Interview with Keith Morris of OFF!/The Circle Jerks/Black Flag

Photo by Katie Hovland

Chris Carlton interviewed Keith Morris of OFF!, The Circle Jerks and Black Flag via the web recently about his new band, OFF!, the state of the Circle Jerks, his influences and much more.

Squid Pro Quo: Thank you very much for taking time our of your busy schedule to talk with Squid Pro Quo, Keith. I know you've been touring nonstop with OFF! for the past few months. How did the band get together?

Keith Morris: "We can blame this OFF! mess on those swell guys in the Circle Jerks. Dimitri Coats (Burning Brides), the guitarist in OFF!, came to the CJs to get us in songwriting mode in order to create a new record and of course, it turned into an ugly situation. Dimitri was fired as producer and in the process, I quit over this shitty crybaby episode. Now it was my idea to start the CJs in the first place and I wasn't gonna walk away from something I helped create. I thought to myself, 'everybody in the Jerks has 20 other things they do to make scheduling nothin' but a royal flaming CLUSTERFUCK so I'll add to the confusion by starting OFF! and creating my own schedule!' This new band's probably the best decision I've ever made. During our creative process, I told Dimitri that the other guys in the Jerks were gonna figure out a way to ruin the scenario and that the songs we've written are way too happening to be tossed out with the garbage. Let's come up with plan #B, #C and #D and make something outta this! That's when Mario Rubalcaba (Earthless/Hot Snakes/Rocket From the Crypt) and Steven McDonald (Redd Kross) stepped up and it's been pretty much non stop party action since then."

SPQ: The short, in-your-face blasts of music that you're doing with OFF! are reminiscent of the first Circle Jerks album. Was it the band's intention to make fast, in-your-face hit-and-run music? Or was it just a natural direction to go in?

KM: "Well, we were attempting to make a CJs record but one day, Dimitri hit the strings on his guitar and I was totally wiped out! YEAH! That's where we need to take this! The way we'd work is him starting out riffing and us going back and forth as to how it should be put together which also applied to my lyric writing. He played something on the six string device which reminded me of where I came from in Hermosa Beach. He comes from a 'heavier' Nirvana-esque place and I told him to pay attention to the guitarists we'd listened to the previous day: Link Wray, who is the Father of the 'down stroke' and Johnny Ramone, who popularized it! No more 'butterfly,' which is the technique a metal or folk guy uses to strum on the strings, it has to be down strokes and attack! AIM FOR THE FLOOR!"

SPQ: The band's been touring nonstop. Any plans for a break in the tour to record a full-length album?

KM: "'The First Four EPs' is our album! I'm on break as I type and we'll get together next week to start writing new songs so we won't fall into the same hole as before. My initial idea was to release a four-song EP every two or three months until we had 16 or so songs then compile them into a full-blown record. It didn't work out that way as we were gonna sign with Epitaph Records but then decided to see what else was out there and test the waters. We signed with Vice Records 'cause their marketing's beyond CRAZY! Vice gave us a couple of deadlines to meet to really make this happen as they had abso-fuckin'-lutely nothing goin' on for a couple of months and told us we would be their priority until the Black Lips finished their album. We jumped at the opportunity and here we are!"

SPQ: You worked with legendary artist Raymond Pettibon on the artwork for the band's 7" EPs. Being the original singer for Black Flag (Pettibon did the album artwork during their career), did it feel like you came full circle having worked with him again after so many years?

KM: "The great thing with Raymond Pettibon is that we get to re-establish a long lost friendship as when we hung out at the Church in Hermosa Beach and were drug and boozin' buddies! I'm no longer doin' any of that stuff as I'm a diabetic so I've got no time for that but Raymond and I immediately hit it off and started carrying on like a couple of crazy teenagers! He realized how his older Bro stepped all over the bands and peeps he dealt with so we had that in common and Raymond allowed me to come into his workspace and gave me carte blanche when it came to his artwork. He's a Stud Prince Rawker of the tallest order and plays a seriously mean tambourine!"

SPQ: When you worked with Black Flag on the "Nervous Breakdown" EP or the first couple Circle Jerks albums, did any of the band members get the sense that the music you were creating was going to be as influential as it turned out to be?

KM: "We were CLUELESS! We were excited to just be doin' what we were doin' and being able to receive an invitation to the punker-dunker party. There wasn't a map or a plan as to how we'd do things; we just did them and suffered whatever consequences later on. There weren't any managers telling us what to do or record companies that sniffed around at our gigs. We had to go by the "live and learn" technique and let it all go down however it was gonna' happen! We didn't sit around talking as to what our music/noise was gonna' do out in the public 'cause our credo was pretty much just 'go for it!' and worry about all this stuff further down the road."

SPQ: How do you feel the hardcore scene has changed since the early days? Do you feel it's gotten better or worse?

KM: "I try not to pay any attention to this as it's music and it's gonna be shoved in some of the faces of the music-listening public, dark corners and under dirty rugs. As with any genre of music, some of it will stick to the wall and some is gonna be so thin and watered down, it'll slide right off. I listen to so much music that I really could care less about any one category! College rock, hardcore, sweater, foxcore, punk, prog or whatever they're labeling it; if it's great, it transcends or rises from any box it's being placed in!"

SPQ: Is there any bands out there that you feel are carrying the torch as far as making music on their own terms and not conforming to what's considered popular by today's standards?

KM: "I'm moved by Deerhunter's "Microcastle" recording, who are a drone band outta Atlanta, Georgia or The Shins who made an almost perfect "Pop" record called "Chutes Too Narrow" that came out on Sub Pop a few years back. I'm also very partial to Trash Talk, Thee Oh Sees, Ty Segall, Moon Duo and Fucked Up."

SPQ: It's been 16 years since the last Circle Jerks album of original material. Are there any plans in the near future for a new album or possible tour?

KM: "When it comes to the CJs, it all started to come down to money and the fact that we're older guys who are set in our ways; TOTAL BUMMER! The mentality became, 'We're who we are and can write/record whatever we want and our fans will buy it because it's us!' and that's REALLY weak! I told them that I wouldn't be a part of the 30th anniversary tour 'cause I'm busy with the OFF! first anniversary tour."

SPQ: You seem to still have that fire and energy in you that you had back in the late '70s and through the '80s. Your passion for your craft is obvious. Do you still find enjoyment in playing live and creating new music?

KM: "Well, I'm on a bit of a roll and OFF!'s providing me with new opportunities that my other band couldn't make happen. OFF! is going to Europe for the entire month of August to play several festivals and tour across Holland, Germany, Sweden and Norway and my feelings toward this is that I'd be a fucking idiot to not go over there and have some fun! The CJs would only talk about this and end up not doing it!"

SPQ: Who are some of your musical influences? And what drives you to be as creative as you are?

KM: "Too many: The Kinks, Iggy Pop, Jagger & Richards, MC5, Jeff Beck, John Dwyer, Jon Wurster, Ray Davies, Lennon & McCartney, Pete Townsend, Jeffrey Lee Pierce, Alice Cooper, Leon Russell, Lou Reed, David Bowie, Chuck Berry, Jerry Lee Lewis, Little Richard, Bob Dylan, Ryan Adams, John Doe, Exene Cervenka, Henry Rollins, Dave Vanian, Jerry Morris, Bob Caldwell, John Jancar, y mas!"

SPQ: Your musical history has influenced countless bands for more than 30 years and counting, with no signs of slowing down. Where can people get in touch with OFF! for tour dates, new releases and merch?

KM: "OFF! has a facebook page that has an 'Events' section that lists all of our tour info. or go to http://www.offofficial.com, which is our 'real' site!"

SPQ: Keith, I want to thank you again for taking the time to talk with Squid Pro Quo. It's truly an honor and a pleasure to speak with you (NOTE: via web). We're all looking forward to more OFF! releases and more amazing live performances. Thanks again.

KM: "Well that's really a misnomer as we didn't speak! Don't be a liar! Just kidding! If you wanna take the time to write questions, I'll gladly take a portion of my time to answer them. YER' WELCOME! Have fun!"

