Stront Des Vaderlands

The subtitle reads ‘a mag for fresh teenagers’… (The title can be translated as ‘shit from the homeland’.) I believe there’s only been one issue. It was edited by two young women from Overpelt, inspired by the ‘Pelter’ (Overpelt & Neerpelt, in the north-east corner of Belgian Limburg) zine-scene: Ann (‘Fe@n’) & Hilde (‘@lf’). Ann Hendriks is now living in my town and donated her zine-collection…

Their intention was to stimulate other women to get involved and active. The content: an ode to feminism, an introduction to anarchism, a piece on the female in mass-media (I’m re-publshing that below because it gives insight in how some young women in the early 80s punk-scene did have a clue about feminism), a rant on indifference, info on animal-rights/vegetarianism, cartoons, etc.

Brob

Everyone in our neighbourhood did a zine around that time. We encouraged each other. And all of a sudden some girls popped up! Schools became ‘mixed’ and A.H. was walking by with a schoobag with loads of band-names on it. So I addressed her and proposed to drop by with her girlfriends at the house (the ‘Meinhofpub’) of our mate Axel (Lastig zine). Then we asked them if they wanted to do a fanzine or a band as well, or at least become active… That’s how S.D.V. came about…

Stefan Joosten (‘A-Strant’/ ‘Dawn Of Liberty’ vocalist, and various zines)

[Translation below]

WOMEN IN MASS MEDIA

I’ve just been watching TV: Knight Rider (or something like that); the eternal crap of a tough, handsome (?) stud with a lot of body-hair, who just had a face-lift and who’s going to save the pretty, stupid blonde with a unimportant supporting role. One can predict in advance what is going to happen: the “retarded” chicks always “get themselves in trouble” and the macho-dudes will save them with their “intelligence”. And then that sexist drivel by Benny Hill [UK ‘comedian’]. What a load of crap!!! The only thing they do is having a couple of flipped out chicks run around naked (or almost). Here the woman clearly serves as an object for lust and pleasure for the man: preparing food, cleaning, giving birth, …

Children have been spoonfed these role-patterns from a very early age, later it will go down ever so easily. Emphasizing the classic role-patterns happens everywhere: press, media, church, home, school, professions, … Especially the man stands the firmest in that world because it’s controlled by men. The mass media are in many ways a reflection, a simplified representation of the distribution of power in the world; and in that world the access of women to a political and economic position is usually extremely limited, her position and her role are determined by political, economic and cultural systems that tend to exclude her from active participation. And since the mass media are institutions that promote a process of socialization within certain political and economic systems, they reinforce in the first place the views and the division of roles of a system designed by and for men.

The way women are generally represented in the media is very narrow-minded; in the movies, press and radio, the activities and interest of women don’t extend beyond the boundaries of home and family. She is presented as a dependent, romantic being. Also the professions in which most women can be found, are usually those with an overwhelming majority of women and otherwise in the lowest segments of a certain profession. It’s a fact that in all professional categories there’s a much higher percentage of men than women. Furthermore: the jobs for females are not only paid worse than those of the men, they’re also dead-ends: jobs without promotion opportunities (for those who’re ambitious).

Because of their sexuality and physical appearance, women are being exploited, used as bait for advertising products. The woman is pushed into a certain role: one that is determined by society. A role that has to appear seductive for men and women, and that could encourage women to buy certain products. These narrowminded views are mainly used in the advertising of cosmetics. First and foremost: I find cosmetics useless, because I think it serves nothing but to please the man, secondly it’s also being tested on animals! And thirdly: all that crap on your face is unhealthy. In advertising for cosmetics, the woman is abused in various ways (also: she lets her self being abused), she’s represented in an auto-erotic or narcissistic way (in pictures). This to show that she would also like to be beautiful.

On a second level she’s depicted as being very extroverted. She has to shine or glimmer modestly, in a way that the man can show her of as his “beautiful” property. Preferably the female body is also abused for the most idiotic photographs.

