Friday, September 30, 2005

Mom vs. The Message Board

Somewhere out there, Bobby Delamante is probably considering suicide as a viable option. After all, it's not every day that your Mother posts on a message board with thousands of readers, identifying you by name, in an effort to seek out gift suggestions for your sixteenth birthday:

Hello Everyone:

I'm not sure if I am at the right place, but I THINK my son Bobby (Bobby Delamante, some of you may know him) frequents this website and follows the groups you all listen to (if you see him please don't tell him I posted here!). I found this website from a poster that is in his room (for the band "First Step").

Bobby's 16th birthday is next week and I would like to get him something Hard Core, but am not sure where (I asked some salespeople at Best Buy, but they were confused). I see you can order cd's and things here but I am afraid he may have them already (he has many!).

Does anyone here have any good suggestions?

Thank you so much :)

Mrs. Delamante (Bobby's Mom)

Initially I laughed when I read the post, but really, Mrs. Delamante seems like one of the sweetest, most well-intentioned Hardcore Moms I've ever come across. I can assure you that I got nothing but grief from my parents for my taste in music growing up, and I know that's the story for a lot of hardcore kids out there. It's really nice to see there are parents out there who understand that their son is into something different, and not only "get it," but also nurture it.

So, let's have three cheers for Mrs. Delamante (Bobby's Mom) for being such an adorably sweet lady. And let's be sure to cut Bobby some slack. Love makes people do goofy things.

And Bobby, if you're reading this, I'm envious.

I have spoken,

Thursday, September 29, 2005

Hardcore Handles: "Sweet" Pete Maher

Would you mind explaining how you became Sweet Pete?

Well there have been many stories floating around over the years (can’t say I didn’t help spread some) but I guess it’s time to come clean with the real story. To the best of my knowledge the story goes like this...

Back in 1986 there was this band from around Boston called Underage (who later became Said and Done). They did a demo and on the thanks list they wanted to thank me, but they had already thanked a “Pete,” and nobody knew my last name. They just wrote “Sweet Pete,” and then when people started asking “who’s that?” they’d just say “you know, that tallish, goofy kid.” It just stuck from then on.

Now I say to the best of my knowledge because I don’t have a copy of the demo and a few years after that my friend swears it was a ‘zine that thanked me as “Sweet Pete” back then because they did not know my last name. Either way it was back in the mid-80's, someone did not know my last name and already had thanked a “Pete” so I just became “Sweet Pete.” Not even exactly sure who from the band or ‘zine actually named me that but for almost 20 years now it has stuck.

Was there one specific person who came up with the name?

Well as you can above as I said I really have no idea exactly “who” came up with it. A funny story is that Ralphie from Wrecking Crew claims that he gave me the nickname back in the mid 80s as I was always eating candy at parties and drinking soda. I used to hang with the “Boston Crew” then and Ralphie claims he started calling me that after witnessing me always eating a lot candy at shows and parties. I do admit I love me some candy and soda and just maybe Ralphie did give me the nickname and that is why the band/’zine used it on the thanks list. I guess since nobody else has claimed it, I will have to give Ralphie the credit as nobody else has ever actually laid claim to nicknaming me. If he wants it he’s got it! So thanks Ralphie!

How did it end up sticking?

I just think it ended up sticking because the Boston scene then was pretty smallish and close-knit, so it spread pretty fast and everyone would say “Yeah. That kid is pretty nice and sweet” so it stuck. There used to be shows and parties every weekend and I’d just see the same group of kids over and over and everyone had nicknames and this one was not very challenging. Like if someone’s nickname is HARD DAVID people may not want to call him that as they don’t think he's hard enough to have it, or someone may not want to call someone BILLY EDGE as they don’t like straight edge or whatever. It was a harmless nickname that just kind of stuck.

Any kind of weird/adverse/funny reactions by others to your annointed name?

The only one I can think of off-hand is with my sister. She is older than I am and was not, and never has been into punk/hardcore at all. She knew I hung out with “punks,” but as I said, she never knew anything about “the scene.” A few years ago I guess she did a Google search of In My Eyes, as she knew I did a band, and found a Yahoo music bio of the band or some music site. The bio said “In My Eyes was formed in the last 90s by USA Punk Legend Sweet Pete…”

She called me up right after seeing that saying “Are you USA Punk Legend and do they call you SWEET Pete?” I had never seen that bio so I was totally confused. She clearer it up for me by showing me the site, but even after explaining to her that I was not even close to a legend and that my "scene" nickname was Sweet Pete, she still to this day (since she knows nothing of punk) just thinks I am trying to be modest. She says “You toured the US and Europe and put out records that I see at the mall. Don’t be modest.” To this day when I see her at X-Mas and whatnot she busts my chops, and will bust out "Does Sweet Pete want some more carrots?" She thinks it's funny.

The only other stories is one time (watch your feet as I am going to drop a name) Zack from RATM put me on a “will call” list for one of their shows at a huge stadium here in Massachusetts as “Sweet Pete.” I have known him forever since the Inside Out days but he never knew my last name. I talked to him before the show and he said “you’re all set at the Will Call. They have tickets and passes for you.”

Well I get to the Will Call and give them my ID and of course it does not say “Sweet Pete,” on it so I get denied. After bumming out thinking I got dissed, I said to the person, “this may sound weird but can you check to see if anything was left under Sweet Pete?” They did, and they were left under that name, but they were still being jerks about giving me the passes as I had no ID that said "Sweet Pete."

Finally after giving me grief forever they gave me my passes. This has happened on small levels too at hardcore shows, as nobody really knows my last name and puts me on as Sweet Pete. But at hardcore shows, that never causes a problem really. Just arena shows were I can’t pull the hardcore cred and say “YOU DON’T KNOW WHO I AM?” Haha.

Wednesday, September 28, 2005

Road Rage Record Review: Dave K.

Well, back again for more fun. Ronny is working really hard to make this site a daily visit, so let him know what you think. I was recently back in New Jersey for a few days (remind me never to leave my business affairs for more than a day, what a mess it was upon my return!) and it didn’t feel like home.

My father and sister are moving down here to stay with me for a while and then live in Georgia. They can’t take it up there in NJ anymore. They live in the building I grew up in, and I can’t believe the state it’s in. The whole building is on a tilt. My father says you can put a ball on the floor and it will roll to one corner of the apartment! Time to go. It will probably sink into the ground like the Carrie White house.

Anyway, I hung out in the city (NYC for you laymen) with my good friends Brett Beach & Charles Maggio. It’s funny how things change but stay the same. Here is the three of us, each with two slices in front of us, shooting the shit about old and new things. It was like all these years apart didn’t exist. I know these two so well, spending numerous hours, days and weeks with them in the past. We've been through a lot together. We all are pretty much still the same, each with a distinct personality but respectful of each other’s quirks and differences. Well, Charles still didn’t like the same remarks I make about bands that cheese out, but that is never going to change. I like busting his balls anyway.

The crappy thing about the whole visit was that it was over too fast. Remember, time is precious, don’t waste it and try and stay in touch with your old friends. NYC is weird. It’s like the east village and, from what I understand, the ABC No Rio area is totally upscale now. No personality at all. It was fun to look in old record stores that we used to go to. Brett and I felt like tourists, we forgot were like everything was! All in all, I probably will not be back up north for a very long time.