Off With Their Heads - "From the Bottom" review

Minneapolis, MN has always been in the top ranks with me as far as music goes. I mean, they've given us Dillinger Four, Rivethead and Prince. What more could one ask for?
A couple years ago, this band, Off With Their Heads, opened for the Methadones at the Beat Kitchen. I thought they sounded like one of those hardcore bands. You know, "RAH RAH RAH I'M TOUGH NOW CLAP YOUR HANDS!!!"
There's this other band I love called Dear Landlord. So I picked up a split 7'' featuring them with Dear Landlord.
It was then that I became interested in what they had to offer, so I purchased Off With Their Heads' new album, "From the Bottom," which came out on August 12.

They weren't quite pop punk or punk rock. But at the same time, they didn't strike me as that hardcore band I thought they previously were either. They're just Off With Their Heads from Minneapolis.
What struck me about them first was their lyrics.
The desperation, heartache and sincerity really got me. I mean, on one hand, part of me wanted to say, "Jesus, stop whining about being hopeless and sad and helpless." But on the other hand, I can relate. And when I relate to a song, I like the band. And when I like a band, I review their newest album.
When I listen to Off With Their Heads' new album, "From the Bottom," I get a series of mixed feelings. I can't stop listening to that album, but at the same time, a little part of me still feels as if the lead singer is just totally helpless and/or depressed, scraping for some kind of truth or comfort.
The first song, "I Am You," starts out with:
"If you really want some answered questions
If you really wanna know just what its like
If you want to dig inside my head, pull up a chair, you got all night
I'll tell you why I fucking hate my life
I'll tell you why I can't seem to get it right
I'll tell you why I entertain the thought of dying all the time."

It's a bit depressing, yes, but at the same time, lead singer Ryan Young says there's a little bit of him in everyone. I can't deny it.
While I have yet to find a similarity between the band's name and Alice in Wonderland, I did find something interesting on its MySpace site.
I was fooled into thinking the band had a separate Web site than its MySpace site, but it just led me here. The link name didn't lie! That gives us a little bit more information about Off With Their Heads and their personal beliefs. An interestingly humorous Web site by the way, check it out.

"For the Four" is another song worthy of notice among the rest. This one was featured on their split 7'' with Four Letter Word. I think the story behind this 7'' is the two bands were driving down to Gainesville or back and they released a split titled "One For the Road."
It's a song about hope, but it leans a little towards the pessimistic stance.
"Let’s put the petty shit all behind
Remember when we used to laugh all the time
It makes me wonder why we bend over backwards
Scraping up nickels and dimes
What can end the constant struggle
Is there a light at the end of the tunnel anyway"
I automatically assume that Francis sings about a rocky relationship, which I think we all can relate to, male or female.
He's got the right attitude, and I agree with him when he desperately says:
"Let's put all the petty shit behind."
Two individuals in love, or even so-called love, should be able to work past petty differences and have fun without getting snagged on one of the barbs of insecurity, jealousy or whatever he may be particularly singing about in this song.

Finally, the album ends with "I Hope You Know," a song slightly different than all preceding ones.
"I hope you know wherever you are
I'm sorry I wasn't there from the bottom of my heart
I'm sorry that when you would call, I'd shut my ringer off
And I'm sorry I erased the mail you'd send to patch things up
But there's one fault of mine that I won't soon forget
And that was never being there when you were on the bed
I got the news in California sick with what you had
I was laid up in the hospital with pneumonia in my chest
I felt the pain that you had felt every day of your life
I regret all my selfishness..."
It's a truly heartfelt tune and while sang in the same voice and with the same fast, driving instrumentals, it's distinctively slower and more intimate than all the preceding songs, which tend to be faster and carry more of an attitude of selfishness rather than regretfulness and sincerity. "From the Bottom" has quickly made its way to the top of the ranks. For fans of Dillinger Four and The Arrivals.

Interview with Mike Byrne of The Methadones/Off Broadway (Redux)/Dan Vapid and the Cheats

(Mike Byrne, guitarist, pictured right)
By Chris Carlton

Squid Pro Quo: Thanks for taking the time to talk with Squid Pro Quo, Mike. Can you tell me how you got involved in Dan Vapid & The Cheats?

Mike Byrne: "Hey Chris, thanks for asking me for an interview. I need a better public image since the "To Catch A Predator" episode aired. You all know what happened at SXSW. When Dan got back, we needed some help at were I work, so Dan was coming into work with me every day. Dan's mentioned in the past how he would love to put a band together or play a show doing songs he has written for all his bands. A friend of mine who works with the owner of the Cobra Lounge contacted me asking if Dan would be interested in doing a show at the Cobra in place of Weaselfest. Dan was a little hesitant about it. I offered to play guitar if he needed someone. After about a week of thinking about it, he decided to to it and he gave me a list of songs to learn. At first, I thought it might be just a one-off gig, but we are going to go ahead and make a band out of it and record and play shows."

SPQ: Besides the upcoming gig Memorial Day weekend at Cobra Lounge, are there any more gigs planned as of right now?

MB: "We have one other show that we are planning on playing, but we are working the details out with the promoter. I guess I shouldn't say anything yet until it's official. We plan on playing out and we will probably do another show in Chicago sometime this summer. We plan on doing out of town shows too. The only thing we probably won't do is any long-term touring. It's just too hard with jobs and two of the guys in the band are married and Dan is having a kid soon."

SPQ: You were playing with Kurt Baker (The Leftovers) recently. Will you be doing double duty playing with Kurt and The Cheats at the show?

MB: "I will be doing double duty at this show. Luckily for me, I know a good portion of Kurt's set already from playing with him back in December. I think we are adding some new songs to the set, so I will have to learn those. I already know all the songs in Dan's set, so that shouldn't be a problem."

SPQ: Being a huge Off Broadway fan myself, I could only imagine what it would be like to play with Cliff Johnson. So, I have to ask...what IS it like?

MB: "Hahaha, it's actually pretty interesting. I've been a huge Off Broadway fan myself for over 11 years. I never thought I would be playing with Cliff in a band much less in Off Broadway. It's different because I've played in punk bands my whole life. It's a different style of playing and it's more challenging as far as chords and song structure. Cliff and the bass player Greg are super talented guys and I feel very inadequate playing with them sometimes because they grew up learning from the Beatles and I grew up learning from the Misfits and bands like that. But the two styles do work good together. The shows are fun because we play totally different places than The Methadones did. We play dingy bars on the Northwest side or sports bars in the suburbs."

SPQ: Is Off Broadway back? And if so, are you a part of the band?

MB: "Off Broadway is back; I'm the guitar player along with Simon (Lamb), who played with Dan too. We've talked about recording some new stuff and we definitely have plans to play a lot of shows. We are in the process of getting a new drummer. We had someone, but he just joined Badfinger, so we are back to looking."

SPQ: Any plans for recording new music with any of the bands previously mentioned?

MB: "We definitely plan on recording with Dan Vapid and the Cheats. Dan has a lot of songs written. I'm always really excited to hear new material from Dan. We've discussed it with Off Broadway, but we don't have any new material to record but Cliff has a lot of old unreleased songs that we could record. I think Dan and Cliff are two of my favorite songwriters and I'm lucky to be playing with both of them."

SPQ: Looking back at not only your career in music, but all the bands you've seen come out of Chicago, what are some of the high points for you?

MB: "I think growing up in the 'burbs and being lucky enough to come into the city at a young age and see all these great bands. Some like Raygun and The Effigies who were already established at the time, but seeing bands like Screeching Weasel, Sludgeworth, Gear, No Empathy, The Vindictives and a lot of others when they weren't as popular as they got. McGregor's in Elmhurst was a cool club that I spent many Sunday and Wednesday nights, seeing a lot of these bands. Plus you had the Wrigleyside on Clark St. that Marc Ruvalo booked at and Isabelle's on Grand Ave. that Joey Vindictive booked at. There were a lot of short-lived clubs that lasted only a year that put on great shows. I really miss when I was younger and was excited about seeing bands. I don't get that very often now."

SPQ: What's you all-time favorite venue to see a live show or play at?

MB: "Seeing bands for me was always cool at McGregor's. They had decent food and always put on great bands. I saw so many amazing shows there. Green Day, Pegboy, Screeching Weasel, Los Crudos, Sludgeworth, Monsula, 411, Born Against, Smoking Popes; there are so many. As far as playing, I always loved playing the old Bottom Lounge. I thought it was a really cool place and the owners were really nice guys. I always had a blast playing there."

