posted 03-15-2002 02:10 PM            

Hey , I found a link that’ll fill you in on the history of Lookout! (it’s not on the Lookout! web-site, oddly enough).
http://www.lumberjack-online.com/exclusive_lookout.html

posted 03-15-2002 04:53 PM            

quote:

---

Originally posted by Felix Havoc:
As a former musician and current label owner my own opinion is that I'd rather do all my own records and promotion than let anyone run it for me. I was unhappy with the way my band's releases were handled on other labels so I started my own. Turned out I was a better record peddlar than singer so I now I just try to help along other people's bands. I'd like to think I work hard to promote Nine Shocks Terror or DS 13, but I bet I'd do even more if it was my own band. Most punk bands who go to majors come back to independent labels and admit they made more money on their own or on independent labels and had less headaches and more artistic freedom and integrity. Me personally I'm ethically and politically comitted to a DIY ethic but I think it makes a lot of sense financially as well. I mean I'd rather be one of the biggest indy label bands (Black Flag, DKs, Youth Brigade, Seven Seconds-all had their own labels) then one of the smallest major bands. I think the people who think they are like "artists" fall for the major gag more than the people with organizational and business skills as well as musical talent. Furthermore, 99% of major label music sucks and pretty much every cool indy band that goes to a major starts to suck too. The commericalation attendent with that approach robs the music of its fire and artistic integrity.

---

posted 03-15-2002 05:33 PM            

quote:

---

Originally posted by cHaOsPuNKgIRL:
Also-
I was wondering if anyone on here has ever heard of Righteous Babe Records, Ani Difranco's record label. Does anyone know the dynamics of what's she's doing and how her label was run so successfully? (and please don't post how much you hate her-this is purely a "business" question-thanks)
-ATHENA

---

I believe there's somehting like 10 other bands on Righteous Babe. We just recently played with Drums & Tuba, who's last album "Vinyl Killer" was released on RB.

Someone further down the thread inquired about the label - visit http://www.righteousbabe.com for more details.

Drums & Tuba are one of the most danceable, fantastic, arty & interesting live bands I've seen in awhile.

-j

posted 03-15-2002 06:04 PM         

quote:

---

Originally posted by cHaOsPuNKgIRL:
You DO realize she was drunk off her ass, right? When she drinks too much we call her Joi Joi Allen.....she's like Dr. Jeckle and Mr. Hyde.....a nice normal girl one second, then BLAM...pissed off punk rock bitch who's only aim in life is to fuck with people...a few weeks ago Jessica (our bass player) had to hold Joy back cause she tried beating up this kid just because he was short and he jumped trains. He told her he had went to jail once and she was like, "Oh yeah? You think you're fucking tough cause you went to jail, huh? What did you go to jail for? Being short and hopping a fucking train?
I'm gonna fuck you up!"

---

I have no recollection of this; in fact, said kid is my friend and I wouldn't make fun of his shortness, even though he is...um..short. You make me sound pretty cool, cpg.
Then again, I was in Mr. Hyde (or was it Dr. J?) mode, so who the fuck knows, eh?

oh, and spending one measly night in jail does NOT constitute toughness...

[This message has been edited by vendetta77 (edited 03-15-2002).]

posted 03-15-2002 06:21 PM            

Onion A/V club interview with Ani, talks about her label.[/B][/QUOTE]

Wow-thanks alot for posting this article, barabas- It was really well done, helpful and a good read.

posted 03-16-2002 12:33 AM         

Ya give her a beer, she'll end up in your room

A bedmate to no one, except for herself

posted 03-16-2002 06:37 AM            

I think it sums stuff up really well. Sorry it's such a huge post.

