English-speaking punk areas of the Mission. People were super enthusiastic, but it underlined the distance –even though he was a collective member putting on the show, he didn’t feel comfortable enough to do that without seeking the permission of the whole group.

Either way, if one listened to this brand of HC at that time, there is no denying that Crudos was among the best band of the time


Huasipungo is pretty good too, don’t get me wrong. Though when I read the lyrics for my favorite song “Tacones Altos”I was disappointed to see that it was one of those criticizing women for wearing makeup/certain clothes etc. that just never works when a man sings it. I actually don’t know much about Huasipungo, never saw them back in the day or anything. I see that they actually still have a website and keep it updated.

Rating: Important record that I pretty much never listen to.

* and there is overlap among all three of these genres, of course.
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One x-mas, soon after high school, a friend was trying to figure out what to bring to a party as presents for everyone. This was our punk rock/metal crowd. Contrary to our genre, we had a holiday part every year that included someone in a santa costume, gifts, eggnog, and loud music (mostly X, Mojo Nixon, and Johnny Cash, if memory serves).

These weren’t expensive presents, mind you. One year a certain member of our group got about 10 frames for a dollar at the thrift store and cut out pictures from album liner notes and framed them (I got a nice pic from Kiss “It’s Alive II”) The next year he outdid himself when he managed to find about 15 copies of this single and give one out to everyone.

We listened to it a lot that night, but I’m not sure I’ve pulled it out in the last couple of decades.

“Hair of the Dog” is as much of a classic as Scottish metal can be. Tough guy rock that doesn’t sound tough at all 35 years later. It’s the kind of thing that makes you feel like a teen-age badass when you sing along, even if you are singing along ironically and not a bad-ass at all.* “Now you're messing with a son of a bitch” indeed.



One of the things about punk rock that made me fall in love was that the lyrics tended to make real life sense. Whether I was actually going to “sniff some glue” or “lynch the landlord” those things were more accessible in one’s daily travels than the lyrics for “Holiday”, the b-side of this record.

Not to be confused with the Sex Pistols song with holiday in the title – the most prescient critique of capitalism and imperialism ever sneered in the history of punk – (“Cheap holiday in other people’s misery… I don’t want a holiday in the sun, I wanna go to the new Belsen”) “Holiday” by Nazareth has more of a written-in-the-back-of-a-tour-bus-because-that’s-what-rock-stars-are-supposed-to-do feel about it.

”Mama, mama, please no more jaguars
I don't want to be a pop star
Mama, mama, please no more deckhands
I don't wanna be a sailor man
Mama, mama, please no more facelifts
I just don't know which one you is
Mama, mama, please no more husbands
I don't know who my daddy is.”


Rating: One person’s classic is another’s 5 minutes of catchy irony

*it should be noted that some of my friends were bad-asses. You know, just for the record
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Ok, I love this band. I actually think they may be San Francisco’s most underrated band from this era. That said, this isn’t my favorite record of theirs. They hadn’t really fully gotten their sound together yet in this first 7”.

“The Suspect” is a litany of excuses, one after another until the singer finally can’t take it and yells, “I’m telling you it isn’t my fault”. It has an amusing line or two – the singer had to watch his little brother because he, “you know, didn’t want him turning into a little creep on the street” – but it sounds like a less funny version of The Inflatable Boy Clams great song “I’m Sorry” which was released in SF two years earlier.

“No Juice” is a better, more original song, heavier on their saxophone accents and with too many lyrics crammed into frustrated stanzas. Again, frustration builds until a whole chorus chants “I don’t, I don’t like, I don’t like your little club!” At least that’s what I think they are saying. Internet paranoia led me to try to confirm and I couldn’t. An argument could be made that he doesn’t like “You, little bug!” or even “Your little pug.”



Their full length (well, it’s a 12” but if I remember, it only lasts about 20-25 minutes) “Judo for the Blind” released the next year is a classic which would remind any San Franciscan of condemmed beer vats, cheap rent, and the 1984 Democratic Convention. This 7” only hints at the greatness to come.