SPQ: Who influenced you as a musician?

MB: "Growing up, I listened to metal when I was a kid and then got into punk and hardcore. The band that totally made me want to start a band and play guitar was The Misfits. When I first heard "Walk Among Us," I stopped listening to metal and started buying punk records. Some people growing up loved KISS and The Misfits were my KISS. When I was in 5th or 6th grade, I would come home from school every day and put on "Walk Among Us." I can still listen to that album all the time. As I got older, I would say Cheap Trick has a big influence. They wrote amazing tunes and they looked cool. Before I met Dan, I always, and still do, think he writes these amazing tunes. When we started playing together, it was cool to see him take two or three chords and turn them into these great songs. I still love watching him do that."

SPQ: Of all the bands you've played with, who did you like playing with more and why?

MB: "The band I had the most fun in was The Methadones. I got to play on a bunch of albums and tour the States and Canada and go to Europe. It was a blast. Like any band, there were some not-so-fun things about it, but for the most part, I had a great time. Plus it was the longest band I ever played in; 10 years. I played in a bunch of other bands that had some fun moments, but they never lasted to long. Before playing in The Methadones, I played in The Vindictives for about two years and I learned a lot about playing lead guitar from the bass player, Johnny. He is a really talented guy who showed me a lot of cool stuff on the guitar."

SPQ: If you had the chance to see any band/artist that you haven't seen yet, who would it be?

MB: "Obviously there are a lot of bands that are broken up that I would want to see. But bands that are still around? The Forgotten Rebels, Gilbert O'Sullivan, Joe Jackson, 20/20, the Vancouver Subhumans. That's all I can think of now."

SPQ: And now the question we've all been waiting for; what are your top 3 favorite places to get chicken wings?

MB: "Fantastic question. First is Yakzie's in Chicago. Hands down the best wings in Chicago and the world. Amazing sauce. The wings are small, but in a good way. Second would be "Down the Hatch" in New York City. They are a very close second to Yakzie's. Good sized wings and a very similar sauce to Yakzie's. Third I would say right now is Wingstop on Milwaukee Ave. in Chicago. I'm partial to them because I live closeby and the wings are consistent and the owner is really nice and he gave me a free meal once."

SPQ: As always, I want to extend a big thank you for taking the time to speak with Squid Pro Quo, Mike. Always good to hear from you and see what you're up to.

MB: "Thanks for the interview Chris, as always I think you should wear tighter trousers. I will see you on May 27th at the Cobra for the first Dan Vapid and the Cheats show."

Interview with Matt Hart of Squirtgun

My geeky self and Matt Hart (Squirtgun)
By Chris Carlton

Squid Pro Quo: Thanks for taking the time to talk with Squid Pro Quo, Matt. Fans know you as the lead singer for Squirtgun. Can you give us a little history on how the band got started?

Matt Hart: "Squirtgun started in 1992-93, though we weren’t called Squirtgun at that point. The Giorgini brothers (Mass and Flav) and the inimitable Dan Lumley were in a band at that point called Rattail Grenadier. I was in graduate school at Ohio University studying philosophy and teaching logic. For a variety of reasons that I can’t remember, Rattail’s singer (their fourth, I think) quit the band. That’s when I got the call from Mass to come to Indiana and do some demos with Rattail. The connection there is that during the late '80s, I was in a band in Evansville, IN (where I’m from originally) called Freaks of Nature, and we used to play shows with Rattail (who were from Lafayette, IN). That’s how we all became friends in the first place.

At any rate, in the spring or summer of ’93, I did go to Lafayette to do some demos, but it became pretty clear to all of us that with me singing, it wasn’t going to be Rattail anymore (they were a more hardcore/metal-ly band, and I just didn’t have the throat for that). Plus, I had a bunch of songs to add to the mix, and I started writing lyrics/melodies for some music that the other guys had already worked up. That’s how it all started. I think in those first sessions we recorded “Social,” “Mr. Orange,” “Allergic to You,” “Long So Long,” “Liar’s Corner” and “With a Grin and a Kick,” among others. Because of Mass’s connection with Lookout! (Records) at that point, it made sense for us to try and get a deal with them. Mass wanted the band to have a cartoon-y, pop-punk sort of name, and I came up with Squirtgun (I wish I hadn’t, but I did. In retrospect, I should’ve come up with Piano Smash or Death’s Head Rabbit or Notes after Blacking Out—anything but Squirtgun)."

SPQ: I had the chance to see Squirtgun play, and actually meet you a couple of years ago in Chicago when the band played with Teen Idols and 88 Fingers Louie and you guys were amazing live! Are there any plans for another Squirtgun album or possible tour?

MH: "I’m glad you liked the live show. We had fun doing those a couple of summers ago, but I kind of think that was it. The end. Maybe I’m wrong. I’ve been wrong before, and we’re all still great friends, so I guess anything is possible, but Flav is a research scientist in genetics at the University of Leicester in England now. Mass just got his Ph.D in Spanish and is teaching at several colleges/universities. I teach writing and literature at the Art Academy of Cincinnati (a four-year college of art and design) and I’m a poet (more on that below). Dan writes for the Lafayette newspaper. Additionally, Flav and I both have young children, so it’s tough to get away to rehearse, much less tour. The truth is, I haven’t even picked up a guitar, other than the toy guitar my daughter has, in more than a year. I get the same charge writing and reading poems that I got playing in bands, so it’s hard to imagine going back to music, but if something comes up that’s too good to be true…well, I’ll never say never, but there are no plans."

SPQ: Who were your musical influences growing up and do you think those influences come through in your songwriting?

MH: "Songwriting? Oh man, I’m sure it’s mind-boggling to some people, but I don’t write songs anymore at all—none. That said, the music I grew up with certainly influences who I am as a poet. In fact, I just wrote a long essay in four parts for Coldfront Mag online where I discuss exactly the connections between punk rock and my writing. You can see them here:

http://coldfrontmag.com/poets-off-poetry/by-any-means-necessary-part-1-by-matt-hart

http://coldfrontmag.com/poets-off-poetry/by-any-means-necessary-part-2-by-matt-hart

http://coldfrontmag.com/poets-off-poetry/by-any-means-necessary-part-3-by-matt-hart

http://coldfrontmag.com/poets-off-poetry/by-any-means-necessary-part-4-by-matt-hart

One thing I don’t discuss in the essays above is how much music performance, especially punk vocalists, have influenced the way I perform poetry. I think I’ve always been someone who likes singers/bands that nearly fly apart on stage. That’s certainly something I’ve always tried to do. There’s a recklessness to performance, which is both thrilling and potentially disastrous. I mean, if you’re really in it, you’re totally weird-wired and also vulnerable as hell. Every time I walk on stage/up to a mic whether it’s playing with a band or reading poetry, I’m trying for ekstasis—that is, to be literally beside myself, watching myself, the audience, the vast and the void.

Actually, I want a similar thing to occur when I’m writing; I want to 'wake up' typing with a poem in front of me. I get pretty wound up whatever I’m doing, but this keeps it exciting. Sometimes it’s great, and sometimes it’s terrible. Extremity is crucial. The experience has to be full-throttle. Volcano mixed with trickster mixed with stars and giant heart. Giant vision, giant voice.

In this respect, my influences were and still are bands like Alice Cooper, Black Flag, The Dead Kennedys, The Sex Pistols, The Circle Jerks, The Germs, Lifetime and Jawbreaker. More recent bands I’ve really been into are The Blood Brothers, Forgetters, Shellac, Titus Andronicus, The Gaslight Anthem and The Hold Steady.

I like performances (and try to give performances when I read) that are volatile, dynamic, noisy and declarative. I mean, whether I’m at a poetry reading or a rock show, I always want to have my face blown off and leave feeling like I’ve just seen something which is nearly inexplicable, totally surprising and somehow also provocative (both physically and intellectually). I want to be moved, and I want to move other people. As Ralph Waldo Emerson put it, 'Sometimes a scream is better than a thesis.' To me, this is the bedrock of punk rock, and it’s exactly the reason so many of us are so wide up awake even in our sleep. I’m looking in performances for something ecstatic (and there it is again, ekstasis), something outside the outside, totally in fits—like breathing fire by creating a flame thrower in one’s gut, not metaphorically but for real with the real."