..."I guess to keep things simple I'll address a few reoccurring annoyances in a very non-linear way. One of the more aggravating parts of my "Groundhog Day" routine includes doing interviews where I answer the same questions every day. For one reason or another, the most common question besides: "What do you think about emo?" is: "What do you think about the current state of rock music? / Is the state of mainstream music going to change? / When will the next Nirvana come?" etc. etc. etc. I guess I wouldn't be addressing this unless it wasn't a common center of conversation not only in instances where I've been interviewed, but in the interviews I have conducted for Buddyhead as well. I guess the point that I'm getting to is… who really cares? Who wants a "next Nirvana"? It obviously wouldn't be as good as the original. Who cares about the next anything? I'd prefer seeing the first of something new, wouldn't you? The truth is though… a phenomenon like Nirvana will never happen again. Never. The fact that mtv and radio are completely based on payola and unwilling to stray from big money corporate jock rock is beside the point. The real reason a Nirvana phenomenon will never happen again is because kids these days DON'T CARE. The kids of today are totally content and comfortable with immediate mindless gratification via the internet, video games, and pro wrestling to seek out anything adventurous and intelligent. So why not quit bickering about change, leave the kids alone, and have a good laugh watching the whole thing reach an even greater and ridiculous apex? At this point, turning on the radio or mtv to witness the soundtrack to indifference and mediocrity is actually a bit more entertaining than the alternative… don't you think? Why does most music suck in this day and age? Bands suck cos the kids starting them already have everything. Comfort does not encourage creativity. There's a reason Joy Division, The Smiths, and Oasis came from Manchester, England, a total shithole… despair. There's no despair, passion, or innovation in the countless amount of fat bald jocks on mtv. There are too many bands now. Not only is it too easy to start a somewhat "successful" band these days, but it's no longer impressive either. It's too easy for mediocre bands to play shows and tour. It's too easy for mediocre bands to record albums, and it's too easy to get a mediocre record label to release it. Not only are there too many bands right now, but there's too many bands willing to do whatever it takes to sell records. The days of most rock bands possessing any kind of integrity are over. There's a long line of shitty "nu-metal", "nu-punk", etc. etc. bands willing to do whatever their record labels or managers tell them to do so they can "make it big". How can any real artist have any kind of artistic control or pull at their record label when there's 4,000 bands right behind them willing to compromise the way the suits want them to so they can move units. Possibly the worst part is that this is happening even more on the independent level than on a major label level. The over-saturation is confusing kids and even maybe tricking the more p.c. types into thinking that all of it is valid. Well… it's not. It has stripped rock n' roll of it's importance. There's a reason mtv's primetime shows are now wrestling and fruitbasket teenage soap operas, because THAT is what kids these days really want to see. They PREFER that to a form of music that has been devalued due to over-saturation, stagnation, and mass mediocrity. Can you really blame them? The amount of technology and instant gratification achieved despite any blood, sweat, and tears is a large factor in this cultural stagnation. People are too comfortable to create. A perfect example is the internet. The internet is a cesspool for mediocrity and blandness. In this day and age for example, instead of creating art, people seem more content with planting their fat ass in front of a computer screen to fool themselves into thinking they are "involved in a community" or "keeping their finger on the pulse of culture" when they are in fact doing nothing but being a sloth and a geek. Fuck the internet, and fuck the endless amounts of half wit dickpigs constantly lingering on it who have fooled themselves into thinking they are justified in their nerdiness and lack of a life because the internet is "hip". I know I might be confusing some of you who automatically assume that anybody involved with a website is always glued to a computer screen, but I think our lack of a proper update for the past 6 months proves the contrary. Rather than cry all day about the lack of quality music available these days, we've been super involved with what little free time that exists putting our effort into the new bands on our label. We're not saying we've reinvented the wheel or cured cancer or anything here, but I will go as far to say that the records we have coming out on Buddyhead will not leave you disappointed. A big slap on the ass to the bands we're working with for putting their faith in us and being patient. On a final note, I'd like to conclude with my usual invitation for the music industry fruitcakes of L.A. to come choke on my lizard. My personal favorite recent industry scumbag quotes include: "You guys don't know how the music industry works!" as well as "You'll never make it in this industry" and let's not forget "You guys are burning all your bridges in the music business". Well actually, yes we are aware of how things work, but believe it or not we did not start doing this because we wanted to be record industry moguls and thought it would be really cool to be a part of the machine that is the "music industry". If I wanted to be a businessman, I would have gone to college. It pleases me to no end to know we've caused countless amounts of "industry" schmucks to sweat it out over what the next thing we'd say about them would be. My personal favorite complaint from "industry" fruitcakes is: "You guys waste our time just for the sake of being childish". Of course it's childish… but not nearly as childish as the shit music these people push on the masses. What could resemble a nursery rhyme more than Sum 41 or Puddle of Mud? The fact that major labels have had meetings about how to handle a "Buddyhead situation" seems silly and juvenile, but the way I see it, these people owe me back countless hours of my life I've had to endure hearing audio diarrhea like Staind played at gas stations, grocery stores, and restaurants. These fools owe me hours of my life back, and if being "childish" is the way I have to do it, so be it. "You guys can't be serious". Of course we're not totally serious. A lot of the time for some strange reason we find humor in talking like 15 year olds on the gossip page, but we are pretty serious about being a thorn in the side of the purveyors of cultural genocide. Even the people with half a clue in the "industry" are too comfortable sucking dicks to make the payments on their SUV's. Nobody wants to make waves because opening their mouth would cost them their career. We are not careerists, and have nothing to offer but honesty. For those of you still with us, stick around, things are just beginning to get interesting."