Rating: I still love it, but would have a hard time explaining why to others.
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Windy Day Schnitzel!
windy schnitzel
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Schnitzel in Fall
Schnitzel in Fall
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This is from some small Swedish label called “Really fast Records” and I remember that even though I had been a big Avengers fan I had never heard these songs before I bought this 7”. Amusingly, I was looking this up on the internet to see if this was actually a legit release and Penelope Houston, the singer, admitted that she couldn’t remember writing or singing the b-side so I didn’t feel too bad.

I as too young to have seen the Avengers in their first go-round, but I did catch on of their first mid-90s reunion shows. I will defend a lot of their songs – and the “American in Me” 12” is a great record – but I can see why this 7” hadn’t surfaced until almost two decades later. At that reunion show I was thinking how awesome it would have been if they had just changed the lyrics slightly to “I was a Teenage Rebel”. Because, I’m sorry, once you hit 21* it’s a little sad to be singing songs as a teen-ager. I’d include other bands in this too (“Bored Teenagers” by the Adverts, “Teenage Underground” by the Red Rockers etc.).

Here are some of the lyrics:
“Cause I'm a rebel
rebel, rebel, rebel, rebel, rebel, rebel,
rebel, rebel, rebel, rebel, rebel, rebel,
a teenage rebel “

Music by the Avengers but this is someone’s art school video project so no one in the vid is connected to the band

No shame in singing that as a teenager. Hell, it’s a fun teenage rebellion and if I was still trapped at my parents’ house I would totally be singing along right now. But, as an adult…

“Friends” sounds like pretty good mid-tempo Avengers but I swear I listened to this about five times in a row and have nothing intelligent to say about it. Sorry.

Rating: Great for when you are alone in the house and want to pretend that you are 15

Bonus: this is a band called “Strike” doing a totally different song called “Teenage Rebel” which is much more fun that the versions of the Avengers song I managed to find on youtube.


*I’ll allow that year 20 because you can’t legally drink.
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We tried to find the same tree. Unfortunately, I didn’t study the pose well enough.

Schnitzel, me, and a redwood tree 2011
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Schnitzel, me, and a redwood tree 2010
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I think that the vacation food alone deserves its own post

Early Girl dry-farmed tomatoes. Stagey said they are the best she’s had since West Texas
Tomato time

A Belgian-style farmhouse ale from Vermont that was pure awesome, especially when drunk in a hot tub
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What’s not to love about potatoes or broccoli?
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Super expensive steaks in mustard marinade:
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Texan cooking steak, as those people are wont to do
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Hungy
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OMG, vacation did me good. I haven’t taken a real, not-working-on-another-project vacation for a long time. I hung out with Stagey, played with Schnitzel in the river, cooked lots of food and read four books.

This was our view:
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Schnitzel kept busy by securing the perimeter.

South Side secure!
South side secure!

West side secure!
West side secure!

He also enjoyed howling at the workmen next door
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and I kept busy pulling stuff out of his beard.
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Group of Individuals “World Civil War/Police Beat”

OMG, it has been so long since I listened to this! This was a 7” put out for the 1986 Anarchist Gathering in Chicago honoring the 100 year anniversary of the Haymarket Riots.* I wasn’t there (in 1986 or 1886), so I’m trying to remember where I got this record. I think I got it when an old comrade gave me a huge pile of old anarchist newspapers and this was tucked in accidently. Not sure though….

Like the Layabouts in Detroit, this was an anarchist band that was trying to have less of a generic punk sound. They didn’t get quite as world-beaty as the Layabouts or the Looters, but they definitely weren’t the ‘80s-anti-Reagan-cookie-cutter-MRR-punk cliché either. This 7” comes with an insert giving a history of Haymarket 1886 that ends with the martyr August Spies’ words, “There will be a time when our silence from the grave will be more powerful than those voices you strangle today!” Sigh.

Anyways, the World Civil War side is a happy and little ditty hopefully proclaiming the start of a World Civil War. Since those voices from the grave are pretty absent in current day discussion, it’s rather hard to share the singer’s optimism that a World Civil War would be a good thing. It is catchy though. You may find yourself walking down the street singing “World civil war, World civil war, World civil war, World civil war, World civil war, World civil war, World civil war, World civil war, World civil waaaaaaaaaaar!”



“Police Beat” is less musically interesting but has more creative lyrics, complaining that the police are “clubbing us like baby seals”. Additionally, “There’s blood on your hands from all of our faces / We get charged with assault in your kangaroo court cases / You’re the aggressor, not the protector/ The court jester’s peace-seeking people molesters”. Clever, if a little wordy.