SPQ: Back when you first started out playing in bands, pre mid-90's punk explosion, was it hard to find places to play outside of house parties?

MH: "We definitely played some house parties, but we also played a lot of gymnasiums and college student centers, VFW Halls, and little all-ages clubs that would pop up here and there (then disappear just as quickly). For example, Mass’s Spud Zero in Lafayette, which was around for a couple of years and hosted everybody from The Zero Boys and Screeching Weasel to Naked Raygun and Green Day. There were plenty of places to play, and when there weren’t, we created them. We did it ourselves, and that continues to influence who I am. I don’t ever have the sense that there’s something I can’t do. Not having money or resources is no excuse to not follow one’s dreams and passions. DIY all the way. Make it happen.

SPQ: How do you feel the scene has changed since those early days? Do you feel the scene has gotten better or suffered in the wake of "mall punk" and bands like Green Day going multi-platinum?

MH: "Well, given that Squirtgun’s most famous song is in a movie called Mallrats, I don’t really think I can disparage mall punk. I mean, where I come from, mall punk is all there was/is? I was mall punk in 1984. There was no such thing as punk rock in southern Indiana back then. We had nothing to do and nowhere to go, so we hung out at the mall—and hatched plans to have shows in people’s basements, etc. I once played a show in a stairwell, between a basement and a first floor. I played a show in a kitchen in Knoxville, TN. I’ve also played shows in soccer arenas. The point is: punk is and always has been about doing it yourself. The labels don’t matter. Labels are the antithesis of punk.

As for the scene, I don’t really think there’s much to say. And even if I did think there was something to say, it wouldn’t make any difference—which is a great thing. I’m just one guy, and I don’t even go to shows anymore, so I don’t really know anything about the scene—not even whether or not there is (or ever was) one. The important thing is that to some extent or other, there will always be young people in revolt—both literally and figuratively/artistically. And that means things may ebb and flow, but punk rock and its various tributaries (those established and those not even thought of yet) are a fact of our existence, which is lucky for us."

SPQ: Are there any newer bands out there, not necessarily punk bands, that you really enjoy listening to?

MH: "More recent bands I’ve really been into are The Blood Brothers, Forgetters, Shellac, Titus Andronicus, The Gaslight Anthem and The Hold Steady. Additionally, I love jazz—especially super noisy, squealy, squawky, tear your hair out jazz, e.g. Ornette Coleman, Albert Ayler, Sun Ra. Love those Sonic Youth Records (SYR), Sonic Youth records (the super feedback-y noisy ones), Storm and Stress, DNA.

But man, I listen to everything from classical music to bluegrass to hardcore.

I always wanted to be in a hardcore band. Johnny Whitney, late of The Blood Brothers, has the most kick-ass voice of anybody. Blake Schwarzenbach, too. And Darby Crash."

SPQ: In recent years, as mentioned, you've worked at the Art Academy of Cincinnati and have even started writing poetry. Has any of your writing been published?

MH: Just to be clear, I started writing poetry long before I was in Squirtgun and I’ve continued writing it very seriously all these years. I have three published full-length collections, Who’s Who Vivid (Slope Editions, 2006), Wolf Face (H_NGM_N Books, 2010) and Light-Headed (BlazeVOX, 2011). A new book of poems—my punk rock book of poems—Sermons and Lectures both Blank and Relentless will be published in the spring of 2012 by Typecast Publishing. I’m really excited about that one. My hope is to open some punk shows reading from it. It’s pretty out there, weaving together references to early punk rock, my own personal life, and various philosophers/philosophical positions as a way to talk about human feeling/being, visionary activity and transcendence. The poems are really fiery, and it would be awesome to deliver them in front of a wild at heart, punk rock audience.

Speaking of the Sermons and Lectures, I should mention that a different section of it appears at the end of each of the essays I linked you to above.

Beyond that, there’s a ton of my poetry out there for anybody who’s interested. I also give tons of readings, so it’s pretty easy to catch me live. Over the last 10 or 15 years, I’ve given readings from NYC to San Francisco and everywhere in between. Last summer, I read in China for the International Writing Program at the University of Iowa and the U.S. Department of State. This fall, I’ll be back in NYC and also Portland, OR and Seattle. It’s great work if you can get it."

SPQ: Can you give us some of your influences as far as literature?

MH: "Yeah, I tend to like things that are surprising (both in terms of their content and the way/s they use language). I love the Romantics, the Surrealists, The Beats, The New York School Poets, etc. Here’s a reading list:

Samuel Taylor Coleridge (especially the Conversation poems)

John Keats

John Clare

The Illuminations by Arthur Rimbaud

“Bartleby the Scrivener” by Herman Melville

Emily Dickinson (one of our weirdest poets!)

Walt Whitman

Frankenstein by Mary Shelley

Tender Buttons by Gertrude Stein

The Philosophical Investigations by Ludwig Wittgenstein

The Dada Painters and Poets, Ed. Robert Motherwell

The Poetry of Surrealism, Ed. by Michael Benedikt

The Dream Songs by John Berryman

The Collected Poems of Frank O’Hara

The Sonnets by Ted Berrigan

Flannery O’Connor

As I Lay Dying by William Faulkner

Wallace Stevens

On the Road, Dharma Bums, The Subterraneans and Big Sur by Jack Kerouac

Naked Lunch by William S. Burroughs

Gregory Corso (anything)

On Bear’s Head by Philip Whalen

Dean Young (anything)

Indeed I Was Pleased with the World by Mary Ruefle

This Is Not a Novel by David Markson

Grave of Light: Selected Poems by Alice Notley

Haruki Murakami (especially the short stories)

Donald Barthelme

Kenneth Koch

Lydia Davis

The Girl in the Flammable Skirt by Aimee Bender

The Tennis Court Oath by John Ashbery

The Savage Detectives and 2666 by Roberto Bolano."

SPQ: Do you enjoy writing poetry as much or more than writing music or is there a nice counterbalance between both art forms?

MH: "I love writing/reading/performing poetry. Writing music, I was never very good at. I never really cared all that much about being a musician. I wanted to be a front man. I wanted to go the distance lyrically/melodically in dissonance and harmony, but more than that, I wanted to be a presence on stage. I wanted to throw myself against the wall. I wanted to be music. With poetry, I can do that. I do that. I try every day to do that."

SPQ: Is there a website where we can get news on what you're up to; where we can get some info on your literature writings, music news, possible new releases, upcoming appearances or merch?

MH: Yes indeed: www.matthartpoet.com. Also: www.artacademy.edu.

SPQ: I would like to thank you again for taking the time to talk with Squid Pro Quo. It was a pleasure talking with you, Matt. And I hope we get to hear more from you in the future. Thanks again.

MH: Thanks, Chris. It was fun.

'Fresh Kills Vol. 1' by Night Birds

By Jason Duarte
Grave Mistake Records
April 5, 2011
Rating: 5/5

After releasing the Midnight Movies 7'', Night Birds released a collection of everything they've recorded to date; the 2009 demo, the Art of the Underground 7'', the S/T 7'' and the Midnight Movies 7'', and called it Fresh Kills Vol. 1. This gem's only available on CD, but it's enough to hold me over until the band's first proper full length, The Other Side of Darkness. I saw them a couple weeks back at the Lucky Gator Loft in Chicago with Canadian Rifle and they played a few new ones.
The album starts with "Killer Waves," off their AOTU 7'', which is one of my favorites. It's a fast, intense and urgent song about the apocalypse coming in the form of (can you guess?) worldwide killer tsunamis. It's sometimes a lovely daydream, but then something happens like in Japan that makes you think twice about how much you actually romanticize the idea of near-human extinction. Nevertheless, I get it. Night Birds isn't hating on anyone, but the band's music is rooted in a sort of fantasy/escapist mentality.
Take for example "Thrilling Murder." Lead singer Brian Gorsenger sings about waiting in line at the grocery store when some asshole with a full cart cuts him off, wasting his entire afternoon. It's nice that Gorsenger didn't actually stab him in the neck, but the song's a great release for what happened that afternoon. I always hate it when I'm cut off, and for a brief second, I go to the extreme and think something like, "If I had a knife, I'd cut your dog's throat, then slice it from sternum to abdomen and hang him outside your front door right after you go to sleep." Never would I actually do such a thing to a cute, innocent pooch, but nevertheless, we all have those impulses and tendencies (if you don't admit it, you're in denial).
I highly suggest everyone who's a fan of The Ergs!, Deep Sleep, Psyched To Die, Hunchback, the Misfits, Dead Kennedys, any skate punk and/or any hardcore check out the Night Birds, because briefly and bluntly, they rule.