posted 03-16-2002 06:50 AM            

quote:

---

Originally posted by PISSHEAD:
we signed a deal with a french label, for our first LP.

---

posted 03-16-2002 05:20 PM            

Furthermore, I hope this has been an insightful and educational thread for all of you would be rock god types, cause I can't wait to see you get gobbled up by the industry and spit out the ass of the porn syndicate.

------------------
-Daego

posted 03-16-2002 07:42 PM            

I would sign to a major label in a heartbeat if they wanted me. Hell, when Ginger/Sexy quit the Spice Girls I wanted to replace her as "Portly Spice". No artistic integrity at all, just another way to whore myself. I could always start another band on the side to satisfy the creative urges, but making $60 k a year at a desk or on the road... I'll take the road.

posted 03-17-2002 03:39 PM            

At that time, the band was already getting criticized for switching their sound over from the earlier Crass-type grind to more catchy, dance-oriented material. In Mpls, took a fair amount of flak for playing The Uptown, for a number of punk-PC reasons; mostly relating to the venue's alcohol license, and the lack of an all-age audience.

I can tell you that the reason they entered the US and headed straight for Mpls, is that The Uptown had provided a guarantee which would be substantial enough to carry them over, in case of any emergencies that might occur while on the road. At the time, they were touring in a rented van, which served as a transport and a home, quite often, for nine people. Having some extra cash in your pocket seems like a reasonable idea under those circumstances.

Years later, after they were signed to a major, and spawned a hit, we had a chance to recap on our earlier conversation. Naturally, they were taking a lot of heat from punk idealists for being on a major, and for allowing themselves to be marketed through that particular industry. The band's argument stemmed from the fact that they believed - and I believe them to be sincere in this - that by having access to a larger audience, including TV and radio sopts, they could talk about their politics to more people. Admittedly, they were aware that not everyone in this new audience was going to be reptive to their political ideals, but they seemed to feel that it was a fair trade, for being able to reach more like-minded people, regardless.

It's also a matter of public record that some of the first money spent from their major label deal was donated to specific Anarchist organizations which they had always wanted to do something for, but never had sufficient means. One of those groups received a gift of something like 40 grand, if memory serves. Another interesting point raised by the band, is that they still watched very closely over the shoulders of the label execs, as they had always done everything themselves in the past, and wanted to be certain they would still be reprented in a way they approved of.

Okay, this isn't all pertinent to the issue of major labels in general, but I just wanted to illustrate how it might really depend on what the artist is motivated by, to begin with. On the same hand, if if a group just wants the flashery of being an overnight success, regardless of the debt or the consequences, they know right where to go.

posted 03-17-2002 03:52 PM            

quote:

---

Originally posted by PISSHEAD:
When we were young and dumb and did'nt bathe, we signed a deal with a french label, for our first LP.The contract was totally ligit., and sounded like a fair deal.After we received the test pressing and gave the go ahead, the ribbit,oh excuse me, bastard, sold all the rights to revolver cartel in england. The next thing we knew was our , new underground punk record , was in best buy.And we saw nothing from it.I guess we were just a tax write off for those bastards.If you don't know who you are dealing with you will get fucked.