Seven Inch Madness: Have a few to go through (now that I have a turntable next to the PC!) An older one sent to me from Mad At The World Records by The Bad Form. A couple of years old and the band is no more, the seven inch plays a little on the rocking side of punk. Actually sounds like the Rolling Stones on 78, but that is subjective. Wasn’t that into it, but if you dug sounds by ex-hardcore kids from the East Coast who thought this was the direction to go in, it’ll be your cup of tea. Sledgehammer has a disc out and it is not a bad one. Dwid from the classic scary hardcore band, Integrity again does the vocal duties. Four songs of very dark and heavy hardcore with a little metallic licks thrown in. Not sure what the story is with the label though. The seven inch I received is on a label called Specimen 32 (website is down as I write this) though a label, Martyr Records released this on CD. Check around I’m sure you’ll find it. The Right On "No Joke" EP has to be placed in the top 20 (at least) of worst record covers in hardcore/punk history, right up there with the Stand Up 7" (Actually, saw that record again in NYC at Bleeker Bob’s and thought I had it erased from my mind. Now it’s back in…what were they thinking?) Pretty standard stuff here, passable at best. Malfunction Records

It’s like 1986 again! Municipal Waste I understand has been around for a while now, but “Hazardous Mutation” is their first Lp. Good lord, this is such a throwback in the boldest sense of the word. It’s weird, they have that 1980’s crossover thing down so well, even with the little "eeks” at the end the chords. I know quite a few who will go apeshit over this. Not that into it but do appreciate the effort here, they are going to be huge. Earache Records

I can see where the Youth Attack "Don’t Look Back!" CD wants to be in every straight edger music collection. Every cliché in the book is followed, totally by the numbers. That wouldn’t be just a bad thing because there are many bands who can pull it off. The recording is OK at best and the music is plodding. Think Fast Records

Canada’s Keep It Up is a little better, playing the 1990’s posi-core to the hilt. This CD has the songs from their self released 7” and some bonus tracks, a total of 10. There is a cover of Youth Of Today’s “Thinking Straight” which is interesting. It’s really funny to see bands from other countries play American Hardcore better than most American bands. If you see this one, pick it up. Feelin' It Records

I was surprised that California’s Hoods were still together. I remember reviewing their first release in Hardware ten years ago. They will have a new LP out in October called "The King Is Down." The music is the traditional cranked down modern heavy hardcore, grindy vocals and mostly 2 minute tracks. Might sound typical but these guys were one of the first to do this, so most bands are copying them. Check it out. Eulogy Recordings

Zine 101: I reviewed Heartattack #46 last issue, then #47 was right behind it. This issue is called the "work" issue, covering aspects of work and the interviews & columns reflect that. Interviews with Circle A Bicycles, Funeral Diner & a great artist called Mike Sutfin (you can tell his major influence right away). All the usual ‘zine stuff here. Great cover. This ‘zine should stop wasting it’s time and do this on-line already! Ebullition Records

Radio Show?: Ronny was asking me if I’d be interested in doing a hour internet radio show each week. I was jazzed because I have been trying to set it up for a while now. If there is anybody out there who does one or knows how to set it up on a PC, please contact me. I have a lot of ideas and can do an hour easily…

Selfless self-promotion: I have to keep plugging away...the Hardware Fanzine Collection CD has been out since September 1st. If you already picked one up thanks, but please let me know what you think about it. My next release is almost done, scanning the last issue of it as we speak (and a another reason this column is short this time out.). It has all the issues of Hardware in PDF format, plus lots of other stuff like some of the unreleased #10. See what it’s all about. You can get it through this link, or go to: and look under "Other Items"

Or snail mail $7.50 USA ($10.00 world) to my address below.

You smoke, you choke,

Dave K.

Attention labels: if you have sent something in the past couple of weeks, I’ve been really busy but will get to listening to it…Thanks for the support, people are reading this!

Send all
vinyl/CDs/mp3s/cassettes/demos/fanzines/DVD/books, etc… (if you can try, don’t bother sending the CD cases, save some bucks on the postage…dupes on CDR are fine too, just try to send info with it) to:

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017

E-mail me at:

Friday, September 23, 2005

Quick Notes

* I just went back and read yesterday's post regarding the Hardcore Benefit Show. Toward the end of the post, I did a little role playing where a fictitious hardcore guy is trying to impress his date when she comes across a photo at his apartment of him holding a Floorpunch 7-inch on gold, flanked by the dudes in Shark Attack. In the role play, I had hardcore guy downplay his vinyl score by recalling that he threw a "couple of hundred dollars at some crappy Floorpunch on gold" in order to win a silent auction to help a sick little girl.

In the event that there is anybody who read that the wrong way, I was using a heavy dose of sarcasm that may not have translated to text very well. I feel that I need to say this because, well, it's hardcore and people blow all kinds of things out of proportion. My band used to play with Floorpunch quite often. I like and respect everybody in the band, and I'd hate for them to get the wrong idea.

So, in short, I was attempting to make hardcore guy sound like he bought a Flagman record for a couple hundred dollars to help someone in need, rather than scoring THE record of the 90's that has collectors slipping and sliding in puddles of their own drool.

* Speaking of the Floorpunch 7-inch on gold, I was one of the original holders of that record. Record number 65/88 It was hand-delivered to me by Brett Beach himself at a VFW hall in Elksboro NJ. Never much of a collector, 65/88 was by far the most valuable record I have ever had in a collection.

And then I moved to the DC area in October of 2000, with basically a bag of groceries, the clothes on my back, and my record collection. I moved into a modest Falls Church apartment that always smelled of the neighbor's Indian cooking with a wily rascal named Dave Byrd, who was an avid record collector.

After about a week, I got tired of sleeping on the floor of my bedroom, and decided that the girl I was dating (I met someone my first night out in Adam's Morgan with Byrd, a month before I even moved to DC) probably wouldn't be too impressed with my bedroom set-up. I didn't have any money, so I decided to start selling off the only asset I had with me, which was my record collection.

Byrd skimmed through the records and pulled out the Floorpunch on gold. He didn't say anything. He just looked at me, holding up the 7-inch with wide eyes. His expression told me everything I needed to know about the question on his mind: "how much?" His lips didn't move, but I could somehow hear his voice in my mind, giggling like a little girl that stumbled across a hidden Tickle Me Elmo doll long after the toy store had sold out of them.

"Dude, no way" was my initial reply. He was disappointed , but he went through the rest of my collection, picked out some records he wanted, and the yield was somewhere close to $200, which wasn't anywhere near the amount I needed to buy the bed I had ear-marked in the IKEA catalog.

At that point, I was pretty burnt on hardcore. ROTP was coming to an end. I wasn't interested in many new bands. Bars were a higher priority than shows. So, I thought about it for a few minutes, and then offered the Floorpunch on gold to Byrd for $120. I pretty much saw myself getting out of hardcore at that time, so I figured there was no point hanging onto it. After some haggling, the price came down to $100, and Byrd had his prize. A few months later, I was kicking myself.

To add to the indignity, the bed I ended up buying had to be one of the most uncomfortable, back-breaking beds I have ever had the misfortune to sleep on. The thing was cursed. I had a roommate who's dog loved to take a dump under it. I had a German au pair accidentally pee on me during sex in that bed. AND, it did about $200 in damage to the hard wood floors in my bedroom, which came out of my security deposit when I moved out of the place.

I was recently IM'ing with a BBHC reader, Alex, who asked me if it was true that Byrd purchased my copy of the Floorpunch on gold for five dollars. I was upset to say the least. The thought that ANYBODY could think I would ever be so foolish, even one person, made me want to go to the 14th Street bridge and leap into the Potomac. Let the record show that I sold the prize to Byrd for $100 because he was a friend, fully aware it would fetch more on eBay.

I like to think Byrd gave me $100 just to hold MY (myyyyyyy Precioussssss...) Floorpunch on gold in his fire box, but if you ask him, I'm pretty sure he'll tell you differently.