Fresh Kills, Vol. 1 track listing:
1. Killer Waves
2. Midnight Movies
3. No Way Home
4. Bad Biology
5. Triple Feature
6. Prognosis: Negative
7. Thrilling Murder
8. Unanswerable
9. The Gift Givers
10. Harbor Rats
11. Send Me Home
12. Living In the Middle
13. Can't Get Clean
14. Paranoid Times
15. Squad Car

Check out Fresh Kill, Vol. 1 here. Check out "Landfill Land" off their upcoming release, The Other Side of Darkness, out August 16 on Grave Mistake Records. Fresh Kills, Vol. 1 as well as the band's previous releases can also be found on Grave Mistake's web site.

Alkaline Trio/Smoking Popes/River City Extension at Metro, Chicago 8/1/2011

Let me just start out by saying that this show last night was awesome, though it was the biggest pain in the ass to get to and here's why: Paul McCartney. Right across the street, Sir Paul was playing Wrigley Field, and traffic and parking were both nightmares. Even though we walked two miles each way to avoid parking fees, it was worth it. We walked in just as the Popes played through a couple songs, and they were great as usual. I love seeing them headline though, because they are so much more into it and relaxed and into doing their own jamming. A year or so ago, I saw them at some old church-turned-venue in Naperville and Josh did a sweet acoustic solo rendition of Duvall's "Racine."
Anyway, the Smoking Popes were great as always; Neil Hennessy's stellar drum performance, Matt Caterer's choice of T-shirts, Eli Caterer's sweet lead guitar noodling and Josh's voice, always on target. Check out some photos Amy Meyer contributed to Squid Pro Quo. Thanks, Amy!














All photos by Amy Meyer for Squid Pro Quo

Alkaline Trio came on and played about a 90 minute set, half of what Paul McCartney was playing across the street (I heard that guy went for three hours straight. Stamina!).
Matt Skiba came out sporting a Cubs hat, which looked brand new. A little bit into their set, some random kid wandered up on stage with a Sox hat, and Skiba took off his Cubs hat, put the Sox hat on (to which the audience roared with applause), then when the kid was about to get escorted off stage, he took the Sox hat off and put his Cubs hat back on. More applause. It was a mixed audience and somehow, that kid managed to find his way back on stage a couple more times, and he stage-dove off before security could escort him. Skiba told him, "You've got balls, kid." He couldn't have been older than 9. So Alkaline Trio just released Damnesia, and so part of their set was broken up and stripped down to fit the Damnesia thing, so this is how it went:

Alkaline Trio Set List:
Cringe
In Vein
Private Eye
Nose Over Tail
Goodbye Forever
Another Innocent Girl
Old School Reasons
Mr. Chainsaw
Maybe I'll Catch Fire
Blue Carolina
Mercy Me
San Francisco
This Could Be Love
[Damnesia banter]
If You Had a Bad Time [Dan solo acoustic]
Clavicle [Matt Skiba acoustic with Dan's electric bass and Derek on drums]
You've Got So Far To Go [Dan acoustic]
Blue In the Face [Matt acoustic]
Olde English 800 [Skiba said he wrote this jingle 13 years ago]
I Held Her In My Arms [Violent Femmes cover/Hennessy on drums, Skiba on vocals, Eli on lead guitar, Dan on bass, Matt and Josh on backup vocals, Derek on acoustic guitar]
[Encore]
My Friend Peter
Crawl
97


















All photos by Amy Meyer for Squid Pro Quo

Asian Man Records 15th Anniversary Festival!

Squid Pro Quo is going to San Francisco! Er-is in San Francisco I should say, for the Asian Man Records 15^th anniversary festival! As I'm typing this, I'm 36,000 feet above sea level and Chicago is a distant anthill. I awoke sharply at 3 a.m., and got a ride from my roommate's dad to O'Hare International Airport, where we parted ways, and I headed to security with my essentials on my back. As I made my way to the place where they touch you, then yell at you for ejaculating, I ran into Katie Hovland – Chicago concert acquaintance and Jaded In Chicago photographer. We reveled in excitement to see Slapstick before the sun awoke in a sleepless, exhausting state, and then we passed through security. The other half of Jaded In Chicago, Bill, met us on the other side, as he actually works at O'Hare. The three of us trekked over to the food court near our C gates, and I got the cheese danish. I walked back to their gate with them, as their flight was scheduled to take off an hour prior to mine, and we talked music, travel, work, all the while crossing our fingers as the rain fell, the lightning flashed and the thunder rumbled. Katie and Bill's flight began boarding, and they got their two standby seats. I began heading across the way to my gate, when I thought it wouldn't hurt to ask if their flight was one-way or if it had layovers. The ladies said it was one-way, and I asked if they knew if the weather was going to improve. The one woman said it was supposed to get worse and that last week, they had a line all the way down the corridor. “Really?” I said, “Because mine's supposed to take off in an hour.” I asked if it was possible to hop on this one, as I already had a ticket for the 7 a.m. flight. She typed a bit and told me there was a $75 charge. “Ah, OK. No thanks,” I said. I began walking to my gate, and I hear the woman yell something. I wasn't even sure if it was at me, but I turned around and she waved me back over to the desk. She said she'd waive the fee because they want to get as many people out of the airport and on their flights as possible, and seated me next to my friends, Katie and Bill.

What luck! I stepped on the airplane, waited until the lightning cleared the area, and here we are, chugging along to San Francisco, California! Now I don't want to make this too rambling and off-putting, but I haven't seen a whole lot west of the Mississippi River, especially as far west as one could get. So the last couple of weeks have been nerve-wracking. Don't get me wrong – I'm super excited to get there and go to these shows, but I'm just as excited to see San Francisco and be as much of a tourist as I possibly can. I looked at the surrounding area via Google and noticed the Anchor Brewery is right by the venues I'll be frequenting all week. Being a homebrewer and avid beer connoisseur (so I pretend, anyway), I am excited if not to take the brewery tour, then to try a few fresh, tap beers. The weather's supposed to get up to 73 degrees today, so I am excited for that. I'm excited to be near the ocean. I'm excited to fill my lungs with slightly salted air. I'm excited to not be at work this week. I'm excited to get out of the Midwest. I'm excited to cross off a few more bands on my list of “Bands I Thought I Would Never See.”

I'm excited to meet and spend some time with Mike Park and my friend Mike Yannich and my roommate and his brother. I miss my other half, Susanne, already and know I will until I return, but I have her with me in spirit. That doesn't make me miss her less, but makes me feel better about getting to explore without her with me. I can't wait to tell her all about everything. I'm going to try to add to the hour and a half/two hours of sleep I accumulated last night. Stay tuned to us and Jaded In Chicago as well. They have some KILLER material coming and I can't say I'm not a bit envious. Westward!

Han Shot First: A College Essay

I was just going through old college essays and came across one I was and still am particularly fond of. This was one in a series of essays you had to read out loud for this class. I got an A or a B and a bunch of confused looks on this one. Enjoy.

Jason Duarte
10.15.07
ENG 3001
Dr. XXXXXX

Straight up, a few of you had to have seen the remade Star Wars trilogy that was released in 1997. Or as I like to call them, the children that George Lucas raised and unknowingly molested.

First off, the inserted CGI technology was unnecessary and pretty pointless, if you ask me. Most notably among the remakes, I would like to address a scene in Episode IV, where Greedo, a bounty hunter, tracks Han Solo at a bar, with intentions of killing him.