But women also contribute to allow the abuse: they let themselves be abused; e.g. in advertising, porn (sex-industry), movies, … She allows herself being imposed a role pattern through advertising (among other things) but in that way one gets a picture of a woman who agrees with that role, and when this is being generalized, then one is surprised that there’s also people who believe this is utter nonsense!!!!!

This whole system is based on role patterns, prejudices, hierarchy … We can only remedy this, in my view, by resisting all of this.

This was especially directed against machos (as you probably will have understood) and against men who think they can be despots. And of course against those stupid bimbos who support it and agree with everything. (Just think of those crazy chicks with that miserable Benny Hill.)

WE RESIST!!!

(I think you’ll have found that out by now, but just for the sake of clarity, huh.)

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Epicenter Zone (Cutlass #5)

A cutlass is a sort of sword, the kind that sailors/pirates used. Janice Flux had a thing with pirates… Don’t remember how I got in touch with her (Most probably by mediation of someone in San Francisco. Janice was one of the people involved in Epicenter Zone – located on the address where Blacklist mailorder was when I visited in 1989.) but I ended up distributing her zine entitled Cutlass, a ‘personal zine’ with “diary-like writings”. Some reviewers described it as a “queer anarchist drop-out zine with heavy political side”… It was done during her San Francisco years.

Contents? #1: cops, tiny town youth culture, thoughts on feminism, ‘sexual abnormalities’, “the beauty of being a slut”; #2: little girls, modern medicine, bisexuality, ‘me and that god fellow’ comic, book-reviews, … #3: personal bits on art, christianity, punk, ‘city of sin’, … with lots of comics (e.g. unforgettable pick-up lines); #4: Gurl vs. woman, war on Iraq, dealing with the cops, prisoners literature project, love & marriage, … #5 (2000): Epicenter Zone ending, anarachists’ campaign for mayor, WTO-protests in S.F. (and Seatlle), …; #5.5: non-smoking advice for anti-authority types; #6 (2001): interview with Fanorama’s Richard Bump, jury-duty, police-brutality, drawings, collages, … For the later issues I have to rely on others because we lost touch for a while…

#8: Writings about life as a girl/grrrl, the “inevitable, yet necessary, powerless rage” that we feel when we protest injustice; political commentary (on the fundraising-attempts for the victims of 9/11); ‘zine communing’ (when a zine is used to continue a conversation started by another zine) about tomboy feminism and the fact that girlie girls are powerful too; a ten-page memoir of the hell that is a high-school reunion, and a very raw and touching account of abuse, told by Janice’s mother. — #9: A mish-mash of old journal-entries; with little gems here and there. — #10: The final edition of the zine Janice’s zine includes a piece on bidding farewell to a beloved warehouse-space; a paper on gender and anti-Chinese sentiment in 19th century San Francisco; writing about visiting Poland with her mom; comes with the Cutlass Ten Addenda and a CD by ‘Foibles’.

Later, residing in Santa Cruz, Janice (Cutlass Publishing) edited Words Breaks Bars: “a zine-editor’s prison resource-guide” (a guide for zinesters to prison mail-regulations and information for prisoner-support) that “lists mail-restrictions for various prisons throughout the country and offers tips on how to slip-one-by-them if your zine is rejected”. Prison-officials told prisoners that “it discusses how to successfully circumvent mailroom procedure” and “encourages inmates to break the rules”.

Around that time there was also No One Saw The Carny Go… My friend Tijs S. borrowed me #1, in which Janice ‘exhibits’ her photographic work as “D.I.Y. art”; there’s also some of the comics in her very recognizable style

What I’ve never seen is I Can See By Your Outfit That You Are A Cowboy, a paperback of which there were 13 issues (2003-2004)….