*The winner of the AIM contest is Brett Valegro. Congratulations! I'll put your ROTP "When It Rains, It Pours" LP in the mail on Monday.

Thursday, September 22, 2005

The Hardcore Benefit Show

Hardcore is hard. Life is harder.

I think it's safe to say that most of us have glided through life to this point with little resistance. Tragedy, chronic illness, legal problems, catastrophic financial or property losses are pretty much the problems of a very few of the people we know, or know of. These misfortunes are not anything that most of us have any experience dealing with on a personal level.

But when young men and women are taken from us way before their time, when they become terminally ill, when they have problems larger than anyone can possibly handle on their own, like clockwork, the hardcore scene brings us to it's finest hour by coming together for the ultimate show of support -- the Hardcore Benefit Show.

Retired bands come out of the woodwork, pick up their instruments and ply their trades one last time for the good of the cause. Kids dig deep into their wallets, hand a ten dollar bill to the person at the door, and put the two dollars in change they receive right back into their pockets. At the end of the night, after the bands have played, the kids have moshed, and the overhead has been paid, the bands have a few hunderd dollars (a couple thousand if they're lucky) to give to those in need. Beyond that, the only time anyone ever thinks about the show ever again is if they come across an old flyer of it somewhere.

The beneficiaries gladly accept the donation with thanks. It gets them though a month or two before the money dries up and they're back at square one. It's sad when you consider that something so many people take part in hardly makes any kind of difference in the lives of the people who desperately need the money that is being raised.

The Hardcore Benefit Show, as it currently stands, is woefully inadequate. I have been thinking about this recently, in light of the announcement that Shark Attack will be playing shows once again to benefit the young neice of one of its band members, who has been stricken with Lukemia. A benefit show is a a nice guesture, but that's all it really is -- a nice thought. A show of support. Sure, it's a boost to the spirit of the down-trodden to see so many people get together and make some kind of effort on their behalf, but that doesn't really go too far when you're missing mortgage payments and falling hopelessly into debt.

I think it's time that we re-think the way we raise money for those who need it. This applies to everyone from the bands on the stage to the kids in the audience to the people who run distros. If you want to raise a lot of money, everyone has to be on board, and everyone has to be aware of the fact that the benefit show is more than a show. In my opinion, four things about the Hardcore Benefit Show really need to change:

Keep The Change: this thought applies to the people who are actually attending the show. You're not going to like this, but I'm going to say it anyway. For once in your life stop thinking of yourselves. Shark Attack is playing a reunion. Whether it was a benefit show or simply a desire to get together and play shows again, you as the show-goer would be there either way. My point? Since the only reason Shark Attack is reforming in the first place is to help the family of a sick little girl, you're not really contributing to the cause if your generosity ends at the price of the door, which is completely unnacceptable. If it's a ten dollar door, and you really want to show the band your support, every person in line that night should hand the person taking money at the door a twenty dollar bill. When change is made, you should remember that you're attending a benefit show, feel yourself filled with the spirit of the event, and say "keep the change." Your generosity will do more good for the beneficiary than the Modern Life Is War record you would've eventually wasted your money on, buying it for yourself at a distro table later in the evening.

No Vendors: I know a lot of distro and label people count on the money they pull in at big shows, but the truth of the matter is, when you sell your wares at a benefit show, you're tempting people to invest their money in themselves, rather than the people the show is supposed to benefit. It's my opinion that promoters should just ban distro tables from benefit shows, period. If distros and labels are to be allowed into a benefit show, they should pay a significant fee for their table space which would be donated to the benefit, but I think it would be more effective to eliminate the avenues that keep people from giving their money to the beneficiaries.

No Guest Lists: It's a benefit. The only people getting a free ride should be the beneficiaries. I don't care who you know, who's equipment you're carrying in, or how long you've been around. If you're not paying at a benefit show, you are utterly useless in terms of what's going on around you. If that still doesn't move you to get involved in the spirit of the evening, a crowd should converge on you in the same manner that a mob converged on Kramer when he refused to wear "the ribbon." Semi-violent Positive Peer Pressure never hurt anyone.

Bands can contribute by not playing: a Shark Attack reunion doesn't happen very often. More than a few bands will want to be on the bill and there won't be room for most of them. That doesn't mean a band's potential to contribute ends at whether or not they can appear on the show flyer. Bands that have friends in Shark Attack, or bands that simply admire them can donate copies of special pressings of their records to be used for a silent auction. Do the math. If you have 40 different silent auctions for 40 different records, each averaging $25 final bids, that's an additional thousand dollars to throw at the cause. Make your records worthy of interesting bids. Personalize them with a message and an autograph. Announce each winner of each auction in the moments before Shark Attack plays their set. The winner gets a picture of him holding his record with the guys in the band. Sounds cheesy, but it would draw interest in more ways then one.

First Date Girl: Who are those guys in the picture with you?

Dude: Oh, those guys are in a band I really dig. Shark Attack.

First Date Girl: What are you holding in the picture?

Dude: Oh, just some record I won a silent auction bid on for some unfortunate little girl who was stricken with Lukemia. I really wanted to do everything I could to help, and throwing a couple of hundred dollars at some crappy Floorpunch on gold was the least I could do. Never heard of the band personally, but hey, that's the kind of guy I am. (crossing fingers behind back)

First Date Girl (removing clothes): Take me now.

Before I get off my soapbox, I just want to leave everyone with one last thought on the subject. I think people generally think of a benefit show as something that is an entity, rather than an action. Most people attend them and they think of the thing as a noun, when really, it's a verb. You're not attending a benefit show. You're attending a show to benefit someone.

Keep that in mind when you're standing in line.

I have spoken,

Wednesday, September 21, 2005

BBHC Fantasy Hockey League

Tonight I will be sitting at the MCI Center with Alfred Ortiz, Dave Byrd, and my wife, the lovely Kimberly, drinking beers and watching Alexander Ovechkin make his professional debut for the Washington Capitals. Normally I hate the Caps (the Philadelphia Flyers are my hometown allegiance), but since the Capitals decided to strip their team down to its wires and go the rebuilding route, I'm at least curious to see how the team will build itself back into contention.

It's only a pre-season game, sure, but after missing the entire 2003-2004 NHL season to a labor dispute, I'll take whatever I can get at this point. I learned last year that even if you play a lot of recreational hockey (as I do) in the absense of a professional hockey season, you still really miss watching the games. Well, I did at least. I think last year was the first time in my life that I suffered from mild depression (that wasn't post relationship break-up related), and I wonder if the cancelled season had anything to do with that.

Another thing I really missed about last year's cancelled NHL season was FANTASY HOCKEY. I played in a Yahoo Fantasy League for the first time during the 2003-2004 season, and it was a blast. I had so much fun that I decided to start my own fantasy league this year. So, consider this my formal invitation to all of you to be a part of the inaugural season of the BBHL (Barebones Hockey League). Since I average about 1200 hits a day on this site, I'm hoping I can find at least 19 other hockey heads to populate my new league.

If you're interested in putting a team on the virtual ice, please email me at

Please include the folowing information in your email:

1. Name:

2. Location:

3. Email, AIM, and phone number:

4. Team Name:

5. Are you cool with kicking $20 into a pot for the league champion and prizes for conference winners?

6. Banners for conference winners. Mock-Stanley Cup for league champion. Y/N?

7. Have you played in a fantasy league before? If so, which?

First come, first serve basis. Overlap teams will be given the opportunity to join should an original 20 franchise back out. If there is an overwhelming response, I will form and manage a 2nd league for all parties interested.