Now, the story behind this incident is, Han Solo and his companion, Chewbacca, were on their way to drop off a shipment (an illicit narcotic, called “spice”) to Jabba the Hutt, but ditched it when the millennium falcon was boarded and searched by Imperial troops. Greedo travels to the spaceport of Mos Eisley on Tattooine (Luke Skywalker’s home planet) in search of Han Solo, so he can capture him and bring him to Jabba for a lot of reward money. This is the spot where Han and Chewy are currently hiding, looking to gather passengers to enter the depths of the empire. Having said he simply lost the shipment made no difference to Jabba, putting Han in a pretty sticky situation, and that is why there’s a bounty out for Han and Chewy. And as Han and Chewy are doing business with Obi Wan Kenobi and Luke Skywalker on Tattooine, Greedo forth goes to claim his bounty.

There, now that the setting is in place, Greedo finds Han in a bar on Tattooine. As Solo gets up to leave the bar, Greedo runs into him, with his blaster point blank at Solo's chest. “Going somewhere, Solo?” Greedo asks. “Why yes, Greedo, I was just going to see your boss (Jabba),” replies Solo. Greedo forces Han to sit at a table, while Han is basically trying to cover himself by telling Greedo that he has Jabba’s money and that he was just on his way to give it to him. Greedo replies, “It’s too late. You should’ve paid him while you had the chance.” He then tells Solo that there is such a large price on Han’s head that every bounty hunter in the galaxy will be after him.

So now, to put Solo in an even more uncomfortable situation, he tells Solo how lucky he is that he found him first. Solo replies, “Yeah, well this time, I’ve got the money,” again, trying to get out of basically being killed. Greedo tries to swindle it out of Han, telling him that if he gives Jabba’s money to Greedo, Greedo will forget he ever ran into him. So, nervous, Han tells him that he doesn’t have it with him, and begins to reach for his blaster, as things are getting pretty heated at this point. Greedo is getting pissed off, blaster still pointed at Solo’s chest, and replies, “Jabba’s through with you. He has no time for smugglers who drop their shipments at the first sight of an Imperial cruiser.” So, Han tells him that he didn’t have a choice, that he was searched, where Greedo replies, “Tell it to Jabba. He may only take your ship,” referring to that over his life. So of course, Han gets defensive and says, “Over my dead body.” Greedo tells him he’s been looking forward to it for a long time.

Now, at this precise moment, is what I want to look at. In the original 1977 version of Episode IV, Han, with his hand on his blaster under the table, straight up shoots Greedo right there on the spot, killing him. Then, with no remorse, gets up and smoothly tips the bartender, apologizing for “the mess” on his way out. Now, Han Solo has amazing survival skills. He doesn't look for trouble, but it’s his deciding of what’s right and what is wrong in life or death situations that only further him on the downward spiral. His decisions are basic acts of human survival. Greedo’s new to the bounty hunting game, overly eager to get his reward money, and it’s his lack of carefulness that brings him to his eventual fate. So, fast forward 20 years to 1997, where we have our first remake of the Star Wars trilogy. Before that Episode 1-3 bullshit, which is a 10-page paper in itself. As Lucas was toying around with his stupid CGI effects in the movie, he changed this scene, as he thought it was too “cold-blooded” of Han to shoot Greedo in, well, cold blood and changed it for “kids.” Han was a good guy, and good guys don’t shoot first, according to Lucas. So in the new scene, Greedo shoots first, TWO FEET AWAY FROM HAN, and misses him, hitting the wall. Han, hand still on his blaster, then shoots Greedo in “self defense,” and the scene continues as normal with him walking out.

This is quite possibly the dumbest idea George Lucas has ever come up with next to making Episodes 1-3. Shooting Greedo before Greedo shot him doesn’t make Han cold, it makes him cool. Han Solo is a bad ass, and the pussification of his character hurts the movie, Han’s character and my ability to think logically, because in the end, HAN STILL KILLS GREEDO. Okay. To give Lucas some credit, fine. Children shouldn’t be exposed to such brutality, because maybe they’ll be lead astray when they see a good guy killing someone without any bullets flying at them first. Or as Episode IV would have it, lasers. But what’s ridiculous about changing this scene is that fact that even after pretending he cares about children, he goes and shoots a scene in Episode III where Anakin Skywalker decapitates Count Dooku with two lightsabers because the evil Senator Palpatine told him to. Now, if you ask me, decapitation is more graphic and wrong to a child’s eyes than Han shooting a bad guy before the bad guy shoots him. I was only 11 when I saw the remakes in theaters, but had already grown up on the trilogy. So this was before I fully understood the why aspect of Lucas’ changing the scenes. But at this time, fans were up in arms about this, upset about the scene change, and so to butter up an attempt to make it up to his fans, Lucas occasionally wears a t-shirt that reads, “Han Shot First.” It’s an awesome t-shirt, but it’s a lame attempt at making up for something you completely ruined.

But, the die hard fans got what they wanted before the blasphemy took place. In 1995, the original trilogy was re-released THX re-mastered and adapted from laserdisc. The whole “Greedo shooting first” thing was ridiculous and a huge mistake, made by Lucas. In what he claims was an attempt to make Han’s character better and more sensitive was the worst mistake in cinematography next to casting Paris Hilton as an actress. Actually, no, scratch that. Fans of hers actually want to see her on the big screen. The whole thing was just dumb. Even a storm trooper could have hit Han from the distance Greedo was sitting from him. Jesus Christ, even the editing was bad in that scene. When Greedo fires his shot at Han, Han’s head literally is cropped off and jerks to his right, and then reattaches to his body. It isn’t as bad as it sounds, and is only for a split second, but it is pretty bad. Lucas clearly gave this no time, thought or effort. So that being said and off my chest, great movies like the Star Wars trilogy should be controlled by the fans, because it is their hearts in which this masterpiece of a movie lays, not Lucas’. Let’s just put it this way, if someone came and edited the Bible, making Jesus a bad guy, or changing who killed him, wouldn’t you be pissed too?

Q&A with Ryan Young of OFF WITH THEIR HEADS

While Ryan was in the studio recording Off With Their Heads' next record, he took some time to chat with me about the new record coming out on Epitaph Records as well as a bunch of random shit.

Squid Pro Quo: I listened to "Listerine" today (via www.myspace.com/ryanyoungowth). I dig that. That's going to be an OWTH tune?

Ryan Young: Yeah. In the studio now.

SPQ: Now that you guys are on a bigger label, how's the sound? Kinda keeping that momentum with "From The Bottom"?

Ryan: It will be a little better than that. We have two weeks in a crazy good studio as opposed to three days in a shithole, so we have time to make it rule.

SPQ: About how many songs are you guys lookin' at having on there?

Ryan: We are recording 15, but I dont think they will all go on there.

SPQ: Cool man. Do you guys have a name for the album yet?

Ryan: Not yet. We usually take the album name off some lyrics from the last song. Haven't gotten that far yet.

SPQ: Oh, neat. Where are you guys recording it?

Ryan: We are recording at The Terrarium. Dillinger 4 and Banner Pilot did records here.

SPQ: That last Banner Pilot album sounds phenomenal. Especially compared to Resignation Day.

Ryan: Yeah it does. This one will be even better because those dudes are mastering it at some crazy expensive place.

SPQ: Shit yeah. So what next? Awesome tours? I know you guys toured with Against Me! semi-recently. More stuff like that?

Ryan: Nothing much planned yet. Just that couple months touring starting in February.

SPQ: Headlining that, right?

Ryan: Except for the dates with The Queers.

SPQ: Oh, no way. Are you guys coming through Chicago with The Queers?

Ryan: Nope. Its mostly canada

SPQ: Word. So how did this thing with Epitaph end up? Did they just randomly discover you or how did that work?

Ryan: Brett (Gurewitz) called me last year and said he was a fan. We chatted for a while, went and had pizza at his house when we were on tour, visited the office and he basically gave us a really good offer that we would have been dumb to turn down, especially with the decline of record sales.

SPQ: Awesome. So how come it's not "official" yet. Just needs to be announced kinda thing?

Ryan: Yeah, they wait for the right time or something.

SPQ: So here's a cliche question for ya: where do you guys get influence from? Most songs seem like just personal events/situations. Still doing that?

Ryan: Yeah. It's all the same.

SPQ: So what's the lineup for the recording? And will it stay the same for the touring?

Ryan: It's Justin, Zack, Nate (Gangelhoff) and I and no, it changes for touring.

SPQ: With so much time on the road, how do you find the time to write?