For a while Janice has been teaching English as a Foreign Language in Wroclaw (Poland); nowadays she’s getting a degree in Dublin Ireland…

 

Epicenter Zone was a punk, volunteer-run meeting-space, record-/zine-shop and resource-centre/all-purpose gathering-spot (e.g. Food Not Bombs, Prisoner Literature Project, etc.) in San Francisco’s Mission district (475 Valencia street). The building housed a large zine-library and the people running it put on all-ages shows. It was started by the impetus of Tim Yohannon (Maximum Rock’n’Roll) and with their money; but there were also non-MRR people and non- or ex-punx involved. It existed from 1990 to ’99. Here’s Janice’s account/view on its demise…

If anyone wants to read more, there’s ‘Epi-logue: The Zine of Epicenter Zone’s Demise’ by Gordon ‘Zola’ Edar…

Lance Hahn volunteering at Epicenter…

Epicenter goodbye party (Kim ‘Quality‘, Lisa ‘Camisa’, Gordon ‘Edgar’ Zola, Jeff H., Lance Hahn, Nelly)

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Toxic Waste (Femzine #2)

After I got to know that Dena (or Deanna) had done a zine by herself before Suicide? No! Murder (when she was residing in London), Peter Ross (who used to do Murder By Guitar zine in the 80s) informed me he had a spare copy of the second issue and kindly sent it over. Cheers!

This issue of Femzine has a London (UK) address but probably originated in Canada; early 80s. No idea about the contents of the first issue (apart from the flyer above). #2 (1984) featured ‘The Sears’, ‘Rubella Ballet’, ‘Avengers’, ‘Decadent Few’, ‘Brigandage’ and this pamphlet by ‘Toxic Waste’.

Brob

I think Dena also did Schrik fanzine (Ontario ’81/’82)… [equalizingxdistort mentions it in their zine-archive…]

Mark Barker

The cover of #1 read: ‘Action Pact!’, ‘Potential Threat’, ‘Conflict’, ‘Wrecks’, Gaye ‘Advert’, ‘Ultimo Resorte’, etc.

‘Richard Hardcross’, Spain

Early on ‘Toxic Waste’ (from Northern-Ireland) was Patsy Preston (vocals), Marty Martin (guitar; later ‘Bleeding Rectum’ & ‘Pink Turds In Space’), ‘Grub’ Glen Thompson (drums) & ‘Mush’ Phil Coffey (bass). In the summer of 1985 they came over to Belgium for the first time, with Roy ‘Wally’ Wallace (vocals; ex ‘Wardance’, also later ‘Bleeding Rectum’) who had joined them in ’84… Marty wrote down the band’s history online.

‘Toxic Waste’ (Phil – Marty – Patsy – Roy)

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Woozy

A piss-taking guide to Melbourne punk types from Woozy #1, 1992

Sometime in the second half of the 90s I got in touch with Iain McIntyre of Choozy, an independent distribution for music, fanzines and small publications (1996-2002) that had grown out of the zine Woozy that he started around 1992 with his friend Laura MacFarlane (who played the drums for ‘Sleater-Kinney’ halfway the 90s). She was orginally from Glasgow but had moved to Australia (Perth/Melbourne). Choozy sold some copies of my zine Tilt! in their area. There’s an account by Laura on the www…

I never got to see any issues of Woozy. Though they were true activists and the issues they dealt with were certainly thought-provoking, the bands they talked about were quite ‘indie’ and unknown in Europe…

Issues of Woozy are available as PDFs on the Reason In Revolt site.

Brob

I was involved in the punk & hardcore scene in Australia and the UK, but always thought of myself as more of an anarcho-indie kid because I was into a lot of different styles of music and mainly played in indie bands. I got to integrate these different sides through a band I did with my partner which did a few European shows in 2007 (‘The Kleber Claux Memorial Singers). I still have eclectic tastes, although I mainly listen to psychedelia and stoner-rock nowadays.