Tuesday, September 20, 2005

The Hardcore Art Gallery: Dayglo Abortions "Feed Us a Fetus" LP

I stumbled across a CD re-issue of Dayglo Abortions "Feed Us A Fetus" the other day while cruising through the bins at SMASH! Records,located on M Street in the Georgetown section of Washington DC. I absolutely had to pick this CD up. In high school, I used to love this record.

I remember when I first came across this record. I was a junior at Central Bucks West High School in Doylestown Pennsylvania, and I was cutting classes with my friends Mark, Steve and Jason to take the R5 into Philadelphia for a day of record shopping. I was standing in the basement of 3rd Street Jazz, located in the Old City section of Philadelphia, when I came across a record that had a portrait of Ronald and Nancy Reagan on its cover. Ronny was seated at a table with a dinner place setting in front of him, with Nancy standing by her man, arm draped around him. Both of them wore big smiles for the portrait.

Upon further inspection, I noticed the Gipper was seated in front of a large serving plate that had a fetus on it, covered in ketchup and jelly beans (Reagan's favorite candy). On Ronny's tie was a tie clip in the shape of the McDonald's golden arches, an obvious reference to American consumerism and disposable culture. Upon very close examination, I noticed that Ronald Reagan also had a set of fangs, and while his expression had a "smile for the camera" feel to it, he also looked kind of evil. Lastly, on the Presidential Seal hanging from the wall behind them was the title of the record, and the banner being held by the Eagle on the seal had the lyrics to the Dayglo Abortions song "Bed Time Story" on it, which read: "Flesh and Blood and Spattered Guts. Dripping Brains and Radiation. Everybody's Mutilated. Screaming Missles. Burning Babies." Very cool.

This cover art was actually the subject of some controversy. The art, painted by Randy Stubbs, was at the center of a precident setting trial for obscenity in Canada. The band faced charges of distribution and possession for the purpose of distribution of obscene material in an Ottawa court in the late 1980's, and were acqitted of all charges. You can guess where a band stands on the subject of censorship when it prints "Dedicated to Tipper Gore (play it loud, Douchebag)" on its back sleeve.

For those who have never checked out the Dayglo Abortions, they're like a Canadian blend of The Meatmen and Dead Kennedys in that they have clever, politically charged lyrics accompanied by a hefty dose of gross out humor. If you're interested in checking the band out, I would definitely start with Feed Us A Fetus. It's a great record if you stop playing it after track #10. The first 10 tracks were recorded in 1985, and they absolutely smoke, while the remaining 11 tracks basically sound like a demo, before the band really got an opportunity to perfect their sound and focus on their identity.

You gotta love a band that has stage names like Couch Potato, Jesus Bonehead, The Cretin, and Wayne Gretsky. But if you don't dig the music, just get it for the cover anyway.

Best tracks: Bedtime Story, Wake Up America, Proud to be a Canadian

You can purchase Daygo Abortions "Feed Us A Fetus" through God Records

Monday, September 19, 2005


Prize: Rain on the Parade "When It Rains, It Pours" LP on black (limited to 300)

Rules: I'm looking to build up my buddy list so that I can track down people for interviews for the site. All interested parties please send Instant Messenger screen names for 5 different people in hardcore bands (past or present) to me at . The contestant who sends me the most interesting (and authentic) list, wins the record.

The winner will be announced at 12:00 p.m. on Friday, September 23rd 2005

Wednesday, September 14, 2005

Road Rage Record Reviews by Dave K.

A lot more material this time out. I'll have even more next time. Next week, I’ll be in New Jersey for one last time (my father and sister are moving down here so no “real” reason to go up after this). I'm going to try and get into the city too. It’s going to be weird for me to be back. I’m so locked into the laid back Southern lifestyle (yeah right) that New Jersey has been forgotten. It’s going to be good to see Brett and others, been awhile. You are all going to have come down here and get a taste of some good ol’ Southern Hospitality. So there probably will not be another column until the week after. I just heard that the owner’s of the building where CBGB’s is located has put in eviction notices. Hilly says he is going to fight it in court. I think they really need to give up. There are only so many “benefits” that can happen before everyone gets tired of them. People are going to lose interest. CBGB’s was a big part of my life, but sadly all things must come to an end sometimes. If anybody has at least the MP3 to either of the Circle Jerks live sets at CBGB’s this past weekend, please let me know. I couldn’t get on the live stream. Onto to reviews...

State of Mind Recordings has a new release out by a band called This Is Hell. There is some powerful chaotic guitar work here, plus screaming vocals that don’t quit. It’s a little above the pack but in the long run, not very memorable. Great Jack Kirby-eqse art by Jeremy Wabiszewicz, which to be honest made me want to listen to this CD. State of Mind Recordings

Demo Time: A few demos to talk about. Just a general comment, it’s always in your best interest to be patient and put a few songs on your demo. When you only record like three tracks, it’ll never give anybody a handle on your sound or what you are about. A CDR demo from a Canadian band called About To Snap is short but luckily sweet. Powerful early ‘90’s North American styled HC with a fantastic production. This could have been a 7”, no question. Only 5 songs left me wanting more, had to play it a few times for fulfillment. Contact: for info on the demo and stuff. Worth your time. Black Spot is from New Bedford, CT and has 4 songs coming at ya. The music is some basic punk/HC with good vocals, nothing too exciting either way. Contact: Received some pretty mundane material from All Sense Aside. The recording is weak as hell, music is dullsville. The next couple are winners. Drop Out plays some weird punk/HC, screaming vocals with a fuck you attitude. Not sure why I really like it, but it is definitely worth checking out. You can get it at Parts Unknown Records. Here’s another 5 song demo which leaves you wanting to listen to more: Riff Raff plays fast hardcore with good snotty vocals, these songs stay with you awhile. This one was in the tape deck quite a bit. I don’t need to say more. Go get it at Eating Rats Records. Expired Youth needs a few more songs (and a new name for sure) on their demo. As it stands, it sounds a little generic (fast posi-core, good recording) and needs more time before they can impress. If you're intrigued, e-mail them at: Bands...send more demos!

Set To Explode has a seven inch out which I wouldn’t have mentioned (there was no contact info or anything) but it’s well above average. They play some really good grindy 1980’s inspired HC. Very good vocals and backups. They are definitely not afraid to be a little sloppy, which is refreshing in this over produced, music spot-on age. Worth a listen or two.

Zine 101: Got some fanzines this time out for you. We will start with the best of the lot. Stop, Look And Listen #1 is of such a high quality, I’m wondering if the editor has been involved with ‘zine projects before. Interviews with Rasaraja Dasa (Rob Fish for you laymen out there) of 108, Restless Youth, Lion Of Judah, Dead and Gone Records and Luke Wolagiewicz. I like the fact that the interviews are with different types of people and bands, and that the questions are well thought out. There are also many opinions, articles and music reviews. The ‘zine is offset printed and nicely laid out. There is an article which appears on the webzine, Bystander about Absolution which is great. You should check out the companion interview with Djinji at the Bystander Fanzine site. Good job, there is no address (something I don’t like) but an e-mail contact Get it. New America #7 Summer 2005 is a cut and paste Xeroxed ‘zine with a couple of interviews, Ink and Dagger & Integrity and some other stuff. Nothing incredible but these guys are probably doing more than you. No contact address, not smart guys. I see those guys and gals out in Goleta are still plugging away. Heartattack #46 has interviews with Zegota, Caustic Christ, Wow Owls!, Back When, New Winds and Tradition Dies here. You also get the standard reviews, columns, etc. The cover is great. Glad to see they are charging more money for this. They really should stop worrying about the demise of print ‘zine and less advertising revenue and raise the cover price to at least a dollar. It’s totally worth it. Last we have Double Rabies #4 July 2005. It has interviews with Cold World, War Hungry, Iron Boots and Condition. There are reviews too. It’s a cut and past affair, a little sloppy but readable. Get this one from: Becky Miller 147 ½ South Main Street Taylor, PA 18517

One thing I like about hearing new stuff is that while you get disappointed most of the time, every once in a while a surprise comes your way. Now I have no idea who this band is other than the fact they are from the DC area, but a CD with some new stuff by The Hate Crimes was sent in. What a release. There is some solid early 90’s hardcore here (I can hear a big Mouthpiece influence) mixed in with later 90’s sounds. Not all the same throughout, as a couple of the songs do veer off into slight indie rock territory. But this is not a bad thing. The recording is great and the music is kicking. Since this was a CD (13 tracks) with no lyrics or any kind of packaging I don’t know if it is a future record or demo. Maybe one of the band members can let me know as this is definitely worth your time.

