Tag Archives: Classic Punk

The Weirdos (Live at Bogarts 1991)

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Another excellent upload from LAPunk13

Even in 1991 there was a fun spirit to this set by LA OG’s The Weirdos who were one of the first punk bands to hit the LA scene in the mid to late 70’s.

It’s nice to see this as back on the East Coast where I grew up in 1991 most ‘punk’ shows were really aggressive and violent. The element of a fun time was pretty much absent. This show represents a different time in punk music when people got together to enjoy a kick ass band and have a good time being an outsider…and there’s ‘pogo dancing’!

On a side note I was lucky enough to play with Dix Denny a few times when he auditioned for the Flesh Eaters around 98-99. He came to a few rehearsals before realizing we were going to do some shows, he thought he was going into the studio with us…he didn’t want to do any shows! That would’ve been fun…alas.

Check out LAPunk13  for more great video from the early LA scene.

 

Keith Morris “My Damage”(Instore)

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I’ve never seen Black Flag or The Circle Jerks…or OFF! even, but when I lived in LA I was lucky enough to run into Keith Morris a bunch of times. It was almost always in a record store, whether at Bleeker Bob’s on Melrose or when I worked at a small record store on Sunset Strip or at a Pasadena Swap meet and he was almost always with Bob Forrest (Thelonious Monster). We talked about all sorts of music and I was always impressed with his depth of knowledge about a wide variety of genres…Bob too! We never talked about any of his old bands or the short lived Hollywood punk scene heyday which centered around The Masque, a bomb shelter rehearsal space that had some legendary shows, the earliest punk shows, run by Brendan Mullen. I was just as lucky to get to meet Brendan as well at a Punk Rock Bar B Que I attended with Chris D. around 96 or so. Brendan did a dj set of old jazz 78’s! Spectacular! Anyway, Keith was always a blast to talk to, high energy and his enthusiasm for music always came through.

What I’m really happy to see is that these Hollywood OG punks are all releasing their perspectives on the scene in written form. Alice Bag’s Violence Girl,  John Doe’s Under The Big Black Sun and My Damage by Morris, all recently published, are welcome and much needed perspectives on such a short lived scene. A handful of these artists were able to maintain a prolonged ‘career’ of playing music after the initial wave imploded scattering most of these bands to the 4 winds. Keith’s perspective is unique also as Black Flag were from Hermosa Beach and pretty much considered outsiders in the Hollywood scene but the sheer rawness and purity of their music endeared them to Brendan Mullen who considered them his favorite band, so they were sort of honorary members and rightly so.

Following is a video of Keith reading from some of his book, which seemed like a bit of a task as he kept jumping from the page to a more natural telling of the story and it was cool to hear his voice and his perspective this way. I look forward to reading this one.

Available via Da Capo Press


The video is by Louis Elovitz who has a ton of great LA/Hollywood Punk related videos on his vimeo channel. He has video he shot in the old days as well as new happenings by people from the original scene who are still active.

KEITH MORRIS

” My Damage ” release
skylight books hollywood
aug 26 2016
a PUNK SCENE film by
Video Louis Elovitz LApunk13.com
MY DAMAGE: THE STORY OF A PUNK ROCK SURVIVOR.
Keith Morris is a true punk icon. From Black Flag and the Circle Jerks to OFF! and FLAG no one else embodies the sound of Southern Californian hardcore. Over the course of his forty–year career, he’s battled diabetes, drug and alcohol addiction, and the record industry. MY DAMAGE is a look at rock ’n’ roll through the lens of someone who has shared the stage with just about every major figure in the music industry and appeared in cult films like The Decline of Western Civilization and Repo Man. It’s a Hollywood story from a native’s perspective. MY DAMAGE is Morris’s streets, his scene, his music—as only he can tell it.

Keith will be joined by his co-author Jim Ruland for a spirited conversation.

 


SF Zinefest 2016

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Many of you old fart punk rockers out there will remember the days of cut-n-paste collaging in order to create an eye catching and status quo challenging advert for your old band’s basement gigs. Usually containing crude imagery, shocking content in black and white with ‘ransom note’ style text cobbled together from various sources. Many of you will also remember the next level DIY collaged zines that were painstakingly assembled late at night in a 24 hour Kinkos that your buddy worked at…

The content usually involved coverage of a regional or more accurately, ‘micro-regional’ underground music and/or art scene, covering shows and events with occasional short fiction or comics and music reviews. They were xeroxed and collated and stapled manually upon completion and subsequently given away to anyone remotely interested. Seldom did they charge for these. If anything, 25cts or a trade sufficed.

A lot of these ‘rags’ also travelled to other micro-regions via snail mail and this was before the internetz, so this was a lifeline for people seeking out new and exciting happenings in places other than their own. It went hand in hand with the burgeoning DIY music scene as this was also how bands contacted each other as well as venues to put together tours and find places to stay while out on the road, especially in smaller areas off the beaten path where folks didn’t have access to a big city to see shows of any level. Black Flag is a good example of a band that mastered this and in fact blazed a trail that is still used by bands today. Check out Spray Paint the Walls for a more detailed read about how they did it.