---

posted 03-17-2002 04:02 PM         

Big buts here...

1) disseminating radical politics while being on a major label is a pretty unbalanced situation. I'm sorry, but if you put every single person who was legitimately enlightened to radical politics by, say, Rage Against The Machine, and then compared that number to the amount of money made by their label, it's like they got a thimblefull of water from a fucking hurricane. I don't doubt the sincerity of Chumbawumba but I disagree with their logic, because they didn't exactly change much. They made bad major label lots of money--they educated 10 people. Who-hoo.

Matter of public record regarding the anarchist donation, yes, but the first time I've heard about it was reading your post, and since we've known each other for, what, 6 years? you know it's not like I'm not in the loop. Yes, they gave somone good 40 grand, but how many people really heard about it? The only thing I remember about them during the Tubthumper fiasco was them defending themselves for telling people to steal their record--and come on, let Abbie Hoffman rest.

2) Speaking of, Chumba-who? Are they still together? Did they survive the dance of the drunken frat-boys? Seriously, though, what happened to them? If they are still together, aren't they stuck in an uncomfortable position riding out a major label contract? If they aren't, would they still be together under different circumstances? Because (in America, at least) they aren't really enlightening anyone now.

I think it's an interesting argument, but I have never seen any sort of situation where the motivation (get the word out) has justified the major label IN PUNK/ROCK. Now, y'all wanna talk about hip-hop, that's a whole different argument, especially with the race dynamics.

Nice post, though.

Oh yes, and just to be an asshole:

Daego sez:
"Furthermore, I hope this has been an insightful and educational thread for all of you would be rock god types, cause I can't wait to see you get gobbled up by the industry and spit out the ass of the porn syndicate."

posted 03-17-2002 05:05 PM            

quote:

---

Originally posted by Dedly Daego:
Athena, spell Joy's name correctly until she plays Oi, then that would be an acceptable change.

---

Oh shit! I forgot that the punk police patrol this board! Thanks Daego for reminding me of what a "poser" I am. Talk to Joy's old band Asscrack if you have a problem with her name cause that's what people have been calling her since '96. I think you should follow your own advice. Until I see you working with the mob as a DEDLY Italian WOP I think you should just go by NAME DELETED BY ADMIN. So I have one word for you:
Shut the fuck up, bitch. And go back to poland where you belong.

HOOO-YAH!

posted 03-17-2002 08:44 PM         

quote:

---

Originally posted by PoppaLarge:
[B]Feeling snotty today.

-Correction -- You feel snotty EVERYDAY you post on here. You NEVER have anything to say
that isn't a constant bitch or whine.Before
you go off on one of your famous tangents,
why don't you READ the WHOLE of what CBW has to say? Basically what he's saying is that there's always exceptions to the rules, and
that if you choose to go the major label route, make sure you know what you're getting into, and what the consequences could
be. You're the one who complained when he first started posting here that the powers that marketed the grunge/punk thing in the 90s had sold us a bill of goods. Sounds like
you fell for it, and are still bitter too.

Big buts here...

1) disseminating radical politics while being on a major label is a pretty unbalanced situation. I'm sorry, but if you put every single person who was legitimately enlightened to radical politics by, say, Rage Against The Machine, and then compared that number to the amount of money made by their label, it's like they got a thimblefull of water from a fucking hurricane. I don't doubt the sincerity of Chumbawumba but I disagree with their logic, because they didn't exactly change much. They made bad major label lots of money--they educated 10 people. Who-hoo.

-So? What would you rather have in their place? Blink 182?

Matter of public record regarding the anarchist donation, yes, but the first time I've heard about it was reading your post, and since we've known each other for, what, 6 years? you know it's not like I'm not in the loop. Yes, they gave somone good 40 grand, but how many people really heard about it? The only thing I remember about them during the Tubthumper fiasco was them defending themselves for telling people to steal their record--and come on, let Abbie Hoffman rest.

-$40K that wasn't there before is STILL $40K.

2) Because (in America, at least) they aren't really enlightening anyone now.

-We're waiting for your spoken word tour to enlighten us.

I think it's an interesting argument, but I have never seen any sort of situation where the motivation (get the word out) has justified the major label IN PUNK/ROCK. Now, y'all wanna talk about hip-hop, that's a whole different argument, especially with the race dynamics.

-Yup, the Ramones, Sex Pistols, New York Dolls, Dictators and such NEVER influenced
ANYONE on ANY level.

Nice post, though.

-Thanks, I've waited for years to finally get your approval.

B]

---

posted 03-17-2002 08:50 PM         

quote:

---

Originally posted by zomzom:
Well, I think U2 made a few quid, got to work with Eno, can spout off about politics or anything they like and they seem reasonably happy no matter what you think of their music. I don't think they "sold out", from when I saw 'em at First Ave in '83 in a half-empty room till now, their music's remained pretty much the same.
Not the norm, for sure, but it's one band that seems to have done well with the majors, and I'm sure there are more.

---

-Good point. Interestingly, I remember reading
a few years back that when they first had success on Island, Chris Blackwell, the label owner, had given them a minority ownership stake (something like 7-10%, I think) in the label. Years later when he
sold it to Polygram, they made multi-millions on it. Clearly an exception, but a
nice outcome for the band.

posted 03-17-2002 08:59 PM         

quote:

---

Originally posted by Ollie Stench:
I've thought long and hard about the major label controversy and come up with the only answer I can:

I would sign to a major label in a heartbeat if they wanted me

-I bet you would! Next thing ya know, you'll be playing the Mall of America too!!!

then again, what's the likelyhood of Maveric wanting to sign my ass?

-If they like the sex book you put out,they'll sign you I'm sure.

---

posted 03-17-2002 09:39 PM         

Terry, seriously, if you misinterpreted my post as an attack on someone I consider an old friend, then I suggest you step off until CWB can speak for himself.

Your response, what I managed to sort out, completely misses essential aspects of the particular example CWB brought up. That of course being the choice of getting on a major label specifically to spread a message. Ergo, examples such as the New York Dolls don't apply. In fact, although perhaps I should have stated this, my perspective was more or less covering bands of a post-DIY nature, which means none of your examples apply.

In short:
--I disagree with Chumbawumba for valid and legit reasons. You didn't refute them, and once again, just like every time in the past--what? 3 years--you have managed to post something where not even I can tell what I'm writing and what you are BECAUSE YOU DON'T BOTHER TO QUOTE THINGS CORRECTLY.
--You should go read a book instead of fucking up perfectly legit flamebait meant to annoy people whose opinion I also don't care about.

posted 03-17-2002 09:45 PM         

quote:

---

Originally posted by PoppaLarge:
Does anyone want to tell me exactly when J.Free and Terry "Ass sucking fuckhead" Talka

---

posted 03-18-2002 12:38 AM            

quote:

---

Originally posted by flyerguyakatalkabout:
they made multi-millions

---

Three Hundred Fifty Seven Million Dollars by the year 2000 acording to the Illonis entertainer.
They also enjoy tax free status once the money gets to Ireland.
Wow,
I'm sorta stunned.
Thats a whole lot a money.

posted 03-18-2002 09:27 AM            

quote:

---

Originally posted by cHaOsPuNKgIRL:
Oh shit! I forgot that the punk police patrol this board! Thanks Daego for reminding me of what a "poser" I am. Talk to Joy's old band Asscrack if you have a problem with her name cause that's what people have been calling her since '96. I think you should follow your own advice. Until I see you working with the mob as a DEDLY Italian WOP I think you should just go by Brian Piechoski. So I have one word for you:
Shut the fuck up, bitch. And go back to poland where you belong.

HOOO-YAH!

---

posted 03-18-2002 10:42 AM            

quote:

---

Originally posted by chain-wallet bitch:

It's also a matter of public record that some of the first money spent from their major label deal was donated to specific Anarchist organizations which they had always wanted to do something for, but never had sufficient means. One of those groups received a gift of something like 40 grand, if memory serves. Another interesting point raised by the band, is that they still watched very closely over the shoulders of the label execs, as they had always done everything themselves in the past, and wanted to be certain they would still be reprented in a way they approved of

---

posted 03-18-2002 12:08 PM            

I appreciate it when folks step up to the plate on my behalf, but a couple of things might have been seriously misconstrued here. Poppa is indeed a dear friend, and was the first to come to my defense in what was once the biggest and most serious fight of my life, and I am indebted to him for that. The fact that we may occasionally differ on a few points in no way alters that.

The thing about friends debating the ethicality of something like the Chumbawamba scenario is that it's just a discussion, like any other, where differing points of view can be presented and disseminated without it ending up in a fist fight - something I would never want to happen, in this case.

True, it's always been a tricky balance when trying to integrate politics into the corporate structure of say, a major record label. The reason I mentioned Chumbawamba's efforts, was that no matter how naive or misguided their actions may have been perceived as, they believed they could make it work. Did it work? I can't answer that question, and I'd be willing to bet Chumbawamba can't, either.

It is very likely, as was pointed out, that only a handful of people were educated through their efforts. What remains to be seen is what that handful of people are willing to try and accomplish with their newfound awareness. Call it stepping stones, baby steps, whatever - if some good, regardless of how small, comes out of it, then maybe it was worth it. If not, I don't think that should take anyway from the folks in Chumbawamba for at least giving it a shot.

Again, I think that the actual motivation for folks doing what they do, is key to the whole issue of playing with the big leagues. Years ago, when I was in my old band Borrowed Time, we were offered a couple of lucrative deals, which we turned down in a heartbeat. We would have been required to alter our approach, in order to reach hordes of MTV-neophytes, who we felt would have been more likely to imitate our manner of dress, than actually hear anything we felt we had to say. Frankly, we could have used the money - I could still use it right now - but we believed that the trade-off would have entailed compromising our integrity, and would have derailed our message, as it were.

If, on the other hand, we could have been signed on our own terms - with no implied compromise between the lines - we would have likely given it a try, and hoped we could have actually accomplished something useful through the deal. I would like to think that anyone in such a position is capable - and willing - to think along these lines, but in too many cases, it is clearly not the case.

posted 03-18-2002 12:44 PM         

I also like a lot of major label stuff that isn't in the punk rock passbook--Brooce, the occasional Bob Segar, Journey (Koob really needs to come back to town soon to back me up), etc. Note that a lot of these mentions fall under "classic rock."

(I don't pay much attention to current pop culture. I don't have MTV, I don't have a radio in my van any more. When I'm feeling really aggro I listen to Vorhees or Let It Burn. When I'm feeling emo I listen to Discount.)

But if a band is anti-corporate/anarchist/leftist politics, then I think it's impossible to "enlighten" enough people to the cause to justify the shitty situation you've put yourself in and (in Chumbawumba's case) the amount of money made for a company you claim to be resisting.

And that is my major contention with the argument, although of course in individual practice everyone is different and everyone believes what they're doing is the right thing. And I would happily argue that point with the nice folks in Chumbawumba if they were sitting in my living room right now.

And I still wonder if they are still a band--are they, CWB?

I hope that this is sufficiently clear for those who resent the contribution teachers make to the general populace why apparently having no reading comprehension skills themselves.

posted 03-18-2002 02:06 PM            

quote:

---

Originally posted by zomzom:
The only label I've done any work with is Touch and Go. (Sorry, Big Money doesn't really count )

---

posted 03-18-2002 03:10 PM            

http://www.chumba.com/_newspage.htm

Scroll down to the heading "Chumbawamba Sell Out [Again]; in which the band expound their ideology in regards to selling the rights to their music; in order to fund anarchist organizations. I'm not interested in making any converts here, but for the sake of discussion, I think it's interesting to hear what people have to say about this kind of thing.

posted 03-18-2002 03:27 PM            

------------------
-Daego

posted 03-18-2002 05:22 PM            

------------------
-Daego

posted 03-18-2002 05:22 PM         

Athena: Sad to say, I know I would be a little weirded out if someone started dropping personal information about me, even my name. I have (occasional) bad history with a few individuals, and am quite happy that they (assumedly) do not read this board and do not choose to air our laundry (whether true or not) here. This unfortunately puts me in the awkward position of agreeing with Daego. Let's try to make sure this doesn't happen again.

Outing people or dropping personal information is a funny trick of a couple people on this board who I probably wouldn't want to spend any time with if I still lived in the TC. I know and you know that you didn't start the unfunny personal attacks that will, at some point, be defended with the argument that he was "drunk, and can't be held responsible for anything he does" and "fuck you, I'm punk." But still, it sucks. Don't go out like a suckah.

Daego:

In order to eliminate your name from this board you will have to ask Athena and Eric S. to delete the posts with your name in it. I don't think the admins should feel obligated to do it.

That said, Daego, it amazes me how skilled you are at attacking and hurting people, and it still reminds me of dumb frat-boy jocko crap. Were you always like that or after you got your fraternity letters branded on your dick?

--Now that that's settled, let's get back to business as normal.--

posted 03-18-2002 05:47 PM         

1) I think you make a lot of uninformed bullshit back-handed attacks on people without knowing a thing about them on this board.

2) I also think you use the guilt-by-association argument--"anyone who sounds like this MUST be trying to get rich and famous, blah blah blah."

3) You judge people in your statements here all the time when you don't know them. You just don't step up to the plate.

So all I did was return the favor. And, in doing so, you got all mad. Ooh.

You're absolutely right. Outside of this board, I don't know you. Although I think we may have met a few times.

But your line that you sell here every day is that your kind of music and your fashion is somehow really honest and pure and uncorruptable, while anyone who gets in your way or does something different than you is an asshole. And I disagree. Onward To Mayhem may have very pure intentions, and I'm not judging you for that. But if you want to argue that "streetpunk" is somehow this revolutionary style that's all about keeping it real, I call bullshit, becase plenty of people in your scene are totally doing it for the money. (Vice Squad reunion tour? Taang records reinventing themselves as a Streetpunk re-release label??? YAWN.) But your statements on this thread and others consistently point fingers at people for being "sell-outs in the making" and I think you got plenty of sell-outs in your own little subgenre. Having a mohawk doesn't make you 100% committed or DIY, as you already know. The Discharge example was just fucking gravy.

"Furthermore, I'd consider investigating my accusations before I go dragging someone's name through the mud."

This statement is absolutely laughable coming from you.

posted 03-18-2002 07:50 PM            

and poppa large guy whoever you are you gave daego like twenty minutes to post a rebuttle and at nearly six o clock. I'm assuming he has a life (God knows I don't, what would I be doing here all the time?) outside of this board. I really hate it when you don't respond to a post because you can't spend your time on the computer and people get pissed at you for it. So yeah settle down.

posted 03-18-2002 07:56 PM            

Back handed? I think not. And from all the way over there, how the hell do you know wether or not I know the people I am judging? Answer is, you don't. So there's another of your points shot to shit. And as far as people in my "subgenre", thank you for assigning me one! That's just great. I didn't kow I had a particular that was that directed. I had better tell the Hudson Falcons and the Unseen that they are now in the same category and had better start dressing alike since you have so graciously fixed everything for us all and painted us a nice straight line.

As far as I know I am the ONLY person out here who has the conviction to step up to the plate on these issues anymore. It seems that no matter what anyone does, it's allright, cause there are better things to worry about. And it's true, there are, but I'll be damned if I won't at least give my opinion and let them know that someone can smell their bullshit. And for that I'll always be super popular and well liked.

I'd rather hear a bad song with some decent ideas in it then the catchiest beat ever written with some whiney lyrics about relationships and candy.

I particularly enjoy the low brow frat boy attack. that's so fucking cliche. But subsequently, I'll answer that one truthfully. You've no idea how good I am at hurting people. I invite you to learn more next time you come to town. Maybe I'll even be cordial enough to introduce you to my fraternity brothers.

Tee fucking hee.

posted 03-18-2002 08:53 PM         

quote:

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Originally posted by Dedly Daego:
As far as I know I am the ONLY person out here who has the conviction to step up to the plate on these issues anymore.

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