Music to fall asleep by: I recently was sent an independently released CD from Canada’s The Maloney Crew In a way I feel bad to be so negative about this one, but music is so non-descript & plodding and the recording is totally flat. They need to punch it up a bit. The latest two from Throp Records really knocks you out, though not in a good way. How It Ends’s CD “Beloved” has that whole modern heavy metal/hardcore thing going on with the standard “evil” vocals. It’s a decent one, but by song 4, you are like “Ok we get the point!”. Whoever they have at Throp doing the art and packaging knows how to present things. The cover art is really quality stuff. Fordirelifesake has a CD called “A Daydream Disaster”...Disaster is really more like it. I don’t know, some “post-modern” HC w/melodic guitars throughout & screamed vocals. In other words, a mess. The music is too all over the place and just uninteresting. Throp has a large stable of bands, these two though are hopelessly average. Thorp Records

Moldy Oldie pick of the week: I must say Dan over at Mad At The World Records helped me out deciding what to pick this week for your classic punk and hardcore obscurity. Two important re-issues here, both pretty obscure New York City Hardcore bands from the early 1980’s. The most recent is the Major Conflict “Sounds like 1983” CD. Major Conflict was one of those bands who were a bit more diverse that some of the other bands from that era. Because of this, they got overlooked by most who just like more straight forward stuff like AF and The Abused. Record collectors will tell you though even that they don’t really like their 7” too much, it’s a must have record to complete their NYC HC era stuff. After listening to this CD, they were a much better band than I remember (usually that is the other way around). Other than the 7”, there is a lot of live recordings, which are of very high quality and some other recorded material. The layout is simple, but effective. Liner notes by Wendy Eager (of Guillotine Fanzine), band lyrics and photos. The one issue I have with this is it’s one of those multi CD that has band videos too. I had problems running it on my computer, though I was able to figure it out. Nonetheless, this is essential, a must. Next is the Urban Waste 7” re-issued on CD. This re-issue is a couple of years old, but like I’ve said before good music never ages. I was telling Dan that it’s funny that Urban Waste has been re-issued and bootlegged many times & it seems that people still really don’t know anything about them. A simple re-issue, the first time this is legitimately released on CD (The earlier re-issues that I know of is the Big City Records 12” (a rare record itself) and a Lost and Found bootleg CD). Nice little layout with the lyrics and photos. This is a great record, a classic punk/hardcore sound through and through. You should grab both of these re-issues and have a 1983 retro NYHC party! These and other things are available at Mad At The World Records.

Selfless self-promotion: I’m sure everybody reading this already knows -- The Hardware Fanzine Collection CD has been out since the first of the month. It has all the issues of Hardware in PDF format, plus lots of other stuff like some of the unreleased #10. See what it’s all about. Check it out at the link above, or go to:

Be sure to look under "Other Items"

Or snail mail $7.50 USA ($10.00 world) to my address below. This is the first release, next up will be a biggie, so stay tuned.

From The East Coast to the West Coast,

Dave K.

Send all vinyl/CDs/mp3s/cassettes/demos/fanzines/DVD/books, etc… (if you can try, don’t bother sending the CD cases, save some bucks on the postage…dupes on CDR are fine too, just try to send info with it) to:

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017

E-mail me at:

Tuesday, September 13, 2005

Richie Birkenhead: Part II

When I was in college in the mid to late nineties, I was in this girl’s dorm room, and she was apparently one of your biggest stalkers. She had a shrine to you on one of her walls. There were pictures of you in Underdog and Into Another, but what surprised me was she had a few pictures of you on a beach, wearing really weird stylish clothing with the super fly sunglasses and space age shoes. They were professionally shot. How did you get into modeling?

Richie: I didn’t. A friend of mine was the designer. She’s a British designer named Katharine Hamnett. It was her line. I never did any modeling before, or since. Terry Richardson, who is a New York photographer, was doing this campaign, and that whole campaign was having people that weren’t “models” model Katharine Hamnett clothes. We did a shoot at Coney Island. It was me, my girlfriend at the time, and a bunch of other people. He (Terry Richardson) was huge sort of a cult art/photographer guy. He still does a lot of fashion stuff, but he really pushes the envelope as far as sexuality and vulgarity and stuff.

How did it end with Chuck Treece? Was he out of the band before Underdog broke up?

Richie: Yeah. Underdog was a power trio for a while. We were the Rush of hardcore. He just bailed. He was getting kind of flakey, and you know, he didn’t live in New York. I forget exactly how it went down, but I think he got offered money to play drums for some Bad Brains shows. It was more money than we could give him at the time. But the band was sort of beginning the process of breaking up anyway, I guess, in hindsight. But yeah, he just kind of bailed on us. There were no hard feelings or anything. Guitarists for Underdog were kind of like drummers for Spinal Tap.

There was a bit of time between when the 7” and the LP came out. It seemed like it took forever for Vanishing Point to come out. Is there a story?

Richie: No, it was kind of laziness. We just loved touring and playing live. And then we were like “man, we got to put a record out one of these days.” So literally, I just started taking the phone calls from these small labels that wanted to put the record out, and I went to see Keith from Caroline Records. I think our whole deal was seven grand, or something. I basically knew nothing about the business at the time, and said yes, basically to the first label I decided to answer phone calls from. But yeah, it was basically just laziness. We enjoyed touring, and didn’t really care about getting into the studio to put stuff out. We just loved playing live.

How did the last unreleased Into Another record end up getting bootlegged? What was it called? Soul Control?

Richie: Actually, that was the working title. I’ve seen bootlegs of it on eBay where people got a lot of the song titles wrong. That album, we never finished mixing actually, so I don’t know how they got a hold of it. We each had a CD of rough mixes, so maybe someone duped one of those. I know that once, someone swore up and down to me that, someone that I knew, swore to me that he’d never copy it or let anyone ever hear it, and it wasn’t long after that I started seeing copies of it. But it could’ve been any one of us that leaked it to the wrong person. But yeah, it’s an unfinished record. It’s kind of a bummer that it got out there. I would love to see it re-released. We’re kind of working on that now, getting the rights back from Hollywood and finally mixing it and releasing it.

You used to live with Porcell. What’s one thing that a lot of people just don’t know about the guy?

Richie: I’m not sure what people don’t know, but he’s one of the funniest people I’ve ever met. He’s absolutely hilarious. Like side-splitting hilarious guy. He’s a very neat guy. Very meticulous guy. He takes incredible care of his…here’s something people may not know. I don’t know if he’s still this way, but he has phenomenal dental hygiene. The guy flosses multiple times a day and takes incredible care of his teeth. Better than anyone I’ve ever known.