Ryan: I write about as much as I did before we toured all the time. It either comes to me or it doesn't and when it does, it happens fast.

SPQ: Just those random cosmic waves of inspiration, eh?

Ryan: I guess so. Probably just the weed though.

SPQ: I had to take a hair test for my job now. It's retarded how some employers are.

Ryan: I think I would be unqualified to work any kind of job. I'd ruin the drug test lab.

SPQ: What's been your biggest obstacle over the years?

Ryan: Probably coming to terms with the fact that this is just what I do and I'm not really good at anything else. I always kinda wonder what I would be doing if it weren't this, and it's always something much less meaningful or completely worthless. At least I'm doing something that most people won't get a chance to.

SPQ: Realistically, what do you think you'd be doing if it weren't for playing music? Or even not-so-realistically. Hell, what did you want to be when you were a kid?

Ryan: I've always wanted to do this, so I guess I win. It isn't nearly as glamorous as it might seem, especially with the record sales being way down. If we were doing this 10 years ago, I would probably be pretty well-off. If I weren't doing this, I'd be painting houses.

SPQ: Probably better money in painting houses, haha. But also probably not as gratifying since you've always wanted to play music. Gotta live your heart. That's good! Man, playing music 10 years ago would be cool. Just when the illegal downloading of music was in its infant stages...

Ryan: Yeah. I would actually make more money delivering pizzas two days a month than being in this band. We have been touring for six years. I didn't start getting paid anything until last year.

SPQ: So all the show money just went to food and gas?

Ryan: Yeah, and that didn't cover it. We are still out years of paying for all that stuff. Even with From The Bottom selling around 10,000 (copies).

SPQ: So you've really gotta "make it" in order to actually MAKE anything these days.

Ryan: Pretty much

SPQ: Well, hopefully with Epitaph, you guys take off. I know they push the hell out of their catalog with street teams and a wider distro and all that.

Ryan: Yeah, we'll see. I'm not sure if the masses are ready for this kind of music. Especially the masses that Epitaph deals with. It's clearly different than that other silly stuff they put out over the last while.

SPQ: Not the ol' California Warped Tour garbage, eh? That's comforting. Well, hey man. Maybe it'll be a tide of change and you guys will pioneer it.

Ryan: That's what I'm hoping for.

SPQ: Aside from Epitaph, what's been the best part of fronting OWTH over the years?

Ryan: I'd say getting to meet all of my "idols". That's pretty awesome.

SPQ: Best show ever?

Ryan: The Fest shows the last couple years were rad.

SPQ: I saw the video of you and Paddy where you burned the money, haha. That shit was hilarious.

Ryan: We are dumb together

SPQ: Hahaha. Committing crimes on camera. Tsk tsk. Do you have any pet peeves? Or anything while touring that you don't like?

Ryan: TONS of shit. You just get overly sensitive about little things when you spend too much time with anyone. Once you realize that, you see that it's not a big deal.

SPQ: Kind of like any relationship, I guess?

Ryan: Totally

SPQ: Speaking of, you guys have women? How does that work with you all being so busy on the road? Is it just different chicks every night? Banging in all 50 states-style?

Ryan: Hahaha. I have a girlfriend. Same one for over the last year and a half.
It's fine. I don't really like hooking up with random girls. They usually suck.

SPQ: That's the best part! I guess only when it's with their mouths. What are some of your favorite bands "today"?

Ryan: I don't really like much current music. I like gangsta rap because it's funny. I like pop music for the same reasons. Lady Gaga rules.

Kobanes Japan Tour (Journal) 2009: Sept. 22, 2009

Hiroshima - Kei's parents' home:

The festival that day went great. I don't think we ever fell back asleep after my last entry. I think we went back out to get food. I had a burger, coffee and a hash brown that tasted just like at McDonald's. Anyway, we pull up to Club Goodman and unload our stuff. We moved it down the street to the other venue, where they had three floors, each floor, a very tiny room where the bands played. Very hot. Does It Float? was the first band I saw play and they were awesome. Seventeen Again was great too. The rowdiest band - fuckin' crazy. Jumped into the crowd. I got kicked in the face. Surprisingly, it didn't hurt at all. I got a bunch of free CDs. Stoked to listen to Weezie And The Moelies. I guess they sound like the Kung-Fu Monkeys. So yeah, I had a beer and some convenience store food - sandwich slices with no crust and a pastry. Eddie doesn't have any yen, cause his ATM card doesn't work in these ATMs. So he can only use it at places that accept Visa like convenience stores and stuff.
I was walking back t the club and saw a group of people outside playing Nintendo. Old school Mario Nintendo, so I watched and the girl asked if I wanted to partake, so I did! I finished the level and handed it off. They all went in some building nearby, so I played another level and went back to the club. Kei sold about 20-25 of the new Kobanes CDs ("Japan Invasion") and some T-shirts with the album artwork on them. There was an after-party Sunday night, but we were all too tired and still jet lagged to do anything of the sort. I think I lost a pound in sweat playing in that room. We quickly crashed.

We woke up early around 6 or 7 a.m. Kei was back, I guess he only stayed out after dropping us off from 10:30 to midnight. He doesn't drink or anything, which is good in some ways, especially for us. He's the only driver we have. He's a "tax man." His mother's a protestant Christian and his dad is a Buddhist. Interesting mix. Kei said he has not yet found a religion but someday hopes to. I guess I can empathize with that, having also been raised with no religion. We left Hotel Kamatsu for a little bit and got McDonald's. I ate the cheapest thing, a sausage breakfast sandwich. Only 190 yen! Like $2.20? Afterward, I got some lemon-flavored 8% ABV drink and in Japan, it's legal to drink in the car as long as you're not the one driving. So that was cool. The drive from Tokyo to Narita was a long one. About 8 or 9 hours because there was so much traffic, plus getting gas here off the highway takes like an hour because there are so many cars in line for it.
So we stopped. I had a burger, fries and a soda, which I think was diet...I got Kei two burgers and a Coke. Came to 970 yen. I guess we passed up Mt. Fuji, but it was hazy, so we couldn't see it. He said on the way back, we'll check it out. I hope we get to see a lot of cool stuff.
Anyway, we got to Memory Pops in Nagoya. The first band, Navigations came about 4 hours father than we did to play first of five bands. Crazy. hey were good though. It was fun to hear a Queers cover of "I Only Drink Bud" and a Sloppy Seconds cover in Japanese. I think they were amused by us singing along in English too. I guess music really is the universal language. Sense of Identity played too, they were pretty cool. The Because was also pretty good. Nice too.
About 30 people were rocking out to us. A bunch singing along too, which is strange to see. I think Kei is our biggest fan though. They love pop punk out here. Some girl was wearing a patch on her hat that said "I Read Zines" so I went out to Kei's car and grabbed some Squid Pro Quos to give to her, even though I know she didn't read English. But hey, what the hell, she might know someone who can and at least she can listen to the CD.
After the show, I was asked to autograph three CDs, something I've never done before. Two were in silver autograph pen ink even! I guess now it's official - we're rock stars. Haha. I grabbed five pot stickers for 100 yen and 5 dumplings for 100 yen and a chocolate cookie thing too. It was sustaining. Nice of the convenient store to microwave them for me. From Nagoya, we drove straight to Hiroshima. Actually, we stopped once for gas. And Kei's girl cigarettes that he says smell like raspberries. Pretty funny. The car was really uncomfortable. My legs were tired and my neck and back hurt. We stopped near Kei's parents' home and I bought rice crackers, a corn dog and some traditional Japanese sake. Have yet to try the sake though. Anyways at last night's show, Kei was surprised we did "Surfin' Bird" and "Have You Ever Seen The Rain." Did them last, in opposite order. I went to a small grocery store before the show and bought two cans of 6% ABV oolong tea. At first, it was disgusting drinking fermented tea. Some guy traded me his tall boy of beer for it, so that was nice. Then I had one more, and it wasn't so bad after that first one. The guitars really weren't too distorted at this show, which made us sound weird. But it was fun. The venue was full of American '50s nostalgia. Memory Pops. Pretty cool. So anyway, we got to Kei's parents' home. His mom laid out bed mat things and stuff for us, which was really nice. I gotta remember to give his folks some chocolates. I wanted to get Jenny something at the convenient store - it's like a card, really beautiful though, meaning "Happiness and Pleasure" but I held off because I want to get her something nicer than a card. Perhaps kimono PJs? I want some too. So yeah, I'll figure out something. My suitcase is only so big. It's a carry on. Later today, we're playing at Okayama, Japan! I can't wait to see yet another city in this awesome country. Then tomorrow, we play Hiroshima! Then sightseeing. I want to see temples, go in hot springs, get some souvenir-shopping done...I want to see more and not just sleep. But now, I must sleep. It's almost 8 a.m. Not running on much. Plus I took two sleep aids Eric gave me. Mark's fuckin' snoring is countering their effects though. Eddie's typing either (This is all taken from paper, if you didn't figure that out already, that's why it's being typed out now!). Anyways, more to come soon!

