1 month ago
send vinyl, tapes and zines for review to:
P.O. Box 2572
Olympia, WA 98507 USA
email mp3's, links, photos and flyers to: firstname.lastname@example.org
send vinyl, tapes and zines for review to:
tobi vail P.O. Box 2572 Olympia, WA 98507 USA
email mp3's, links, photos and flyers to:
She was as prolific as these other more notorious artists and, for me personally, her art resonated more with the things that I like best about punk — action, humor, and being a fucked up kid. So, why isn’t Shawn more well known? One possible contributing factor to her lack of recognition could be that she didn’t fight tooth and nail over copyrights. Around 1986, when the Circle Jerks began pining for mainstream success, their agent and record label decided that they owned the rights to the skanking kid image and shouldn’t pay Shawn. Rather than deal with legal battles and mangled friendships, she just let it go and signed the rights over to Keith Morris. The current day skank kid is a bastardized commercial version of her original art.
The Owner of Fishtail Ale is currently pursuing buying out the remainder of the Loft on Cherry's 5 year lease with the goal of tearing out the floor and using the extra space for beer storage.
This meeting is open to anyone interested in preserving the Loft as a community space for arts and events.
The meeting will be facilitated with an open agenda.
bring healthy snacks
Art Kitchen / Bicycle Records Office
508 Legion (across the hall from the loft)
The K Singles Zip-Pak is a series of downloadables available exclusively by subscription. The songs are drawn from our upcoming hardcopy releases like the International Pop Underground series of 7” records, the Dub Narcotic Disco Plate singles and the regular album releases and show up in your in-box as MP3s. A year’s subscription to the K Singles Zip-Pak means hundreds of new favorite songs, six or more weeks ahead of their regularly scheduled street date. It’s a noisy pop rockin’ overdose: no post-rock, no Dad-rock, just endless screaming, crying and carrying on compressed into bite-sized chunks of three minute pop songs. Passionate music for passionate people, the K Singles Zip-Pak features the latest in K MP3 delectability, new songs by Chain & the Gang, LAKE, Karl Blau, the Hive Dwellers, Strange Boys, Jeremy Jay, and so many more. Subscribers hear the songs weeks before the rest of the civilized world has gotten an inkling of what the future has in store because the K Singles Zip-Pak is the future, in a neat pak-ette.
I wanted to let you know that I have included covers of your zine Jigsaw 5 and 5 1/2 in FANZINES (Thames & Hudson) which talk about the history of riot grrrl fanzines. The book in general covers a history of zines from science-fiction to present day. The book is due out in September an I hope it will help celebrate the work of self-publishers.
I do hope this is okay -
"The Slits were a life-changing band that made life-changing music. What does life-changing mean? It means someone puts a song on a mix tape or throws a record on and you stop dead in your tracks because now, whatever path you were on no longer exists. In that moment, you think of histrionic and cliche things such as "from this day forward" and "from here on out," and you hope to God you have the conviction to follow through with all the things this music has inspired you to do. And, hey, you don't always do them, or all of them, but the fact that some song like "Typical Girls" — with its swirling punch punch punch of a melody — makes you think that you're capable and bold and a little on fire, well isn't that what music is for?"
"The Slits were mythic to me as a young punk," says Molly Neuman, drummer for Bratmobile and the Frumpies and co-founder of the legendary 'zine Girl Germs. "Their records were impossible to find, so I only had their songs on mix tapes. I used to play them whenever I was at friends' houses who had them. The rhythms, the riffs, the lyrics and the vocals have the same power for me now that they did then."
She was totally unselfconscious about her body and remained so throughout her life. Ari's biggest gift to me was she made The Slits a safe place for a woman of any shape or size to be relaxed and free with her body. She celebrated womanliness, she reveled in it. She was so sensual on and off stage it was empowering to any girl who saw her. I'm not kidding. The way she carried herself was a revolution.
Stage was Ari's home. She was in her element there. That is where she could let go completely. She was at her best there. She pissed there. Stage is one of the only places a woman with that much energy, power and self belief can show off and sometimes get away with it.
The singing voice that Ari developed, that has been so copied and referenced over the years came very quickly. That is because she was true to herself. She used sounds that she heard around her from animals, birds, playground chants, accents and melded them all together. It happened without thinking. She was as unselfconscious about her voice as she was about her body.
"Here are some movies you need to see: Out of The Blue, Times Square, Born in Flames and Ladies and Gentlemen the Fabulous Stains. Here's a list of bands with women in them that you need to hear, we are not the only group! Before us there were a bunch of female-led/all female bands that no one knows about anymore like The Raincoats. X Ray Spex. Girlschool. The Runaways. Young Marble Giants. The Marine Girls. Anti-Scrunti Faction. Sin 34. Sadonation. Teenage Jesus and the Jerks. Pink Section. Jerri Rossi. 45 Grave. The Avengers. Mecca Normal. Rubella Ballet. Dolly Mixture. The Modettes. Kleenex. Delta 5. THE SLITS! THE SLITS THE SLITS!"We wrote THE SLITS on a girl's arm in Oklahoma City after the show. Instead of drawing a penis in the dressing room, we'd scrawl out one of our lists. We made fanzines documenting this history and sent countless letters to isolated young girls telling them about music they should try and hear somehow. We traded tapes. Later, when people started standing in line to get their Bikini Kill record signed after the show, we'd try to usurp the weird dynamic by using this ritual as a way to write a secret history of girl-punk on our own records. Because none of this music should be out of print and hard to find. This was our music. The history didn't deserve to be lost, we needed to keep it alive by word of mouth and sharpie tattoos!
"Touring the west coast in 1986 opened our eyes to a whole different underground, a whole new punk rock. Everywhere we visited we met artists, writers, musicians and activists with a DIY aesthetic and their own methods for making things happen. It was a challenge for us, could these berry-picking, pie-baking kids organizing dance parties and swimming hole picnics be political? Everyone happy, picking up instruments to join in the fun. Us with our smash the state ferocity, and them with a bag of marshmallows and some extra sticks."
"Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 26-year run, with text by vocalist Jean Smith."
I want to reconsider what we meant when we said “community,” “safe space,” and of course, “the personal is political,” because somewhere along the way, the utopian impulse broke down and something dangerous happened. See, the assumption of safety is all too often an assumption of sameness, and that sameness in riot grrrl -and in other feminist spaces– depended upon a transcendent “girl love” that acknowledged difference but only so far. That is, in the process of translating the urgencies of political realities into accessible terms of personal relevance, a fundamental misrecognition occurs that ruptured riot grrrl’s fabrication of a singularity of female/feminist community. It was assumed that riot grrrl was, for once, for the first time, a level playing field for all women involved, regardless or in spite of differences of class or race. But what became painfully clear, for those of us in the midst of the fray, was this: that the central issues was not one of merely acknowledging difference,” but how and which differences were recognized and duly engaged.