Tell me about singing for the Captain Kangaroo children’s show.

Richie: Wow. We’re going back. My Mom is a composer of lyrics, songwriter, she writes Broadway musicals, and she used to write for children’s television shows. So, when I was very little, so she just asked if I wanted to sing some of the songs that she wrote for a television show, and I did. I got paid whatever scale was back then, and the money probably into my college fund or something.

Were you a regular on the show?

Richie: Well actually, it was my voice. They were like the first rock videos. They would have footage of horses running, and a song about horses with kids singing these things usually, sometimes adults. There was only a handful of people who sang for the show, and I was one of them.

Sunday, September 11, 2005

Richie Birkenhead

I went to my very first hardcore show in October of 1987. Thanks to a steady flow of mix tapes from my friends, I was able to leap headfirst into the music, but I didn't actually get my first chance to experience hardcore music up close and personal until over a year later on that cool autumn evening at City Gardens.

A few things stick out in my head about the evening:

*My friends at school had been to a few shows before me, so prior to that weekend, the only things I knew about shows were the things I heard them talk about at the punk rock lunch table at my high school, C.B. West. They always talked about City Gardens like it was something out of the Wild West. I was about as "white bred suburban" as they came, so this worried me to the extent that, at the lunch table, I wondered aloud whether I should wear my jock to the show. Why I would ever say such a thing aloud, I couldn't tell you. But my friends thought it was funny enough that I still get ribbed about it to this day.

*When I got to the club and the bands started playing, I was surprised to see that the pit was just a dancefloor. I was under the impression that the pit was literally a "pit," where the combatants jumped down there, danced hard and did their thing while everyone else just kind of watched from above. Before I got to City Gardens that night, I was thinking "The Pit" was like something out of Thunderdome.

*I wore a black generic DRI shirt, jeans, red suspenders, and combat boots. My hair was shaved around my head, with a long weak-ass sort of flat top thing at the top. The day before, my Mom had taken me to get my hair cut, and when I told the dude to shave it all off, my Mom had a cow. So the compromise was the hairdo that ended up being my 10th grade class picture. I look like such a herb.

*That black generic DRI t-shirt got destroyed the first time I ever danced. I was kind of intimidated, so instead of skanking, I was running around in a circle on the outer rim of the pit like some amped up mongoloid child. In my travels around the pit, I stepped on the feet of the biggest skinhead I have ever seen. He was eight feet tall and six hundred pounds. His hands were as big as catcher's mitts. He tripped me as I ran by him and then picked me up off of the floor by the back of my neck. Once I was on my feet, he grabbed my shirt in both of his hands and shedded my DRI shirt off of my body like some deranged Hulkamaniac. He kindly handed my shirt back to me by shoving it into my face, then picked me up by the back of my jeans, gave me a wedgie, and threw me across the pit into another crowd of well-adjusted college graduates. I'm surprised I'm still alive.

*The bill was Timmy & The Dub Warriors, McRad, Underdog & Agnostic Front. Timmy & The Dub Warriors were a rasta band. The singer had a huge staff that we was swinging around at people. McRad were okay. Roger Miret kicked me in the face with his boot while diving into the crowd during Agnostic Front's set.

*Underdog was the band that really left an impression on me that evening. After that night, I wanted to sing for a band, and that's exactly what I spent the next 13 years of my life doing in one band or another.

The following interview was conducted with one of the larger influences in my hardcore life, Richie Birkenhead, at the 2005 Positive Numbers Fest. The interview is broken into two parts. Part two will be posted to Barebones Hardcore tomorrow.

Interview by Ronny Little. Photo by Kim Seidl

Is this a reunion, or are you doing the kind of thing that SOD did for so many years where the band isn't completely broken up, and comes out of the woodwork for a show every now and then?

Richie: I guess, even though I hate the word "reunion" truth be told, that's kind of what it is because we were basically defunct for a while. We got back together briefly in 1998 to do some shows, but that was without Dean. So this time it's more real. More genuine. And, to be honest, I was kind of ambivalent before the CB's show, and it (the show) was just amazing. I had the greatest, greatest time, and it felt like we had never stopped playing. The CB's show was phenomenal. It was so much better than anything in that 98 tour. It was exactly like an Underdog show from the 80's.

In that 1998 reunion, that was kind of hard on you, wasn't it? You guys got in a van accident. Didn't you guys have a hard time on that tour?

Richie: Wait, did we get in an accident?

I remember the show we (ROTP) played with you, you started the set off by saying "I'm kind of sore. We got in an accident. Can everybody just give me a little room..." and then the first song in Jon Hennessey, who was a big DC scene guy and a very nice guy, went running across the stage and--

Richie: what show was that?

In DC at a big club called Capital Ballroom (now called "Nation").

Richie: Ooooooh yeah. I was really sore. That's right. My leg was messed up. I remember now. I got nailed in the face with a boot really, really hard in the face. It's no big deal. It's happened many, many times. In fact, at the CB's show I was kicked really hard in the throat. I almost lost consciousness. Like, full boot in the Adam's apples. I couldn't breathe for a few seconds. AND, it was like 140 degrees in CB's. And yeah, a big ol' boot in the throat.

So are you guys going to keep playing shows?

Richie: I think what's going to happen now is we're going to play pretty consistently for a while now. We're going to do a European thing in November or December. A very short European tour, and we're going to keep booking shows, at least for now, on the east coast, north eastern US, and maybe a show or two in Canada. We've talked to people about booking some west coast shows, but nothing has been booked yet.

So are there plans for new songs, or are you just playing the old songs?

Richie: There are no recording plans right now. We're talking about that. Some guys in the band want to, and I'm not sure yet if I want to. As far as recording goes, it's just not where I aesthetically right now, or musically at all, especially right now where all that I play at home and all that I write is acoustic. But, Underdog is absolutely part of me and something that I created, so I love playing these songs. I just don't know if I can sit down and deliberately write Underdog songs again if their not...I don't do it if it's disingenuous. I want to do it if I'm feeling it and I want to write a hardcore song.

Would you mind shedding a little light on your involvement in Youth of Today? I've never heard any stories about your time in the band. Can you tell me a little bit about the Break Down The Walls tour?

Richie: Well, it was brief. We did a US tour together. We recorded Break Down The Walls together. That basically came out of the fact that I was very, very close friends with those guys. I was roommates with John Porcell, and very close friends with both John and Ray from before Youth of Today. They were just friends of mine. I had always played guitar, and really wanted to play guitar again in a hardcore band, or in any kind of band, and it just kind of fell into place. I was just talking to Porcell one day, and he was like "maybe we should have two guitars in the band and sound huge." But it was a very brief thing. We did one US tour, and then there were a couple of little stints, like a couple of weeks with 7 Seconds or a few shows on the west coast, so I think that's why there is so little talk of it. As far as any juicy anecdotes from that tour go, there's very little I remember except in Arizona, almost having a rumble with a bunch of skinheads because one of them beat up Ray or something like that.


Richie: Yeah. Ray was getting roughed up. He was like, dancing during some other band's set, and some local skinhead apparently punched him or did something, so Ray (laughs) come and got me and Ray basically said to him "Richie's gonna kick your ass!" So, we arranged to meet in the parking lot, and I was just going to like, fight some skinhead in the parking lot, and there was a whole crowd of kids ready to see a big brawl, and the guy never showed up.

When the hardcore message board discussions always turn to the "tough guys of hardcore" your name always makes that list. But the thing is, nobody ever really sheds lights on the details. And it's always so weird to me, because most of the guys on the list are usually crazy sketched out dudes, and you're nothing like that.