The early Woozy’s were written out by hand and the magazine tried to bring together DIY oriented people from music, comics and political scenes, mainly within Australia, but also from overseas.

I was, and am still, into hardcore and punk bands, but only played in a few bands that fitted that description. Unfortunately none of those bands stuff is online anymore. I also played in various 60s garage-rock bands, indie-rock and other acts, all with a DIY approach. ‘Ninetynine only play once or twice a year now, but remains the main band I play with.

Some stuff I think your readers might find most interesting and comments regarding them are below…

Iain McIntyre

* Most issues of Woozy were launched with a gig where people got copies as part of the door-fee. The photos from the 1993 launch appeared in Woozy #4, which came with a tape featuring about a dozen Australian bands. Take note of the dead Ronald McDonald hanging behind Stefan Peachfuzz…

* ‘Manic Pizza were an amazing melodic punk band who were very much in the mould of early ‘Hüsker Dü. They started out in Perth, Western Australia and then moved to Melbourne, Victoria where – like ‘Hüsker Dü – they slowed down a little but maintained intense. They recorded and released some albums on cassette but the only tracks currently available online are from a 1991 benefit-compilation Iain put together for the Rainforest Information Centre. (Woozy #1, 1992)

* ‘Mutiny were a Melbourne based anarcho-folk punk band who released a bunch of albums from the 1990s onwards, toured Europe twice and the US once and still reform occassionally. James Brook joined them on some of their tours and then toured Europe frequently on his own as well as with folk-punk band ‘Ecowar. A tour-diary appeared in Woozy #5 (1994).

* ‘Acid World were a Brisbane melodic anarcho-punk band who were at times reminiscent of UK bands like ‘Dan and ‘Sofa Head. (Woozy #4, 1993) Listen to their CD.

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Outrage (Slaves Of Mainstream #2)

I met Roy Meijnen (from Winterswijk, studied in Wageningen) at a few shows in Belgium. He was a kid that hung around with the Once So Close crew (Inge den Brok & Ralf Vergeldt), distributed stuff and set up some festivals aswell – HC (later metal). He also started a label – Balowski recs – that released the ‘B.S.E.’/’Insult’ & ‘Betercore’/’Ohlo De Gate’ split-7”s.

I can’t remember his first issue but #2 (97) had invited and own columns, pics, reviews; and interviews with the Belgian bands ‘Sektor’ & ‘Outrage’ (the latter interviewd by Stef Goos). #3 was announced with ‘Mine’, Jan(nie) Maes of Selfworth zine and personal writings. In Roy’s own words: “The 2 first issue were very focussed on straight-edge. The last was more political and screamo/crust oriented.”.

Later he did promo work for the metal-label Hammerheart recs and the promotion-agency Black Mammot; nowadays he runs a (micro)brewery.

‘Outrage’ was the band of my friend Nico Peeters (Day One recs and distro) – we were in the Newland collective together and both wrote for the zine with the same name. He played bass; the others were Ringo Van Dingenen (vocals), Steven Van Goubergen (guitar) & Sigi Loots (drums). This conversation took place somewhere between the release of their first 7″ (Between Brackets) and the recording of their second (To Terrorize Ear And Mind).

Posted in 1997, Dutch zines | Tagged , , , | Leave a comment

The Mob (Some Hope And Some Despair #4)

Lance Hahn starts off Some Hope And Some Despair #1…

This is another zine that Lance Hahn did. (Having done 9 issues of AOK, together with the Hawaii crew in L.A.) He was the singer/songwriter of the fantastic melodic HC/punk bands ‘Cringer‘ and ‘J Church‘; and ran a label called Huggy Bear recs. Lance was also a contributor to Maximum Rock’n’Roll. He died on October 21st, 2007 in Austin, Texas (complications arising from his kidney-disease). The memorial website is still on-line. Lance had a first draft done of Let The Tribe Increase (a book on anarchist punk). His longtime partner Liberty tells me it still needs a good bit of work and hasn’t actually been released yet. A bunch of interviews that he did for the book were published in MRR and some of them are also online…