These were really small run, handmade and practically ephemeral which makes zines an interesting literary niche that is still going strong to this day.

THE EVOLUTION OF THE ZINE

Some zines that I know from back in the day started out as crudely xeroxed and stapled handmade affairs but eventually evolved into full-on mags with excellent content and credibility. A couple of examples that come to mind are Ugly Things run by Mike Stax out of San Diego Ca. who’s focus is 60’s garage and psych music. His staying power is a result of really thorough sourcing and in depth coverage of really obscure bands. He is really good at finding surviving members of these long forgotten groups and interviewing them at length which usually reveals some fun and interesting behind the scenes happenings we would never hear about anywhere else.

Early Ugly Thing’s (circa early 80’s)

Ugly Things Issue 2
UT #2 (1983)

 

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Ugly Things #9 (1990)

Current Ugly Things

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Ugly Things #42 (2016)

The Big Takeover

Also very in depth with lengthy articles to get lost in…as you see the early issues were very text heavy.

Early Big Takeovers (circa early 80’s)

The Big TakeOver #7 Part 1
The Big Takeover Vol 1, issue #5 (1981)

 

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The Big Takeover issue 9 (1983)

Recent Big Takeover

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The Big Takeover issue #77 (2015)

 

Another example that I hold close is Bomp magazine created and maintained by Greg Shaw who started making zines by hand as early as 1966 with Mojo Navigator, an inspiration for Rolling Stone Magazine. He made Tolkien related mimeographed zines in the 60’s also, a very early representation of zines not music focused. His real legacy though lies in Who Put the Bomp which I’ve mentioned before as one of my old record store bosses Gary Apollo, who recently passed away also worked with Greg for a few years in LA on the magazine. Even the infamous ‘Powerpop Issue’ which looked really polished and professional was all done by hand! Cut-paste for days…

Early Bomp (circa 1971)

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Who Put The Bomp (Jan 1971)

1978 issue

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Bomp ‘Powerpop Issue’ (1978)

 


I had just read this article the day before in the New York Times: “No, the Internet Has Not Killed the Printed Book, Most People Still Prefer Them”  and on our way to the event there were 2 separate people sitting across from us reading books, so as far as I can see, books and printed media are still important to people and if you think otherwise, you’re sadly mistaken and likely missing out on a lot of information you will not find online. It’s also similar to the Record experience in music, the desire to hold something in your hands crafted by artists through painstaking processes to create something significant and tangible which helps drive the experience deeper into your psyche…

This was further driven home when we entered the festival and saw how many people turned out to look at and buy these mostly tiny handmade mags! There were artists, musicians, printmakers, poets and authors, lefties, activists and anarchists and a wide array of items to be had. In addition to xeroxed zines, self published books and underground comics were t-shirts, posters, bags, buttons, some musicians had small run cds, cassettes and even vinyl all DIY and small runs. There were too many artists to mention but I’ve included links where possible and SF Zinefest has it’s own site at sfzinefest.org as well as an instagram and twitter where you can explore and discover a large group of artists both young and not so young! There were some OG’s in the house which leads me into some pics from the event.

RESEARCH PUBLICATIONS

First I had to catch up with V.Vale of REsearch Publicatons who is known for his zine Search and Destroy going back to 1977 and his Industrial Culture Handbook and coverage of all things weird and subversive under the REsearch imprint. I purchased this collated, unfolded printing of ‘A Visit From Monte Cazazza’ which I look forward to devouring.

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Yours Truly with V.Vale and Monte C.
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The REsearch Table

PM PRESS

PM Press had a table. The previously mentioned Black flag  book Spray Paint The Walls can be obtained through them as well as some other important punk lit.

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PM Press

SPITBOY RULE

It was really cool to meet Michelle Cruz Gonzales from the SF all girl band Spitboy who were around from 1990-95. We grabbed her book Spitboy Rule  also available through PM Press, but it was nice to be able to get one directly from her and she signed it. This will be a welcome read next to our recently obtained copy of Alice Bags book Violence Girl as these are the voices of xicana women from the old school punk scene, there were very few!

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Michelle Gonzales and Monica

TEAM PRINT SHOP

I also ran into an old friend who worked for a t-shirt print shop I also worked at for awhile in Oakland. He’s since broken off and started his own thing called Team Print Shop

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Team Print Shop
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Team Print Shop

UNITY PRESS

Pretty randomly, I walked past this one table and had to stop because I recognized the curious artwork on the t-shirts first, then the table also had zines with these similar cartoon-like characters in weird homoerotic poses I remembered from some show posters I grabbed from the bulletin board at my band’s rehearsal studio (images below) they were posters for a show that had already passed, so I wasn’t hindering the band’s progress!

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Found Art 1
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Found Art 2

Turns out these guys rehearse down the hall from us in Oakland and the band is a bit of an artist collective that release zines under Unity Press and the creator of these weird ass images are by the artist Jeffrey Cheung.

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Jeffrey Cheung (Left)

I was also stoked to hear they recorded their debut record in their studio on a 4 track and released to vinyl via the Oakland based label Digital Regress. The DIY ethic instantly endeared them to me and we also have the same name…Jeff’s Rule!