Interview with John (Jughead) Pierson of Screeching Weasel/Even In Blackouts/The Mopes

Photo by A.V. Club
By Chris Carlton

Squid Pro Quo: A lot of people know you from your time in the Chicago punk scene as founding guitarist of Screeching Weasel. But they may not know that you're also a talented playwright. What was your first play, and how did you get started in theater?

John Pierson: "Well actually, if we are talking about Chicago, I think more people know me from theater. I get many more acknowledgments on the street from my theater projects than any of the bands I have been in. My first full-length play was in high school as the waiter in "Death Of A Salesman." But at Columbia College, I went there for five years and never auditioned once. I was more into taking literature classes than acting. I studied improvisation for about 10 years and still teach classes in that. I toured for a couple years with an improv troupe called Sheila. The first play that I wrote and performed was called "The Philosophy Of Nonthings," which was the inspiration for my production & publishing company called Hope And Nonthings."

SPQ: Can you give our readers a little history on The Neo-Futurists?

JP: "I teach 8 week classes on Neo-Futurism so a brief history leaves out a major understanding. Here is the website. But we do have a manifesto, which I am including right here:

"Neo-Futurism In A Nutshell"

Neo-Futurism is a new approach to performance that advocates the complete awareness and inclusion of the actual world within the theater in order to achieve a goal: to bring people to a greater understanding of themselves and each other.

Rather than upholding contemporary theatrical conventions of character, setting, plot, and the separation of audience and performer, Neo-Futurism aims to present actual life on stage by creating a world in the theater which has no pretense or illusion. This means that:

1) You are who you are. Your name is your name. Your age is your age. Your appearance, physical condition, and way of speaking, as well as your personal history and life experiences are none other than your own. You grew up in your hometown. You're gay, you're straight, you're married. You've never been to Seattle. You know who you are and what you've done. Use it.

2) You are where you are. In most cases this means on a "stage" in front of an audience. Currently, specifically, this means you are probably reading this interview off a computer screen. That's not a T.V. you're watching (maybe it is). This isn't a castle in the Alps. The gun is fake. If you need a prop, get it. If the ambience is wrong, change it.

3) You are doing what you are doing. All tasks are actual challenges. If you can't do something, you must be actually physically unable to do it. If you're pulling, really pull. If you're having sex, really have sex. If you forget your lines, you've forgotten your lines. If you're not supposed to know what's going to happen next, make sure as hell you can't know. You're not sleeping on stage, you're lying there with your eyes closed. No need to "act" tired as you enter the stage with an empty suitcase. Fill it up with rocks, run around the block three times. You'll be tired. No need to dredge up a lot of emotion to endow that sheet of paper you're holding with all the seriousness and poignance of your father's death certificate. Bring it in. If your father's alive, what are you doing saying he's not?

4) The time is now. Deal with real events in your current life in your current world. If you broke up with your boyfriend on Tuesday, don't say you're still together on Friday. If a politician pissed you off by what they said six months ago, don't complain about it now. It's history. Write about how it affects you today. Theater is the medium to reflect what is going on now, because theater is going on now. Theater takes place in real time and space. That audience is right in front of you right now. Deal with that.

The bottom line is that Neo-Futurism does not pretend or buy into "the suspension of disbelief" - it does not attempt to take the audience anywhere else at any other time with any other people. The idea is to deal with what is going on right here and now.

These guidelines are not set forth as "rules and regulations" but more as a jumping off point with which, it is hoped, people can find a greater meaning in their everyday lives. The aim is to empower and affirm not just the lives of the performers but the lives of the audience members as well.

Greg Allen
Revised May, 2008"

SPQ: Do you find more pleasure in writing and performing as an actor, or as a musician? Or is there an even balance in both?

JP: "For many many years my production of plays was exactly equal to the number of albums I was recording, now they are off a bit, but I think they hover somewhere around 24 each. With Even in Blackouts, people say I was consistently the happiest they have ever seen me. I can feel that while playing with that band. We didn't have as many rules and stress as Weasel. So with EIB, it trumps being onstage for theater. But I really don't think I could live without writing and performing theater."

SPQ: You have also written books for Hopes And Nonthings publishing. One a book of your plays you had written up until that point, and one called Weasels In A Box. Are there any plans for a new book release in the near future?

JP: "I have a new novel coming out in October called "The Last Temptation Of Clarence Odbody". Which is an alternative story to the famous movie and short story, "It's A Wonderful Life." I'm pretty proud of it, I never thought I would write this type of parody book (fan fiction) but I just couldn't get the story out of my head, and after a year I gave in and started writing it. Three years later, it is about to be finished."

SPQ: Besides your writing and acting, you have been a part of some amazing bands over the years. Screeching Weasel, The Mopes and Even In Blackouts have all made such an impact in the Chicago scene, your influence is undeniable. Who influenced you as a musician?

JP: "My influences are varied depending on the band. Growing up I was a huge fan of the guitar work of Brian May (Queen), Ritchie Blackmore (Deep Purple, Rainbow), and Martin Barre (Jethro Tull) I think those type of bands besides Traffic and Oingo Boingo taught me that it was OK to be weird. I think this added to my odd clothes wearing in Weasel. Most of the solo work that appears in Weasel I believe was influenced by bands like Judas Priest and AC/DC, with perhaps a little Descendents thrown in. Even In Blackouts was my clashing of those influences with the acoustic bands of my youth, Bob Dylan, Jim Croce, Cat Stevens, and later, Tom Waits. Punk bands that I would consider influences are few, beyond the people I knew like Lint from Operation Ivy and Chris Barrows from The Pink Lincolns. I loved Keith Morris from The Circle Jerks, and Adrenalin OD were another of my favorites."

SPQ: In the early Weasel days, did you ever think the band would influence a whole generation of punk bands?

JP: "No, I don't think you can ever really know that. But being in a band had always been one of the few things I wanted to do. As a child most kids talk about wanting to be a scientist, doctor, astronaut, but I never had a single thing. I think my family was so busy dealing with divorce, violence and drugs that I never had a chance to consider that stuff. So when I graduated high school I just basically did whatever the hell I wanted, and worked hard to make it happen. And that is still what I do now. I don't ever really settle on being any one thing, but they all seem to have something to do with creativity."

SPQ: When you formed Even In Blackouts, you literally invented a style of music that was never seen until that point, acoustic punk rock. How did you come up with that idea?

JP: "I don't really believe I invented anything. Nothing the band does is very unique. I think it is great and actually pretty smart, but it's all taken from many different influences. It is rooted in the same philosophy that started Screeching Weasel. We just played the things we were interested in void of any positive repercussions beyond our own enjoyment. I think the fact that Ben and I were just pretty damn dedicated people is what made that work. So when I started EIB I purposely said to myself that I needed to start from scratch and do something different. So I started with elements that I saw as very different from SW. A female choir-trained vocalist, acoustic guitars and what I believe to be darker concepts and instrumentation. But what I tried to apply to the band is the energy that excited me from playing punk rock. I think this shows best in the live performances of EIB. It is difficult to play an acoustic guitar that hard and fast, but the wonderful thing is that it creates a desperate energy, like constantly falling off a cliff. It hurts to play like that. For the first couple tours, I couldn't sleep at night because my fingers hurt so badly. Some nights I even cried.
And what could be better than ending this interview with the fact that I do indeed cry?"

SPQ: A huge thanks to John for taking the time to talk with Squid Pro Quo. Such a talented and diverse gentleman. Thanks again, John.