Four issues can be downloaded from archive.org: #1 (1996; Avocado Baby, Tobi Vail of ‘Bikini Kill’, Kicking Giant, Milky Wimpshakes, Nails of Hawaiian, No Empathy, Phantom Pregnancies, Red Aunts, Refrigerator, Superchunk, Vomit Launch, Beck), #2 (1997; Bis, Cigaretteman, Little Princess, Propagandhi, SPK, Beck); #3 (2001; Action Time, Coagula, The Cravats, ‘Flowers In The Dustbin’, Jon Moritsugu) & #4 (2001; Kronstadt Uprising, Lack of Knowledge, ‘The Mob’, Semiautomatic, PEE, Sid Vicious, 1975 World Series, The Champs, Margaret Kilgallen, Victor Wong, Doom, the Mummies).

I choose to reprint this interview with Joseph Porter/Porta (real name Gary James Hatcher; also drummer/vocalist of ‘Zounds’ & ‘Blyth Power’) of the anarcho-punk band ‘The Mob’ because there’s a reference to Lance’s “upcoming” book…

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Victims Family (Tambores De Guerra #3)

My mate ‘Boliche’ (‘Subterranean Kids’ drummer) suggested me this zine, Tambores De Guerra (Drum-mer-s Of War) well after it ceased to exist. I never saw it, let alone read it. He told me it was done by a woman called Tina Asensio (from Pamplona, or Iruña in the Basque language). I learned she used to be the singer of the band ‘Orgon’ (anarchist energetic hardcore-punk band “committed to causes such as squatting, liberation of women, anti-militarism, etc.”)… T.D.G. was a “fanzine about HC/punk or any other non-commercial bands” with “articles against the system and fascism”. The first issue (1988) was labeled “Fanzine de HC y Otros Ruidos Antifascistas” (HC & other antifascist sounds) contained info on (Spanish thrash band) ‘Anarkotics’, interviews with ‘Ruido de Rabia’, ‘Mottek’, ‘Cólera’, etc., a scene-report on Ireland, articles (abortion, fascist aggression, criticism of capitalist HC), and more… #2 (1989) showed 2 kissing cops on the cover and featured ‘Vellocet’, ‘Ripcord’, ‘Indigesti’, etc.; talked about Iruña HC and the German scene; etc. On the cover of #3 (1990) one could read “Musica, Protestas y Mucho Mas” (music, protests and much more). Featured bands were ‘Identity’, ‘Victims Family’, ‘Corn Flakes’, ‘Ratos De Porao’; #4 (1992) was with ‘Pullermann’, ‘Disturbing Foresights’, etc.

Victims Family‘ (from Santa Rosa, north of San Francisco) toured Europe several times. We (Smurfpunx) set up a show during their first (89-06-10). Their drummer Devon VrMeer had left the band so Eric Strand came along to fill in and on some of the songs roadie Tim(othy) ‘Bucky’ Solyan jumped in; after this tour he would replace Eric. The others were Larry Boothroyd (bass-player) and Ralph Spight (guitar & vocals). This interview was conducted during that tour (not in Spain but in Italy).

[Translation below]

Can you tell us something about the origin of your band?

V.F.: The band originated in October ‘84. The original members are Larry, Devon (our first drummer) and myself. After recording a tape we did a tour around half of the U.S. in 1985. In 1986 we recorded our first LP Voltage And Violets for Mordam recs. We toured the U.S. again, this time a big tour. In ‘88 we launched a second LP [Things I Hate To Admit] and now, in 1989 we are here, in Europe. Our drummer left the band. We continued with Eric before recording our second LP and at one point we played with 2 drummers. Devon left us after the recordings and Eric stayed on. We come from different directions, not really hardcore. We don’t like to do the typical thing.