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Jeff signing the poster for my record

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I gave the album a whirl and it’s really good for a 4 track recording! The style is very 90’s indie rock but without the pretentiousness of a lot of that stuff and it also lacked the noisy angst ridden aspect that turns me off to so many of those bands. There are some nice melodies here and simple arrangements and nicely played!

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“Thanks Jeff for the support, glad you took the fliers! Jeff”

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This table caught my eye also but we were on our way out, so I didn’t get a chance to say hi, but here’s a shout out to Bagger43 they had some nice looking stuff and I dug their aesthetic.

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Bagger43

 

EVENT PICS

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This guy was working during the event!

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There were 2 rooms full of tables and plenty of people milling around!

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Panoramic

We walked out of the event quite sated and it was great to see so many people out there just to celebrate the printed word, and of course to support art and artists operating on their own terms! Get off the internet and go read a book now! We came home with plenty of stuff to read and enjoy!

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‘The Booty’

All pics by Jeff K. 2016 (except Bomp, Big Takeover and Ugly Things covers)


 

 

 

Alice Bag (SF Clips)

Alice Bag 2016

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If you’ve seen The Decline of Western Civilisation by Penelope Spheeris, then you are at least aware of the late 70’s LA Punk scene, parts of it anyway.

One of the things I took away from studying this scene when I was a teenager, was the sheer eclectic nature of the bands that formed and developed around that time under the ‘punk’ banner. You had The Germs, X, The Blasters, The Screamers, The Mau-Maus, The Flesh-Eaters, The Weirdos, Alice Bag Band (The Bags), The Gun Club, Circle One, Circle Jerks, Black Flag, TSOL and many more! None of those bands looked alike or sounded alike at all!

I could go into this more, but I’ll let someone who was there talk about the diversity of the og LA scene (76-77) which really centered around Hollywood before it spread to the burbs . This recent interview with Alice Bag gives a better perspective, here’s an excerpt:

“First of all, I don’t think The Decline of Western Civilization shows the scene I was part of. I don’t think that was the mission of that film to depict the early L.A. punk scene, because by the time Penelope Spheeris was filming it, punk was already spilling out into the suburbs and taking on different flavors. One thing she captured in the film was the growing hardcore scene. And I think that hardcore scene brought with it a lot of white male energy that wasn’t present in the Hollywood scene. And she showed that shift. And if you look carefully at the film I think you can tell which were the bands that were part of the early scene because they were quirkier. They were not quite what is considered punk nowadays. The images and sounds and behavior [of punk now] were not associated with the early punk scene. It was open-ended and inclusive — as long as it was different from mainstream, it would fit into that scene. So that’s why what you see in documentaries doesn’t gel with what you hear people talking about from the early scene. And I’m talking about ’77, ’78, even the summer of ’76. People were coming in from glam then — it was a transitional year.”

From: Alice Bag Billboard Interview 6/24/16 


A New Book and a New Record

Violence girl

After 40 years of being essentially underground and operating under the radar, still in music and in other realms such as activism and art and education and Feminism (important stuff largely ignored by the mainstream) she has emerged with a new book and a new record

Alice Bag record.

I was lucky enough to make it to her SF show at The El Rio to witness firsthand what to me has become a lost sound. There is a distinctly raw yet fluid delivery with diverse elements that embody that classic LA punk sound such as Rockabilly and that 60’s girl group sound mixed with some garage punk elements, abstract brooding dirges as well as all out blistering pogo punk beats and Johnny Thunders guitar solo bends all mixed together tastefully, never too much of one thing, add a heartfelt performance and socially conscious and very relevant lyrical content and you have the best of the best here. Great show, great band, see for yourself:

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Alice Bag SF 2016 (Clips)

All pics and video by Jeff K. 2016

A bit of a side note:

One of Alice’s guitarists, who is also on her new record, is an old LA friend of mine Sharif D. and he has a new band called Sex Stains and they will be releasing an album soon too!

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Hanging with Sharif!

PLAYING WITH HEROES

Another really good read below from one of the drummers Alice has on her album, Candace Hansen. Her experience really resonated with me as I had a similar experience in the mid 90’s when I was tapped to join an incarnation of The Flesh Eaters who also came out of this early wave of LA Punk bands. It’s always a bit surreal to think that I got to play in a band that at one point or other contained members such as Bill Bateman and Dave Alvin (The Blasters) John Doe and DJ Bonebrake (X) Steve Berlin (Los Lobos) as well as some collaborations on Divine Horseman work by everyone from Exene (X) to Texacala Jones (Tex and The Horseheads) Kid Congo Powers (Cramps, Bad Seeds, Pink Monkey Birds, Gun Club) Jeffrey Lee Pierce (Gun Club). I can totally relate to Candace’s experience in becoming a part of a history that influenced us immensely as kids. It’s such an honor and we are very lucky to have had this experience.

Candace’s OC Weekly Article:

PLAYING DRUMS FOR ALICE BAG CHANGED MY LIFE

Punk Out!