Richie: Well, I used to have a very short fuse. Honestly, fighting and violence is not something I want to glorify or romanticize, but I definitely was a bit of a hot head at one time, and maybe a bit of a brawler, but like I said, I think I was a weaker person then because I would lose control easily. In all honesty, I don't think I ever, uh, beat anybody up who didn't deserve it a little bit, but there were certainly a lot of situations I could have walked away from and didn't because of my pride and just stupid shit. But yeah, I'm sure the stories are exaggerated and I'm sure people claim that I got in many more fights than I actually did, but yeah I did at some hardcore shows, get into some fights.

I think hardcore in general is a lot less violent than it used to be. I think when kids today talk about the old days and the fights, I think they talk about it more in terms of like, watching a fight at a hockey game where everyone has their favorite enforcer.

Richie: Well, the hardcore that got me into things when I first started seeing hardcore bands play in the very early 80's, it was a very different thing. It actually was sort of a dangerous, small underground scene. There was always a sense of danger, really. There were these dangerous characters, and I was not one of those people. I wasn't some dangerous guy.

You never struck me as a mean or sketchy guy, at all.

Richie: No. No, honestly, I'm very quick to admit my faults, but I don't think I was ever a mean guy, and I certainly never, in my life, I never picked on anyone. Never. Quite the opposite. I was almost a loner in school. I had very few friends. When I was in high school, I never picked on people. I was one of the very different kids in my school, and if anything, I caught a lot of shit from people. Maybe that's something that helped sort of erode my tolerance and made me a short-fused angry guy for a period of my life. Hardcore is very angry music. I can be very inspirational and uplifting, but you can't deny that there's an aggressive note that runs through all of hardcore. One of the things that initially intrigued me about hardcore was that it was very dangerous. It's very different now, and hardcore shows...when I'd go see shows in New York at A7 or CBGB's, there really wasn't a large element of suburban, bourgeois kids at all. There were suburban kids, but they were like real misfits. They weren't at all the just like the popular kids at their school, and the kids who were making the music were inner city, usually outer borough New York City kids.

Was there a breaking point for you, a specific incident, where you just said to yourself "I'm done with fighting?"

Richie: Nothing at a hardcore show, no. But yeah, there was one incident where I was actually just looking for a friend of mine at a restaurant in New York. It was a crowded, almost like a night club, very crowded restaurant where people were deejaying. I actually wanted to go in there and see if a friend of mine was deejaying, and anyway, a very drunk the time my hair was bleached. Of course, I walk into some drunk frat guy, sort of Wall Street-type. He was calling me names, making fun of the bleached hair. I was trying to ignore it, and he ended up trying to put his cigarette out on my chest, and I completely overreacted and I hurt him really badly. I was sick about it. Just completely sick about it and disgusted with myself, and I just went home and I was a wreck. I was depressed for days. I don't think it was the last physical altercation I ever got into, but that one incident pretty much ended my "fighting career."

Check back for the second part of the interview tomorrow.

Thursday, September 08, 2005

The Hardcore Office

I think it's entirely possible that I work in one of the most hardcore offices in the world, without my office being located at a record label or record store. It probably has everything to do with the fact that I work for an animal rights advocacy group in Washington DC. Since a lot of hardcore kids gravitate towards vegetarian diet and animal rights, I guess it's not surprising.

We have 43 employees in our DC office, 5 of which come from hardcore origins, as well as a couple of others that have come and gone recently:

Kim, one of our nutritionists, played in several unheralded midwestern bands, and played bass in the Nerve Agents for a few shows, though she never recorded with the band. Sadly, she just quit the other week.

Mark, one of our lawyers, is the creator of the Misfits Central website. His current project is Band to Band.

Ben Read, one of our former interns, was one of the guitar players for Earth Crisis. Yes, the guy who wrote "Body Bag" chatting it up with the guy who wrote the riffs to "Fire Storm." That was funny.

Rich, our office manager, was in a Baltimore band called the Fearless Vampire Killers. His new band is called Forced Forward. Rich leads a dual life. Outside of the office, he's Mr. Hardcore. Inside the office, he sits around the mailroom all day listening to really bad R&B.

Nick, one of our system administrators, hasn't been involved in any bands or zines or anything like that, but you can have a good conversation with him, especially about Dischord stuff.

There's me of course, HNIC at the BBHC, and I sang for Rain on the Parade as well.

And lastly, Nick, our floating temp is an a DC area band called Bail Out.

Come to think of it, I've had three employers in the five years I've been in the District, and I've run into all kinds of hardcore dudes on the job. The first place I worked in DC was an interactive media company called Magnet Interactive. There were four hardcore/punk rock types there:

The concierge, Ryan, used to work at Dischord. He would sit there and just tell me story after story that made my head explode. He currently plays drums in a band called Beauty Pill.

One of the content writers, Dana, wasn't into the scene anymore by the time I met her, but as an eight year old, her parents had taken her to several Sex Pistols shows in the UK. She left the company after she won the British equivalent of an Academy Award for a documentary she did in her spare time. I can't remember what it was called.

There were a couple of other guys there who played in a DC band called The Goons, but unfortunately, I can only remember their faces, and not their names.

In the time I was at PBS, I didn't meet a single person with a hardcore pedigree. You'd think I would bump into someone at a organization that had over 500 people in it's corporate office, but alas, no one. However, I did have one strange encounter with a guy who worked in the department where they deal with rights to music used in PBS programs.

The guy's name Steve. He was a funny little dude, probably in his early 40's, who always walked around Braddock Place (where PBS's corporate offices were located) with a cane. He was always humming to himself, and occasionally he'd be walking around the place playing a harmonica. It was funny, and I liked the guy a lot.

Anyway, the first week I'm in my new job at PBS, I step into the elevator to find Steve already in there. As we're taking the ride up, Steve turns and says "sooo...Ronny Little?"

"Yeah, that's right" I say.

"Rain on the Parade? Body Bag. Longhairs? All that nonsense?"

My jaw must have hit the floor of the elevator, because he laughed.

"How did you know that?!"

Steve just smiled without saying a word and walked out of the elevator. In the nearly two years I was at PBS, he never told me.

Monday, September 05, 2005

Quick Notes

* A few weeks ago I wrangled with the XBring Back ProhibitionX and Seventh Dagger crowd publicly on this site, as well as on their own message board. If you haven't gotten the chance to check out the Seventh Dagger message board yet, you really need to. It's a hoot.

Anyway, I've been reading the Seventh Dagger message board here and there, and the kids on that board are being annihilated on a daily basis by a coalition of straight edge and non-straight edge kids who aren't spilling the XBBPX hate-filled Kool Aid all over themselves. Watching volley after volley go back and forth is like watching the Jerry Springer show on a message board. The message board insurgents are definitely the studio audience there to witness the spectacle, while the Seventh Dagger dudes -- struggling with the English language and coherent rational thought -- are clearly the trailer trash guests out for a night in the big city and their 15 minutes of fame. It's awesome.

The funny thing is, these clowns wanted a war, but it doesn't seem like they were expecting to be dealing with an insurgency on their own message board. It's gotten so bad that as soon as the guy who runs the site gets back from tour, he's going configure the site to require usernames and passwords. Ha! Guess who that war? So, if you're one of the message board insurgents, or you want to get in on the action, you better do it soon before they build their Berlin Wall.

By the way, the latest blog on their message board is a laugher. They freely acknowlxedgex that straight edge really is indeed a gang. Check it out here.