Do you live off your music?

V.F.: No, we work. I’m a baker [the vocalist] and he studies [the bassist]. We’ll make a cake for you!!! It’s just as with most bands from our region, we have to work to be able to eat. Experience plays no part here. We get together with people from other bands in the same place and we eat. That’s a good thing. We have a friend who plays in a band (‘Coffee & Donuts’) and has a studio where we can record every 6 months. In our region it’s very difficult to find a place where we can make music. Many people come together to get a place where they can rehearse, give concerts, etc. We tried it recently but there was so much bureaucratic shit to find a place that we gave up.

It’s very difficult to do anything outside of the legal rules because it’s very easy to exclude us again if we don’t have permission, papers, etc. It’s easier in the places that we talked about earlier. Places with a squat upstairs and a venue downstairs. Moreover, they’re in an industrial area and it’s difficult for the authorities to know what kind of things are happening inside.

How did you arrange this European tour?

V.F.: The record-company Mordam recs that distributes our music in the U.S. has contacts with Konkurrent from the Netherlands who distribute our records in Europe. They’d already asked us a few times to tour Europe. When we finally had free time we borrowed money from some friends and we got over here. Konkurrent got all concerts organisd. We’ve played in Germany, the Netherlands, Norway, Poland and Hungary. The Netherlands is fantastic, people jump, go crazy; you can see they’re liking it. After Italy we return to Germany, Switzerland, … We’ve been on tour for 5 weeks. Today we play in Torino and the day after tomorrow in Paris. And next week in Ireland.

Why didn’t you come to Spain?

V.F.: The truth is that we don’t know why Spain wasn’t included in the tour.

Are you influenced by any specific music?

V.F.: We try to play all sorts of things, we don’t limit ourselves to any particular type of music. Many bands seem to decide to sound like this or that band. We want to sound like ourselves. We don’t want to be more punk than no matter who or the most fantastic heavy metal band. Our sound is the result of listening to different kinds of music: heavy metal, rockabilly, jazz, ‘Grateful Dead’, punk, …

Are there places in the U.S. like this squat (Leoncavallo, Milano)?

V.F.: Yes, there are, but not many. In California there are a few in Berkeley… They’re somewhat smaller than these but they organise concerts and the atmosphere is very good. The audience is close to the band. It’s very pleasant. One of them was part of the University and they did a whole bunch of concerts there.

In a certain fanzine it read that the Californian scene was pretty rotten. Capitalist, more like a fashion thing. What can you say about this?

V.F.: I don’t believe that people are that dependent on money. It’s the clubs that go for the money. That’s where the problem lies. The small clubs don’t last long. If they wanna continue they have to attract large crowds to the concerts and so they stop booking alternative bands. Even the big clubs just last five years.

But do you think the scene in California is that rotten?

V.F.: No, I think the people are fantastic, it’s unique, they go to gigs together… but there’s a certain truth in these rumors. There’s not much awareness about what is happening in the world, people are a bit closeminded. Coming to Europe has been such an experience, so much activity, so many things that work. Cultural and political issues are somewhat in the background in the U.S.

As for the bands: it’s very easy to say that they only do it for the money. If you really want money, find a job to lead a good life. Nobody will get rich by making music, there are no musical careers.

What are your lyrics about?

V.F.: About many different issues: politics, leisure, … We’re writing about what can happen to us: the bomb that can fall tomorrow, the water-supply that doesn’t work … A song can deal with anything. Therefor it can be a bit difficult for some to understand, just like our music. Lyrics come after the music but they remain relevant. A bit sarcastic by times…or well…always!

What do you think about skate-bands or straight-edgers, the various American fashions that blow over to Europe?

V.F.: Do you refer to bands that have been categorising themselves like that since the beginning? They’re young people, especially in California. They’re athletic people who really believe in what they do.

Posted in 1990, Spanish zines | Tagged , , , | Leave a comment