Amusingly the band name is misspelled on this record as “Group of Inividual’s”.

Rating: Good for an ‘80s nostalgia party

*Thanks again for the 8-hour day, Anarchists!
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(OK, one more review before I lose internet access)

Snakefinger never got his due as a pioneering electro-punk. Connected with Ralph Records and the Residents (who do percussion on the b-side) his songs were crazy and poppy at the same time. They often had a little bit of horror thrown in for good measure though not enough to become a limiting schtick (Like , say, The Misfits after their first records)

If Wikipedia is to be believed, Ralph Records pressed 35,000 of these. That was optimistic! It does explain why I picked up this (blue vinyl no less!) for 25 cents in the ‘90s.

I love “The Spot” as a pop song.


See how catchy it is in a minimalist, late ‘70s art-punk kinda way?

I actually met his daughter while working at Rainbow. She came in wanting a good bottle of champagne for her 21st birthday. I don’t know how it came up, but I was happy that I, one of a handful of people at the store who would know who Snakefinger was, happened to be the one helping her. Never saw her again. I must not have picked out a very good bottle.

“Smelly Tongues” was actually always my favorite side of this record, however. When I lived in upstate NY, I used to hang out with a lot of people who were from the town I went to college in.* It was a nice townie bar for most of the week, but would be inundated by frat boys on the weekends. One of the waitresses hid this 7” on the jukebox under Anne Murray “Dream Lover” and we would play it on the packed nights, driving people crazy. This actually included the bar’s owner who would try to rush out from behind the bar and make it to the back of the room to figure out what was playing so that he could root it out of the jukebox. We would only play it when the bar was packed and he never made it in the 2:29 time frame. Another reason to love punk rock.




Rating: Underrated and worth a listen every once in awhile. Especially around drunk frat boys.


*yes, my college should have taught me not to end a sentence in a preposition. I will honor this by repeating the punch line to one of my favorite jokes. “Ok, where’s the library at, Asshole?”
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UB40 “One in Ten/Present Arms in Dub” 1981
At last we come to 7” that I don’t really know why I kept. It is better listening to it than watching this video for some reason though:



I thought this was profound when I originally bought it. Plus someone I went to high school with claimed to be related to someone in the band so we kinda had to like ‘em. I hadn’t heard a lot of real reggae back then (except on my Bad Brains tape and KALX) so I just kind of accepted this band as is.

Let’s look at the lyrics. Important enough to be printed as the only text on the back of the 7” cover:
I am the one in ten
A number on a list
I am the one in ten
Even though I don’t exist
No-body knows me
But I’m always there
A statistic, a reminder
of a world that doesn’t care


As a teen I thought this was political, cryptic, and smart. As an adult I’m all, “Whaaaaat?”

It would be one thing if the “One in Ten” was in reference to a specific societal malady that they were singing about but other lyrics include a “murderer” and a “middle aged business man with chronic heart disease” so it’s not clear what UB40 were trying to get at in this song. I suppose the credit they got for naming their band after an unemployment form and being an interracial band in Thatcher’s England overrided the actual content on this ‘political” record.

Also, in today’s world, the idea of it being 1 in 10 who are having a hard time would be laughably naïve. Well, actually, it probably was then as well. Sigh.

Side two is a dub version of a song. What can one really say about that?

And I’m sorry, I need to deduct points for the starving child on the cover.

Rating: Will go with me on my next trip to Amoeba. Sorry guys.
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Heavens to Betsy “My Secret” / Bratmobile “Cool Schmool” 1992

Except for Bikini Kill “Rebel Girl” and the There’s a Dyke in the Pit”* comp this might be the best 7” of the Riot Grrrl era. Two bands with different lo-fi, bass-hating styles that helped form** the ideological outlook of the feminist punk movement of the early ‘90s.

The Heavens to Betsy side is intense, especially when it came out. Different eras/locations of punk had different styles of lyrics. ‘80s MRR punk was anti-Reagan, Texas punk was echoed real violence will a defiance difficult for a Bay Arean to understand, Dischord-era D.C. emo was about personal relations to society and other people. Riot Grrrl was personal and political, often combining point-of-view confessional stories of abuse and resistance with a pseudo-innocent voice. .

There were childhood sexual abuse songs before Riot Grrrl, but RG put them in a political context and, through the sheer number of stories and songs in the scene, helped create a context in which sexism (in the punk scene and beyond) could be addressed. One of the best things about Riot Grrrl were that it made punk unsafe again.

My secret is really true
This song, these words, are a threat to you
A knife in you, I'd stick it in
Listen, listen… I'm about revenge


That message goes beyond the story in the song. It’s a warning to anyone, in the punk scene or not. Girls/women are not yours to abuse. And there will be consequences to your actions. Being “punk” is not enough. It will not protect you either.

The Bratmobile side declares an end to old-school Pacific Northwest punk in the very first lyrics, “I don’ want to sit around and talk about the Wipers. Weren’t those the good old days?”

In the geographical context, it’s hard to imagine laying down a bigger gauntlet. The famous band that is this region’s claim to fame? Irrelevant to 1992. Women are not just there to listen to the old glorious punk stories. The lyrics “I don’t want anyone to tell me how thin I am. I don’t want to die for your fucking petty dreams.” Draw further battle lines.

There’s some good old punk voice switching as well. This always confuses non-punks because they have a hard time (understandably) knowing what is sarcasm and what is serious. “I just wanna be one of the boys. I just want to be your pretty fashion toy. Let’s hang out and be cool, alright. Let’s go watch the girl fight tonight!”

Once when I saw Bratmobile back in the day, I made a mistake. They came out on stage and were tuning and noodling around on their instruments for what seemed like forever. It was a hot, tightly packed (probably oversold) club*** and I yelled out, “Come on, play!” or something like that.

Allison stopped whatever she was doing and asked, “Who said that?”

My friends all yelled out, “It was Gordon.”

I said, “Sorry, I was just trying to be punk,” but Allison wrote “Fuck You” on her arm and they started playing “Cool Schmool.”

Here’s a picture:
bratmobile020

And here’s the song.



Rating: Awesome. One of my favorites.Added bonus for historic value

*one could call Dyke in the Pit more Queer-core but there is a lot of overlap in those two categories
**as well as bands it should not be forgotten that zines also helped from the rot grrrl style
***It was at the Chameleon, which later became Amnesia, the place I did my first San Francisco reading for Cheesemonger.
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Residents – “This is a Man’s Man’s Man’s World/Safety is a Cootie Wootie” (1984)

This James Brown cover is one of my favorite Residents songs. Stripped down and desperate, the Residents turn this classic into a sad, pleading period piece of male insecurity in the face of changing gender roles in the ‘70s/’80s.

At least that’s how I read it.

The singer starts out strong and assertive, telling you all the things that men have accomplished (The car, the electric light, the rocket ship, etc.) but there’s something wrong; something wavering in his voice. The singer is trying too hard to convince us. Or to convince himself.

Sure “it wouldn’t mean nothing without a woman or a girl” but that seems like an add-on, perfunctory, like something the singer just knows that he has to say to keep the peace. The singer sings more troubled the longer the song goes on. He seems less than convinced that when he has done everything else, that making “money to buy another man” is really as good a thing as he’s trying to proclaim.

This version of the song becomes more and more sparse as the singer loses his conviction. It seems like he’s run out of accomplishments to list. In the end, “Man is lost in the wilderness. Lost in bitterness. Lost… Lost… “

Sure, it’s a man’s world, but is that really such a good thing?

I never managed to get into the B-side though the lyric “Safety has an open mouth. Safety has an open mouth” often sticks with me for days after I listen to this.



I should probably also note that I listened to this 7” at the wrong speed for years. Perhaps my reading of this song is affected by that hyper-masculine deep voice I heard while listening to it at 33 instead of 45. The Residents, especially in this time period, were all about being anonymous and mysterious so this song – when I heard it as a teen – was a message from some scary but intriguing place I’d never been before.

Rating: Awesome. One of my favorites.
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The 8 track inspired a whole zine. The image of cassette boom boxes is retro chic. But what of the 7” record? Once the way for indie bands to put out their message and music quickly and cheaply, the internet has made this format for fetishists only. The 7” record will always have a place in my heart but I have to admit I hardly ever listen to them. In this day and age, they just don’t seem super user-friendly.

It’s always been my plan to have a semi-soft 7” party where I’ll provide semi-soft cheese and people can bring over their 7” records to listen to. I still might do this, but for now I think I will start a series by pulling out a 7” at random and reviewing it.

Synthesia Murder Program – “Dust to Dust/Foreign Policy” 1993
I don’t know anything about this band. I don’t know where this 7” came from. Since I worked at Epicenter when it came out I can only guess I got it there. Was the “band” traveling through town giving out vinyl? Was it in the discount bin? Did I ever actually listen to it? I can’t answer these questions.

Since the band also goes by SMP and are from Everett WA, they are probably an early incarnation of this SMP even though the “Bio” on their web page says they didn’t start until 1995 and this 7” is from 1993.(Aha! In the barely legible liner notes I can see a songwriting credit has the same name as the main person in the new SMP). Are they embarrassed by this record? Why are they purging it from their history? It’s on “Doubleplusgood” records so the disappearance is foreshadowed, I suppose.

It’s low-fi industrial punk. The “Dust to Dust” track sounds like ‘80s anti-war hardcore backed with syntheszers instead of just guitars and I kind of like it. It’s got those generic hardcore lyrics that I have a soft spot for and the singing is more punk than industrial. Sure, in 1993 you couldn’t mention Reagan, but everything else is there: warnings against the war machine, the coming 4th Reich, images of dead bodies etc. Mock if you want but I’ll always prefer not-super-original anti-war songs to the vast majority of other available music.

“I can’t believe what you just said
Woman and children civilians dead
An example must be made
We won’t back down. Crash upon your head


It’s got that switching of voice that so many punk songs have. Most people weren’t as daring as the Dead Kennedys. The DKs could do a whole song in the voice of the the ruling class (e.g. “Kill the Poor”) but most other bands always had to hedge their bets a little (“I can’t believe what you just said”) to make sure we knew which side they were on. Kids, we were all just kids really. Still, a pretty ok song.

The flip side “Foreign Policy” is an unlistenable instrumental. So it goes.

Rating: Will go with me on my next trip to Amoeba. But they probably won't buy it so I'll leave it on Haight St.
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[livejournal.com profile] smallstages forwarded me this last week, but I just got a chance to read it. Any thoughts? Is charging for readings ok? Shouldn't the authors get a share of the door if they do? How will this change the dynamic of indie bookstore events?

It's funny. Over the course of my 40 events, the bookstore ones were usually the best. People were organized, they did promotions effectively, their experience clearly paid off for me and everyone in attendance.

If places charge and attendees can get the price off the book, I can kind of see it. But economically, it's still odd. I mean, a bookstore sells my book at full price and they gross about $9. I get $2. At my readings I brought and prepped cheese. I got the cheese donated but did the labor myself. That's of course after doing the labor over three years to write and edit the damn thing. Then I give a one hour performance. These things are (hopefully) compensated in $2 chunks that I (hopefully) will receive (hopefully) no longer than 9 months down the line.

Clearly the bookstores aren't getting rich off me. But it also seems like putting another barrier between an unknown authors and their potential readers. However, I can also attest to the fact that -- certainly at this point -- many attendees have already bought the book somewhere, and probably not at the store I'm appearing at. Committing resources to an event where they only sell 5 books is probably a money loser for them as well.

I refused to do one reading, way back when (and not at a bookstore), when they asked me to do an uncompensated cheese class as a book promotion. They would supply the cheese but a class (that because the cheese world is very small I happen to know) they usually were paying someone else $250 to do, they wanted me to do for free. They were charging people too! I suggested they add $15 to the price and include a book with the purchase and they weren't interested.

Publishing/book selling is a mess right now, eh?
gordonzola: (Default)
Hello from Darlington, Wisconsin. I'm not doing a reading here, but I am doing them in Madison and Milwaukee!

Wednesday, June 22 · Madison
Fromagination Artisan Cheeses and Perfect Companions -- 6:00pm - 7:00pm
12 South Carroll St. (on the Capitol Square)
Madison, WI

Thursday, June 23 · Milwaukee
Larry's Market -- 6:00pm - 7:00pm
8737 N. Deerwood Dr.
Milwaukee, WI

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