*I've heard it through the grapevine that Jamie Aurthurs, the promoter of the St. Andrews church venue, was a little bummed by what he felt was one-sided coverage of the Fuse Is Lit show I covered in the first installment of Dancefloor Diaries. It was not my intent to be biased, nor do I have any feelings about the incident or the politics surrounding the show. While I do live in the Washington DC area, I'm really not a part of the scene here. I've been a Philly fish out of water in DC for the past 5 years now. Ask anybody here about me, and most will probably say "Ronny who?" I'm not kidding.

When I initially came up with the idea for Dancefloor Diaries, I posted on a couple of message boards, asking for kids to contact me if they were at the show. I was really just interested in the events of the night, and not necessarily the subtext, partly because I wasn't fully aware the amount of scene politics involved. I got three responses, all of them giving the accounts that I published, one of them painting Jamie in a negative light. Dave Byrd also painted Jamie with a messy brush when I interviewed him about the show in Fuck You Fanzine (issue 6, volume III), which I included in the Dancefloor Diaries account of the show because it was relevant to the story. A few other DC kids had unkind words for Jamie Authurs in the comments section, but one reader did stand up for him.

Basically, I put the word out there that I wanted to hear about the show, and I published what came back to me, and then others piled on in the comments section. I wasn't really thinking "fair and balanced" because the way I saw it, I just wanted the story behind the show the same way I once wanted the story behind the Shutdown show at CBGB's. I wasn't trying to slant the story in any direction, although it did end up that way.

Since the feature did end up decidedly one-sided, in the interest of fairness I'm extending an invitation to Jamie Aurthurs, or anyone who worked on this show with him, to write in and give their account of the incident as well as the consequences that resulted from all of the fireworks that went on that evening (figurativly and literally). Just remember that the opinions left in the comments section are not necessarily the opinions of the management.

*I'm looking to add a few contributors to the site to keep things rolling on a Monday through Friday schedule of new content. If you're interested in becoming a part of BBHC, please get in touch with me at and I'll tell you what I have in mind.

Friday, September 02, 2005

Road Rage Record Review by Dave K.

More More More...well not really, I’m really strapped for time so only one thing this week. I’ll be at Dragoncon in Atlanta Labor Day weekend so you probably won’t see the next column until the week after (like you care). I promise all the label who sent stuff will have it reviewed then. Oh, one more thing. I found a decent turntable at Goodwill last week (and I haven’t forgot how to use it) so you can send vinyl, BUT, if you can send CDs instead, all the better.

It’s a positive, positive, positive scene. Well, has been a very long time coming (and I can understand why!) but the long awaited Schism New York Hardcore Fanzine book is finally out. Wow! You have to give kudos to Chris Wrenn for giving a shit and releasing this. I know first hand how the fanzine gets the shit end of the stick when it comes to remembrances, which is why I’m starting up my fanzine CD label. Anyway, on to the dissection. I remember when I was just getting comfortable in the NYC hardcore scene things really started to take off. It was around that time I saw this ‘zine at Some Records called Loveseat. I think it had an Iowa address on it, so I asked Duane were he got it from. “Some kid from the mid west, I think his name is Alex”. Fast forward a bit, there was a new ‘zine on the wall called Schism (new? it was #6). Looked inside and I saw Porcell’s name in it plus this kid Alex, who I knew was in Side By Side. Put two and two together and realized it was the same dude who did
this ‘zine Loveseat.

You have to say, Alex Brown is probably one of the luckiest people in NYC hardcore history. Here is this kid from Iowa of all places and in the shortest period of time, becomes a card carrying member of the youth crew, is playing in numerous popular NYC bands and turns his ‘zine into one of the most well-known & notorious ‘zines in hardcore music. In short, he like hit the Mega Millions lottery on one of the big days. It’s things like that people don’t realize with this wonderful retrospective on Schism and the late 80’s NYC hardcore scene.

This 128 page book compiles the 3 issues of Schism fanzine (yes three, it’s sort of like McPheeters starting Dear Jesus at number #39 or something like that.) Schism #6 started it all. I always wondered how they got the white on white cut and paste without lines cropping up. It’s one of the reasons In Memory Of…was done white on black. I couldn’t make the white on white come out good like this (when you are making photocopies, the light will pass and the small shadows come out along the right of the left, anyway…oh I am fucking rambling) Schism fanzine was the epitome of the NY Youth Crew and all the shit that went with it. #7 is the one everybody remembers and knows about. They really did a good job keeping the Project X thing a secret. Nobody knew. Porcell says in one the interviews included in the book that he couldn’t even tell Ray, because Ray would never be able to keep a secret. So fucking true. The day #7 came out, Alex brought them down to Some Records first. I was there with Adam Nathanson and bought three copies right away. Alex was like, “Thanks man!” Later Adam scolded me saying now Alex is going to get a big head. Well, I didn’t care. I knew a lot of people all over the US and knew one of my friends was going to get hooked up. I had this friend from Pittsburgh named Aaron and was
telling him on the phone about it. “Dude, you have to let me get that!!! Nobody here even knows about it!!!” A few months later, he came to NYC to hang and we ran into Porcell. Porcell was like “Pittsburgh!” cause he couldn’t remember his name right off the bat.

#8 was the issue that made Porcell the butt end of many jokes for a bit. His “Porcell says “Straight in ‘88” caused mass confusion with his “rewriting” the rules of Straight Edge. I must credit the beginning of the whole “Veg-Edge” movement right here because after this came out, almost overnight every SxE kid was wearing “Love Animals, Don’t Eat Them” shirts. I know quite a few long time vegetarians and vegans were
really pissed at Porcell for this one. He was a great guy though, I don’t fault him this really. He was trying to make a point. On the other hand, people were lauding Schism for interviewing YDL and actually asking confrontational questions.

This book also has nice retrospective pieces by Alex, Porcell, Jordan Cooper, many of the CT guys who were sort of the extended Youth Crew like Chris Daily and Jeff Terranova and more. The only little fault I may find with this book is there are no negative comments. Any solid documentation should have some. Just a little nitpick. The picture section is great, some of the photos are mislabeled but I understand that is already being corrected.

The flyers are cool, for some reason there are a couple I haven’t seen before (I have been noticing this lately. I have a personal collection of over 1,000 flyers and I am amazed how many I still don’t have!). One half of my Life’s Blood flyer (the one,with the skull on it) is shown. The special guest was actually Project X . This was a great show because The Lismar Lounge had this “must be16 year old” policy to get in. In NYC, this was a standard rule, blame Robert Chambers. So a lot of kids were left outside in the cold.

During one of the songs during PX’s set, Porcell jumped up with with his fist in the air and punched through the drop ceiling by accident. It must have been fate and with everybody pissed that a lot of kids were left outside, he and most during the sing a longs started punching out the tiles. After Life’s Blood played, during which people left after Adam made some Jewish jokes (he was Jewish...hahaha) that was a fun show all in all, sad so few got to see it. I was also at that Ritz show. Oh, the memories.

Like I said up top, this is good one, Chris Wrenn can rest easy at night. I haven’t heard a bad word about this book. The price is way below the average for a book this size. In a world where most punk and
hardcore retrospective books are half assed or opinionated, The Schism book is a breath of fresh air. I can only wish that my CD projects be as well received as this one. Hopefully, he can keep this in print for a very long time.

Get this at:

Dance Hard Or Die, Bitches,

Dave K.

Send all CDs/mp3s/cassettes/demos/fanzines/DVD/books, etc...(if you can try, don’t bother sending the CD cases, save some bucks on the postage) dupes on CDR are fine to, just try to send info with it) to:

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017

E-mail me at: